Coursework confirmation YesCes ain sos i 1 2 During this investigation | looked atthe portrayal of workers and members. of everyday life. The portrayal of workers in a given painting reflects on the social and cultural context of the time. Millet 8 workers in “Harvesters Resting” asa recognise the die state of the workers but makes the warkere look heroic. A slmlar portrayal the resilience of the workers in Hokusa's "A Sudden {Gust of Wind" can be seen. Jeff Wall also shows the workers from Wall street in "A Sudden Gust of Wind (after Hokusa) asa symbol of human Urbanisation and puts them in a free rural ‘environment making them look berated WHAT | DISCOVERED ABOUT Jean Francois Millet, Jeff Wall and Hokusai 2 Sedan Gat of Win ar Hohn nV 109250» sit Sten eStats: stn a Different techniques, texture, composition) ‘or photography and light box) can add tothe palnting/ photo is viewed, ‘ow geosbine pt 880. Th Fue Bei apo, ‘guna in wt cageJEAN FRANCOIS MILLET CULTURAL SIGNIFICANCE Jean Francois Mile sa this paring 354 story of Ruh fom the Ot Testament. Tho slory suggests that Rut who was an oi widow who Shen tSe ete 5 Scepter amy y amigo CULTURAL i ict ety re Ful lyaty mace Boe went rate) CONTEXT l rele har and panting we cn seo that ing hr ane : Fetretrs or acta the i {ae nel Puce twas ore Jean Fang ile was common associated Se clans een wa Jean Francois millet was a vit thereaismmovement andknoun tobe § ‘were desperate for personal gain far onc pare’ tom October 4, Sneha founder ofthe Barbizon school. wore far te wl fcr poor 1814. Janvary 20,1878). he was Some ofthe common qualities ofthis school Ever since Bibical tmes Gleaning had Inany a antacape peror and weve se offowe brush stokes, coour been ne tational aght of memes one associated with the tonal qualities and softness in form. Its also ‘of the family but in the Mid ninteenth: movements of realism and visible that Jean Francois milet's ‘century Gleaning was discouraged ranean Ceniemeranas al he arian schoo nad» Sremany people had eave othe Simirtes in thr ato hat of mit Contant Jean Francois milet was bon and ved, Weyer use of cole in his pang ate insite traugh tn ninstonth contr. He dnking” Narcisse Diaz's panting o femme was to son of member ofthe farmung ramassent du Dols pris dune de une mare cmmunty ond ved the lage of” fort has used a star tchnique, medium of Gruchy (Normandy) Miles scheoing wasPastel Jad sms cours used. Mets ‘ot proper ashe wes taught by vlage childhood fst hand experience of the pests Arte he was Sento suey wih countryside of France niuenced his $ porta painter named Paul Dumauehal pining ofthe iCiater moves to Par to study atthe landscape and Ecole dor Seaux Arts with Pal cane of ha ral Doaroch. He mado ands mars win counyste of ‘rious people Constant Tryon, Neresse France. Honor Dian, Cherie tacque, and Theodore Oauler’s Thed Class Camage Rousseau whom ik mil wore Ssoodated tote Barton school major ets to find work in order fo v0 te growing povery ane Starvation, Mill's artwork sone that is revolutonary as he was driven to make pictures hat mattered. Hence ‘when the painting was exited al the Salon In 1855s recolves a song response from the audience. He had tochange the name of tha artwork from a more biblical toa contmporary nama Harvesters Resting He onsidered ths painting on ofthe most important paintings he had made as ‘was one ofthe