Ieee erect ev idealized eet bi eC es Arron yee eres) Sqn Oa Songer rare sare Beets sen aee ca Teen ee ease net en Pome eae Rat Sea eee eer Siete elena canes tee nid Dee eme eu Ken ncn ommnCenS eo men gna onie ene asad Se eS ee eRe ee SY ed Cec et ccics Peme Nen eek ee es ae Corre ene enee cence rae canes tara ea cea ete ea atc child gazes at the younger child. JENNY SAVILLE Colerets VETS Focused Ciena Liat) ee cre eens eae en A woman, presumably the mother, in the third trimester of pregnancy, holding 2 Beene arse en Rees) Genoa Umea at aetet Pee cae MC aurea! and neck. The legs disappear like the Peek etka Se a Ne Pa is cluttered by vigorous lines as it sits on ura cae Cet! eee etree cele aan Perec tse onc eee ear et Rare eens Cems aes eae een (after Leonardo da Vinci Cartoon) Ce eC ea Ser Pa eae Aree a ae considering the da Vinci artwork as poe eam eee er geen one of these figures the role of Rae ea) morphing into one another with a series of agitated and flowing lines See asec ae Ren ay the laps of these women and one Eek eter The figures legs fade off and the setting is nondescriptCultural Context Jenny Saville The Artist's World Born: 1970 Contemporary, young, British, female painter. Supported by her family in her pursuit to study art and become a professional artist. She is a mother. Her 2 children influence her creativity. ( Hudson, The Daily Telegraph) She is working now in Oxford and in London during a time when female artists are more lcommon, allowed to attend school and are lexhibited world wide. Although they still have ito struggle in a male dominated art world. Exhibitions at galleries are still a prominent way for artists to gain notoriety but the Internet and global communication is a gaining influence. According to my observations, figurative art and realism has had a resurgence in the art world over the past 10 years. Her themes and subjects are often formed ifrom a critical observation of average people, leven women in shopping malls, patients being prepped for liposuction, and even her childhood piano teacher. ("Jenny Saville |...”) Influenced by: Lucian Freud and Peter Paul Rubens ("Jenny Saville | ...”) The Art World Works challenge viewers. Figurative painting and realism has been out of vogue in the art world with a few exceptions in Photo Realism and artists like Gerhard Richter and Chuck Close. However it has been making more of an appearance in the art galleries of NYC and in art magazines more and more since the early 2000s. They have seen her work develop... Images:google search screen shots wi Bate meirl?; ‘(cele The World Western Political and Social Issues at the forefront Working mothers balancing several roles. * Super mom's / Social Media highlighting the do it all moms that juggle career, travel, fitness and still manage to pack a lunch with organic carrots shaped into hearts and motivational notes for their children. * Facebook, Instagram and Pinterest are some of the largest platforms for women to see other women in social and familial roles * Getting your body back. Tabloid stories of celebrity mom's recovering their bodies in record time after birth. * Body Shaming * Royal Wedding- Prince William marries Catherine Middleton at Westminster Abbey * Gay Marriage * Gender issues * Transgender rights Other World Events Bin Laden and Gaddefi Killed « Egyptian Revolution * US Embassy Attacked (“2011..."), (Broomhall) Subject Matter: generally large scale depictions of nude women that challenge gender roles and body image.ATT aer LM oldie Cea L ed The values are soft with little contrast. Contrast is The background is muted and neutral colors. The skin tones are mostly apparent mainly with the hair colors and the darker lines realistic with soft tones and only local color. The colors are calm in contrast to under the mother. There are not bright whites apparent the energetic lines, tension and expression of the figures. The colors add to either. This helps create unity. the flat texture despite the vigorous brushwork. The space is very shallow and the background in flat with only a monochrome frame depicting the space as if it were a picture frame with the figures emerging from the frame. Active-gestural lines that mimic the energy of the mother holding the children. The lines show outlines of various Positions of the children and overlap the figures and disappear beneath them as well destroying the traditional figure ground relationship. The expression on the mother and the older child are the two points of emphasis since they are rendered more that the rest of the figures. This adds to the connection between the figures. The emphasis on the older child is also made more apparent by the hand of the mother framing his face. The scale of the figures are z representational and seem realistic given the relationship ‘Shape & Form- The fully to one another. painted figures give a sense of three ~ a ~~~ 4 dimensionality however || The composition is central with the mother being fairly there are areas that are _|| symmetrical. The older child is slightly off center to help not as resolved and look || balance the chaotic lines of the younger child and the flatter. such as the pregnant belly of the mother. The gestural lines help | bottom leg of the mother. balance the figures as well. The legs of the mother are The form of the older solid and