most complex one with 4 igure, h i i bi 3bn A CLOSER LOOK AT JEAN FRANCOIS MILLET’S WORK ‘Subject Matter : Boaz Colour Boaz is Place botwoon the peasant workers and Futh. The Triearnonayrnetiodtndore wit Soke usa er ng a Is given tothe side of Ruth in torms ofthe for Me jacket. In the paling we ‘see Bos iting the ours but the mass of people eon theright. ruta ath (udp by 2 dogo Jo hs harvesters for ‘The colours {her meal Hem have we Gan so at eaz is gabbog Pith Steg sping ae hes on tow a ‘sto show hs power on her andthe octet Pee igure of fen highlighting the harvest and crating a ee yound _dher scl stats than the ater osonstod by th fact warm atmosphere. The blue sky contrasts greatly eae, a that he and Ruth are the ony people standing. He isthe only {5 being light brown with white and yellow win the huge ple ofhavestd rans that ayn Nghe and the foreground being Sarkor ‘Suv wl oy an exerdng to haround, The clothes of tha harvesters are adds depth to the painting. Light and“ shades of white brown and blue, dstinguishing them cee from the harvest. Pci sty of Boxe ‘and is facia Expression ‘Subject matter: Ruth uth stands inthe fright ie of painting sretsedin Bue that eon the golden and brown hues ofthe rest of the panting The work is organised in cThe Pe such a way thatthe frat hing that drew “The shades ofthe Faves ate wit Band row iny attentions the gure of Ruth She " atrgusning em cay ron the haves ut Stands in the far fat side of the painting Subd ac monotonaus compared to tat ofboth Auth reseed nue Sn Boas the man angle ser hte tarvestors that contrasts the Li ‘Futn and Soar Alte harvester re ookag at th, ho fle and brown {Sain looked at Boas. The colectinenes and anc at Fes ofthe rst ot ‘he paring, armony The objects of imitation, the harvesters, ae wall defined and represented wih claty Weight and Emphasis ‘Mere weight i given fo te the sde of Ruth Inds ofthe colours ‘ut the mass of poople ar onthe right ofthe parting. Bose stands Grecty In tort of ne aulence as fo provide a break or on the Contrary fdas that connects the pescenta wth uth. Another ‘compositonal observation to this piece is that Ruth aed Boaz ar the only gues stancng hence gves them a greater importance In tis pecs. Texture Inthe paring Mile uses brush stokes to provide toxture thet makos the objcts foot amost fealatie such as tha sharp and quck ‘Svokes that makes the hay lok sharp. (lees up of uth language represents ‘rageoy Medium Mile used ol paint on canvas for this painting. This medium was very popular with FForm_The igure inthis panting are ver sculptural an seem to he slong simost heroic. This isthe way Mil lode perry the peasants and the working classes. Light ‘The atmosphor around holds @ golden hus, duo to th Serena and eactreflingJUDGEMENT ‘Tis paring was made intent 1800s a hence reflects that change om ‘aor bbical paintings otha of soenes that werent area to he Bible. Tis loos of work clear portayste some of Boaz and Auth. Milt dogs nt create the scene he depctsin ne panng: he jst imtates something ho may have ‘waneased. “The anver ol ean ot at cores under wea iret heeds, thalrmeans, ther objects and thor manner" The manna of talon used by Nits vr recs, eprsoning the entre story as oun thoy wer actaly ‘Going the ngs dseribed The tat uss the Mears olin ot panto ‘canvas and porays he srple mage of harvesters as acomiaton ef waged ‘sed harmony tet tor om other ais n that ha was ase for indi to eats to thecause allowed the audience to share and understand the same hough 8s Nt ared ls bla inthe "hunan aid’ ofa He -woud paint neg that ‘was not the epult of an mpresion det ecb rm Natu, whather learape rn gre" Wes work was ely cessed or the Toca 0 ‘eal ings Read experenced and nl on portato rtf the ine, Mt rot erin is tes. “ie shows arepresntaton of he countylde where cogs are groom 7 and hanested rutin. arvestors Rest. orginally Koown auth 4.Ruth : Ruth was a woman who spent her time Mines or {nd Boaz depicts he ster of uh mth Bible's old Testament Fuh, Sain a ase woman wo sper pe ica nst ta {ico provid a ng forhasalf and ar methorin-aw by working ‘wth the havesters and helping with proces of cleaning up ater he could Support herself in Bethiehem. She as parte wt poet cea leaned the fed during the harvest and became me a eon eo T eon Oe ot eae, foe | known for her handwork, Millet use the allusion of oe esa es aera be Fuh in this paiing to critique society and ho w in that society women who live without husbands of sons had litle support and ved in great poverty The depiction of her submissive nature also reconates with that of the women in the late 1800s, 2.Boaz : According to the old testament Boaz is the Kinsman redeemer. His placement in the painting Is in the center of Ruth and the workers. His Use of blue brings out timidnes: ‘outstretched hands make him look not only powerful compared to Boaz how has said Eran ‘colours rescnating his assertiveness, 4. The workers: The workers comprise the 12 figures ‘of the painting. They are all dressed in the same ‘Shade of brown, white and blue and are placed on the right side of the painting. The workers are esa, nn Face ae 180 67 19 "leet wr oinngsianran Dilernce Beteen Rath and ‘Boaz Theres heavier tonal aight ‘sting down and hence azem at a lower positionCULTURAL CONTEXT production This edded an olrnnt of theatrics to this mages and ae Hence thi time ne hes also used te ht box inthe process of curation, THs Sement of transparency in hs proto montages Is characteristic of nis rent wore Jot Wallis @ Canadian artist who vee in Vancouver He ta wall kaown for his lage Seale cbatoctome photographs which has kept him wet known on the Vancouver art his fet backlt was mado in the 1977 and history of art and posophical probes. During this tims wo cout te tat hs ore Inthe 1990s hi work ge towsrds style ¢ ‘loa art. Ths this form he staged the Swerk with he help tse, cas, props, Wall draws conceptual and Doge Velaaver JEFF WALL CULTURAL SIGNIFICANCE by the changing technology and. the in'1978 hs crested an instalation “mimi ‘thigh highlighted the socio-cultural Tensions Between minorty” groupe. Ike [lane and white Americana. ‘another piece “Pctire of women” nat only Captured the classical nature of Manet’ palming but also Incorprated the se of ‘hoarding advertisment, Har movad towards ine use of digital ‘camara Inthe 19908 ater the est camera ‘ras creates (hhemataarie protograph‘work 2 Formal uses (Te AT A CLOSER LOOK AT JEFF WALL'S WORK i u | e rely Balance and Composition ‘The light source from the light box highlights the | TE eo ke re ame (ecurnan tet ogre emu eee Colour ‘section of painting ‘such the sky and the white a rtamtevey nak aeaanen ta aterm he ac ck prec es and there is no use of block colours. to the photo. The