help anchor the composition child is broken by line Pyramidal Composition. and painterly shapes. Jenny Saville, The Mothers, 2011, ollon canvas, 106 5/16 x 86 5/8 inches (270 x 220 em)Jenny Saville - Function and Purpose - The Mothers ROS T-RALN EE REN... "| like the dirty side of things" Jenny Saville The mood is chaotic, raw, primal emotion, maternal without over glorifying the role of the mother or the child. She paints fleshy figures that fill her canvases. Works are not simply figurative but can be described as “post painterly" in merging abstract and figurative with clumps and drips which form blemishes rather than decoration. Her children are an important part of her new series. (Hudson, The Daily Telegraph) Saville had a friend photograph her as she gave birth. It was painted in England after she art gave birth with her first child and was also pregnant/and gave birth to her second, ("Jenny Saville - Gagosian Gallery.") Physicality of motherhood and children. By focusing on details such as the navels and her own pregnant belly she creates links to her children as another generation. She is fascinated by the aesthetic and formal possibilities of painting the “materiality of the human body."("Jenny Saville - Gagosian Gallery.") You can sense the mass in her paintings. The first time | saw her work at the Gaogosian Gallery in New York City, | was absorbed by their scale, tactile quality of soft flesh tones juxtaposed by almost violent brushwork. She creates sensual work as in “The Mothers” with a tactile impression. Her work is monumental in scale with makes the view feel small in comparison. “Subjects are imbued with a sculptural yet elusive dimensionality that verges on the abstract”. ("Jenny Saville - Gagosian Gallery.") In this work, the intertwined bodies are merging and fighting to be set free. They are lost into one another. The role of mother and child(ren) become one while they fight to separate. It is as if to watch birth and motherhood condensed into a moment. “Bodies fascinate me. | find having the framework of a body essential. Having flesh as a central subject, Rene Un eB oad \\c_ The Mothers Ei il on Canvas 2011 M106 5/16 x 86 5/8 sone aii FREY 4 wisn V 2, - [town We Bod Physica | ‘, Pectin nigh Cadoet wt a SrtoleS SENS Oe uae ENCES eer isa)Jenny Saville - Formal Analysis - Reproduction Drawing IV Mirror symmetry of the 2 adult women | |Monochromatic charcoal is applied liberals and heads create an almost surreal view of the | |figures reworked with varying degrees of resolution. mother (s). Charcoal applied in in gestural lines, smudged tones and erased to create subtle highlights. There is little contrast due to the creamy tone of the paper. Smudged and faded figures of the children intertwine int he foreground while a more realized but faded cherub like child is partial cropped out of the compassion on the right. A small frame set the pyramidal composition in place. Seemingly random gestural lines run up and down the sides of the composition adding containment of the movement. 1e Reproduction Drawing I (after Leonardo da Vinci Cartoon) charcoal 89.5/16 x 69 5/8 in. 2010 Soft tones form the background with little regard to interior or Active gestural lines that blur the figures together in a flurry of movement. exterior space.uoA22}I09 aeaud e u! Aun (“PINS Pue JayLO/y,,) 40M yo Apoq, Siu Uo Bupyom aj.4an 134 40} japowd 0} sieyJous ueIDedxe jesenas pasn os|e ays seueuBaid s2y Sunsayes anoge sfuymeso pue sSunuled epewi aus *g00Z U! JeryBnep 194 pue £00Z Ut LOG Sem UOS e ‘PIIYD IS1y JH, (ue1so5e9) xny 2:01quiAs ut ayBned axe sainBy, YL 0M s;9U A ep jo Adoo aun yim pooysayyous 40 320} 24) Syl] 3] “und e se series ,ononpoides, papnue ‘yen.od ez1s-ay!| SIy, (PHY>-ISUYD engoe ue yum sjeep uI6s1, aya yoiYm U! 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Space is closed off and depth is only alluded to by the angle of the chair and the corner of the wall that seems awkwardly highlighted behind the mother’s head. The figure ground relationship is shallow. Soft complementary colors. The soft yellow tints of the skin are balanced by the pink/purple of what appears to be the skirt of the mother. Soft pinks and purples are also prevalent in the fingers and toes of the figures. The green of the bodice of the dress complements the deep siena tones of the hair. There is an undertone of a soft purple and muted green in the background Lines of the chair direct the viewer's eye in to the frame along with the mother’s arms. The focal point is the youngest child’s face famed by the sister and mother. 