foreground is a symmetrically ‘cinematic etfect of the Tememscnrentsccrantne nt aan bakes op oe tir fhe Menontergnrineghos the" Botoar het sas of tego {sas the most subjet matter tke the ‘reych tint of ochre that dominates the {toes and 3 out ofthe four fgure. foreground and the best grey tnt in the shy. Overall ther isa grey undertone tothe mage which could convey the idea of pollution anda lack ot nature noe alge par ofthe mage const of workars whe ae standing ina nea fashion, They wera ‘hom are mid dass peopl but aires toon ke they ae rom vial See Tetoweclocieney eS | disconnected tom eaen ‘ther The ermery deseo wires haven of eration ‘wich erapperated by the bape ying te wid. The WO ‘ther figures ae shieksng 7 {homeotes rom te wna: Overall they eres and ara of joyous 42 Senn ato Wd fr Hot 582809 « ‘dre shacne of sting hoy ‘Salcuats ane st wee. Tonal Qualities: The tonal quality of the mage places a great amount of woatt on the grass in the Background. The ark ofthe grass contrat the the whe Mackie = ofthe ky. Gry preset In The mecium used i transparency on alight fhe iver inthe melo of {he photos amid tone ist smmor that of teh ky an Sesthetzally i the midst of box. The transparent fim was created using the photomontage technique which isa peme i ‘example of the Dada movementJUDGEMENT ‘THE IDEA OF CONTRADICTIONS. 4) Movement VS Stilln: ‘The stiness ofthe background being an rural suburban setting. The wind brings with it an element of fluidity 4 land Joyous chaos. & ‘The movement of the f wind in relation 10 the backgrouna brings an element of figues a quality of Bargue 2) Nature V8 Technology: The barren tang i the photograph is Tepresentatve ofthe eflect that technology has fon nature. This le evident of the siyine tal Ie 1) The presence of figures in the set a2. Sen Gun of Wind (ater Hoku et Yn, scien «dotted by buildings and the presence of the Fone ee: xters Hast. teeta eal! telegraph poles on the right What contradicts ths The workers meant fo be Wall tet workers Satine isthe presence ofthe trees inthe foreground fembedy uptight and matter of tact lietve fon that is time conto, Nevertheless they seem liberated in this rural “outside” " setting that . Key Symbols seen: completes paradoxical ofthe ob dE 1) The ‘trees: A reminder of the nature present ‘Overall: ‘Challenges dominant cultural ideologies and makes audience view subject mater in a diferent ight By placing them in a diferent satting that seems 10 juxtapose thom,oa, Casal Siicance [The HOKUSAI — Fig 14 Nour Fo tt tnenitogeess.can! ‘Su aHZSii hs aang ne CULTURAL Ti i ews Mount Fin leon CONTEXT. Hossa was bom n 1760 “Tokyo in pen He was his infuses on Ho may b why ha ie Cede oar incorporate onsons fsherserchintowerkinbook shop Natu aia er apes ars Imani wood block ents Dug tis oa nea tins Jape va tut tatoo Send why Hokus was Pay Intonoad by he nes an ey ‘eahriques paring, Aneter ‘Sule of funnel was Sean Too (a prominent Japanese amir tom the 1-700 Cony Staonuwos a tndscape pater and His contemporaries ke Hiroshige and ‘rama alo played avery inpertt ee Irintooncing is artwer, For tha Sejacent mages ts nant hat hay ee smiartine leche, composition and‘The trees: The toes in the foreground slant tothe right and the become to element Of nature that affected due to the Wind. Its loaves fling out seam to mitror the pages in the wind. The Contrast ofthe za of tres