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CAN E-leMa stele tama otic iela a Colm tale time period) of Madonna and Child rele) (einlola ee7 Gas: as 1e reference daVinic's work in the subject matter and composition as well as in the “\__ sketch quality, The role of care takeris stil id not agree with Cassatt's being an artist. Friends with Degas and Impressionist. Amegican living in Paris. _ Female, Tounge English, Established S E / aistsinacompetiive male, \___‘fadtionally the mother however there iS:some feryday private lives of women = dominated art culture, in more equality in parenting roles than there. dyting Cassatt's time period. MOOD: is Euro \\_ was during Cassatt's time. The mother's role alm, sweet and loving. Finan a Papo: \js not limited to being a mother alone (career ‘Sense of tenderness in the connection _/Mother with 2 children sitting on a chair. and other responsibilities). between the subjects by their hands. The _/ Images of the lives of mothers as they relate to their / children have a more intimate connection, / children. Reminiscent of Italian Renaissance \ | Her dress is more formal considering the | Madonna and Child paintings. Specific to the conce| baby is nude. The location appears to be _of motherhood at that point in history. The placem | in her home. | of the mother’s right hand is key to the mood. The | of control at the same time. The white non description \ mothers’ expression is slighlly disconnected to the space should feel serene but comes off as clinical. The | EB recraiy resolved | rueren. The re ook srocdly atthe mother is connected to the children in a raw and primal, \ imagery through suggestive | ye way. She is giving all she can to her children but it/ 5 doesn't seem to be enough. She is covered by them and visible brushstrokes Meat Visible brush strokes/marks i hs (Representational, Local color (mostly) _/_@fi loosing hersein her chléren. She is siting na / way that conveys the preparedness to attend to the foal es Seager, childrep, They are her and she is part of them. / plementary colors. \ Attention to chairoscuro. Defined _/ Nee Q ‘\. Asymmetrical composition is ht source and rendering to _// arts are fully resolved while other parts arely discernible. The appear 3D in most areas. A rarige are sketched J children's arms create a visual _of values depicted, Colors afe not zs i . ss its: More symmetrical line that_allows the viewer's eye _ overly saturated. Brushstrokes give f ¥ a move throughout the painting. real and simulated texture. Limited composition. More visible mark making. Line Shapes are mostty-fully realized _SPecial depth in the environment. shows movement and rhythm. Limited palette, ealzet = “bordering on monochromatic. Emphasis on ane epteae tatonal. the face of the baby on left and expression of the mother. is is a self portrait. The scene is stressed and \ chaotic. The expressions are emotionally charged) The tension in the hands shows protection and a labksek pewjeymeno quequ0D ——e2ueysip e493 OU! YO. 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JeYmeUios axe UayPIIYD ay, ‘sseupayauu0ssip pue sseupaysauuop SOIJe|IWIS ov61-seet 0261 wisiananasuoseg W504 inasnyy Ly ueDyowy UeluostAILUS 2061 Wo ¥'69x Wo bes SeAUBD Uo IQ - 880125 24, sagt-s9et ‘vL0z 00s eunuiog oz6L LUIs039 Pz i O16Connection to my artwork Recovery Series, Oil on Masonite 20x30 cm -series of works were created by the artist after becoming a mother. They investigate the physical and emotional relationship to a body when it endures physical transformation and the role of the body/ mother has changed to a more primal physical form focused on support of children. Major connections between Cassatt, Saville & Recovery Series: * Motherhood * Placement of hands is crucial for subject matter «Visible brushstrokes Major differences between Cassatt, Saville & Recovery Series: + Focusing mainly on the mother. * Does not explore mother/daughter pebtonships Subject hints at maternity/motherhood but Title and tension in hands hint at the struggle pales nee seen in Saville’s work but is not it is not overtly identified Intimate Visible brush strokes Like Cassatt, | am an American for the North East of the US that moved to Europe to pursue her passion for art despite objections from her familyLinks to Jenny Saville *Physicality of forms Active paint strokes create skin texture and movement ‘American ving in another county. Sreera Had Painterly with no setting From tho Norn East \ Buy 2 rons Not ieaizd scone othe us. had oston erent *Focus on intense grip of hands *Non idealized view of female body # Reaction to motherhood/maternity cl cate ce No facial expressions Active lines are key to the composition No children in this series but there are children in others. ‘© Green Portrait orientation * Blue- strong curve runs through each composition, | itis slightly off center either side. * Red - Leading diagonal lines Jenny Saville, The Mothers, 2011, cil on canvas, 106 5/16 x 8 Recovery Series 1 Ths Caress = Ojon canwer ee ae 83.4 em x 69.4 em 1902 Smithsonian American Art MuseumCros eRe Recess eye) Cerra mete eee ee PONE ena surest) EO STEAL MUN oto ellos BiiTel\- 9) BoM Toole of Seok Lele] on Let Tb ok Bue t 1 e Mie He Bol ole] FORME re MSE TE Ra oon iT) Pee SRM MY ott ae ttt Aemod ue pjay s| puey e Aem ayy Ett 0) BIST -stUL Tov TpIUL-roaetarolUB LUM el UU (ol Nel YT BTS lolal ot lUnColelm oltL Bol HColVOy UL Ve[o UBT} ENS EIU Luclo] ES (ol EV lfohc Morey TN [ao aw] Up Ti Ln saw SL ole] EleMu-oB AU EI lo(MoR-IlolURS ARC IBY Seon uote tte) Paljio|6 aq 0} aney Jou seop pooyayioy SUB tOM -olo Te) Eater men Into} TIS Se SM cse Kotte ret ee crt toe Soe) Deiat te eet tine Maton Cee tt tenet tT) eee cee Rta teirati terme rater mrt nti he eee LN TWYANAD NI LUV AW OL SNOILDANNOD TrelETal mle Loye)9102 unr vO G2N 102 PO Pl 'eIpay pue smaNy UeIpIEND -UeIpIEND aul , Sieg UeBIeSEED pue siseaig dous BOF OF HIN SPRAIN WOLY “UY U| POOY!O\ROWY, “207 ‘SWRA '9L0z 8UNr yO "GeM ‘0LOZ AON £0 “A'N 2691!05 Sunphieng dissoD gala ‘ssounly ‘Sureq 1ydlesBoyul] a0e|cy10yq o43 uw! 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