vie-3- ‘is that of the workers help put the strength of the gust of wind into Perspective as trees have seemed My Artist study ‘Judgement ‘Since this painting was made in the Tokugawa Period it feflects the lifestyle of the workers at the time. The ‘countryside around Mount Fuji looks very bare with ite Infrastructure ang seems mainly agrarian. Moreover Hokus porrays the workers to be sttong and the only figures of Action inthe image that contradicts the stil background. Their Tesilence against nature in the form of the wind can be ‘Suggestive ofthe power of the peasants in Japanese society fat the time. The peasants came second only to the Samura ‘Class in the social hierarchy and were given great importance. Mount Fuji The omnipresence of Mount Full in the background looking over the ‘countrysise. Though the lin Mount Ful Is not as much trees or the workers it sill has a looming presence. The related back to the religious ‘and cultural importance of Mount Fu in ‘Japanese culture.CULTURE AND PURPOSE * [82 Suten Gato Wd ar Hota, J 100.2800 (Sh, Sinn Sleytr ae tal nas ean tea atom the 18708 preset THs werk is Intend by oe changing acholgy anne crn ars {tare ceed orc otc’ wc Hrd the socl-cutd {enon betwes mintory group ke Asean te Arerens ctr ler re ct ry enced ‘Sse nature ef Wane paring but be arora neste at srearang ateiconer He moved toward te use fig cameran the 19908 ‘chart camara wo crane i at ee ‘thai ieFORMALLY 2 sullen Gt of Wd ater edna ean snatoos 0 Stem eaves } ‘ieditechocse tat ‘Colour: The use of colour here is very bleak and tere sno use ‘of block colours. The most prominent colours ar the tint ot Pink on tho right if the photo, tho greyish et of fchre that dominates the foreground and the Bust grey tit the sky. Many use of gry Undertones. ct _Gompostion: The phot le avidd as such tat the foreground space is lesser than that of the backgrouna. The middie secon of panting frtende trom tha horizon ne sod adds Derspective tothe pot, Method: Cinema photographic montage ‘Colour The colous used in the painting are shades on yellow and golden highlighting the harvest and creating warm atmosphere. The blve sky contrasts ‘greatly wih the huge ple of harvested rans tat ayn he background. The clothes {tthe harvesters are shades of whte brown and tive, dstinguhing tem clay ‘tom tna Rares. Composition: This atwork i aymmetrial and move weight is vento the side of Fut ferme ofthe colours but he mass of prop are on hoi re ee cy meniREFERENCES: Fig 1, Milet, Joan Francois. Harvesters Resting. 1850-63, Wood block Print. Museum of Fine Arts, Boston. Htp:/2.bp.blogspot.com_GzGnzaFak-o/ FLVAMaYyV/AAAAAAAADS4//BbsnCVGobs/s640/harvesterstrestingt jpg. Web. Fig.2. Wall, Jeff. A Sudden Gust of Wind (After Hokusai). 1933. Wood block Print. Tate Modern Fig.3: Hokusai,.A Sudden Gust of Wind, 1832. Wood biock Print, The Trustees of the British Museum, British Museum Fig.4 Troyon, Constant. Cattle Drinking. 1850-53. Oil on canvas. The Walters Art Museum. Http:/2.bp.blogspot.com/_GzQnzaF4k-o/ F_vAfviaYyl/AAAAAAAAD64/)BbsnCVGObs/s840/harvesters resting! pg. Web. Fig.5 Diaz, Narcisse Diaz. Cattle Drinkingzli>. N.d. Oil on Panel. Http:/2.bp.blogspot.com/_Gz@nzaF4k-oF_vAtviaYyl/ (D64/jBbenCVG0be/e640/harvesterssresting.jpgc/i>. Web. Fig.6 Daumier, Honoré. Third Class Carriage. 1860-63. Oil on canvas. Metropolitan Museum of Art, New York. Http://2.bp. blogspot.com! _GzOnzaFdk-o/R_vAfvlaVyV/AAAAAAAAD64/jBlbsnGVG0be/=640/narvesters resting} jpg. Web. Fig.7 Manet. Bar at the Folies-ergéreitle. 1882. Oil on canvas. Metropolitan Museum of Art, New York. Http://2.bp.blogspot.com/ TSeanzaPakc oft vAblayVAAAAAARADSA/[BbanCVG0bs/s640/arvestersresting jpg, Web. Fig.8 Wall, Joff. Mimic. 1982. Photograph. Hito/2.bp.blogspot.com/_GzOnzaF4k-o/R_vAfvlaYyV/AAAAAAAADB4/BbsnCVGObs/s640/ harvesterssresting|.jpg. Web. Fig.9 Wall, Jeff. Picture for Women. 1979. Photograph. Hitp://2.bp.blogspot.com/_GzQnzaF4k-o/R._vAfvlaVy/AAAAAAAADG4/ JB_snCVGObs/s640/narvesters+restingt pg. Web. Fig.10 Velasquez, Diego, Las Meninas. 1656-87. Museo Del Prado. Web, Fig. 11 Hiroshigel, Utagawa. 13th Station : Hara. Tho Fifty-Throa Stations of the Tokaido 1830 1830-23. Woodblock. Web. Fig. 12 Hiroshigei, Utagawa, .The Fifty-Three Stations of the Tokaid®. 1830 1830-23, Woodblock. Web. Fig-13 6y8, Sesshd. Landscape with Mount Fuj. N.d. Woodbleck. Web Fig.14 Mt. Fuj. Digital image. N.p., n.d. Web. Fig.15 Hokusai, Katsushika. Red Fuji. 1830 1830-33, Woodblock. Indianapolis Museum of Art. Web. Fig.16. Hokusai, Katsushika. The Great Wave off Kanagawa. 1830-33. Colour Woodblock. N.p.Corea Stuy Stand Loo el AtREFERENCES: Fig 1. Millet, Jean Francois. Harvesters Resting. 1850-53. Wood block Print. Museum of Fine Arts, Boston. Http://2.bp.blogspot.com/_G2QnzaF4k-o/ R.vAfvlaYyl/AAAAAAAAD64/jBbsnCVGObs/s640/harvesters+resting! jpg. Web. Fig.2. Wall, Jeff. A Sudden Gust of Wind (After Hokusai). 1933, Wood block Print. ‘Tate Modern. Fig.3: Hokusai,.A Sudden Gust of Wind. 1832. Wood block Print. The Trustees of the British Museum, British Museum 4 Troyon, Constant. Cattle Drinking. 1850-53. Oil on canvas. The Walters Art Museum. Http://2.bp.blogspot.com/_GzQnzaF4k-o/ R.VAIviaYyl/AAAAAAAAD64/jBbsnCVGObs/s640/harvesters+resting! jpg. Web, 5 Diaz, Narcisse Diaz. Cattle Drinking. N.d. Oil on Panel. Hetp://2.bp.blogspot.com/_GzQnzaF4k-0/RvAfvlaYyl/ AAAAAAAAD64/jBbsnCVGObs/s640/harvesters+resting Ljpg. Web. Fig.6 Daumier, Honoré.Third Class Carriage. 1860-63. Oil on canvas. Metropolitan Museum of Art, New York, Http://2.bp.blogspot.com/_GzQnzaF4k- o/R vAtvlaYyl/AAAAAAAAD64/jBbsnCVGObs/s640/harvesters+resting! jpg. Web. Fig.7 Manet. Bar at the Folies-ergéreitle, 1882. Oil on canvas. Metropolitan Museum of Art, New York. Http://2.bp.blogspot.com/_GzQnzaF4k- o/R vAtvlaYyl/AAAAAAAAD64/jBbsnCVGObs/s640/harvesters+resting! jpg. Web. Fig Wall, Jeff. Mimic. 1982, Photograph. Http://2.bp.blogspot.com/_GzQnzaF4k- 0/R vAfvlaYyl/AAAAAAAAD64 /jBbsnCVGObs/s640/ harvesters+resting]jpg. Web. Fig.9 Wall, Jeff. Picture for Women. 1979. Photograph. Http://2.bp.blogspot.com/_GzQnzaF 4k-o/R_vAtvlaYyl/AAAAAAAAD64/ jBbsnCVGObs/s640 /harvesters+restingl jpg. Web. Fig.10 Velasquez, Diego. Las Meninas, 1656-57. Museo Del Prado. Web. Fig. 11 Hiroshigei, Utagawa. 13th Station : Hara. The Fifty-Three Stations of the Tokaidé 1830 1830-33. Woodblock. Web. Fig. 12 Hiroshigei, Utagawa. .The Fifty-Three Stations of the Tokaido. 1830 1830- 33. Woodblock. Web. ig.13 dyo, Sesshil. Landscape with Mount Fuji. N.d. Woodblock. WebFig.14 Mt. Fuji, Digital image. N.p., nd. Web. Fig.15 Hokusai, Katsushika. Red Fuji. 1830 1830-33. Woodblock. Indianapolis Museum of Art Web. Fig.16, Hokusai, Katsushika. The Great Wave off Kanagawa. 1830-33. Colour Woodblock. N.p.