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just a place to put stuff i wrote from school pretty much!! yay!!!!!!!
ART FUNDAMENTALS - this one is too long so it gets its own page yay
In this essay, I shall be discussing Edvard Munch and his eerie self portrait, referred to as Self Portrait with Skeleton Arm, 1895. Munch was born in 1863, in Adalsbruk, Norway. He was born into a middle class family. Many of them were burdened with illness - this would have a significant traumatic and lasting impact on Munch and his works. His mother and eldest sister both died from tuberculosis and his father, “obsessively religious”, would say that these are divine punishments. The late sister, Sophie, too, was gifted in art at a young age. Experiencing so much loss and death at such a young age shaped much of Munch’s mentality towards life, therefore influencing and shaping his artwork.
This is a self portrait of Edvard Munch, created with the technique of lithography - a method of printing in which the design is applied to a grained surface - typically flat stone or a metal plate - with ink. The main subject is his face in 1895 so he would be 31 years old. It is surrounded by complete black, and a skeletal arm lies horizontal at the bottom. Edvard Munch’s name is inscribed at the top, as well as ‘1895’, the year the piece was created. The form of the facial features are rendered with the usage of loose, sketchy-looking lines. He appears to be staring directly ahead, or perhaps looking slightly to the side; a placid and glazed over expression resides on his face, as though he is simply uninterested or bored. The detail of the face is not present in the skeletal arm below - it appears to be more roughly drawn, with thicker black outlines forming the shape that almost looks like it could be the subject’s arm resting on the bottom, yet everything else is simply swarmed in deep and inky blackness. The choice of colours, or rather lack of, can often be used as a tool to assist in conveying the message and emotions. This work is largely monochromatic with simply black and white. The pale colour of the face and skeletal arm against the pure absence of light creates a striking contrast. The absence of true ‘colour’ within this artwork gives it a drained and morbid feeling, and black and white are often linked to the themes of life and death. Colour choices such as these along with the skeleton arm create an ominous memento mori. A memento mori is an artistic symbol that acts as a reminder of the inevitability of death, believed to have been a concept since Ancient Rome. A similar art idea called Danse Macabre (dance of death) explores and highlights how death is always present and comes for everyone. Munch has said that he considers himself as dying from the moment he was born, “Sickness, insanity and death were the dark angels standing at my cradle and they have followed me throughout my life”. His depression following the death of his father, although six years prior to the creation of this piece, likely sent him deeper into the theme of death. These lifelong feelings and troubles are reflected in this work with the memento mori and colour scheme.
The Self Portrait with A Skeleton Arm very much encompasses the symbolist theme, much like many of Munch’s other works, which strive to depict concepts through metaphorical and visual aspects. He had also stated that he would rather show concepts through symbolism rather than reality. This is demonstrated in the usage of a severed head and skeletal arm - things that cannot be depicted through realism but combine to create a sombre showcasing of a large theme in Munch’s life. When he created this piece, Munch was only 31 years old, despite depicting himself surrounded by ideas of death. This observation illustrates the impact of dealing with so much loss at a young age most likely had on the artist’s mindset for his whole life.
As for my personal interpretation, this artwork reminds me of how life and death coexist, and how that death is a part of life and they integrate with each other. The face acts as a symbol of life and the skeletal arm a symbol of death; the contrasting colours of black and white further bring this into light. It reminds me of the relationship between life and death and how they influence one another. This artwork may be appreciated by lovers of symbolist art and people who have experienced death.
Although Vincent Van Gogh would not see great success within his lifetime, he would become one of the most influential artists in the Western world of art. This essay will illustrate and analyse the visual, symbolic and personal aspects of his Self Portrait with Bandaged Ear. Born in Zundert, Netherlands on March 30th, 1853, it is said that he did not take much interest in art as a child. His father was a pastor and he and his 5 siblings were raised in a strictly religious household; as a teenager, Van Gogh was quiet and serious, as well as having issues with self-esteem. From a young age identity issues and self-esteem was a prominent issue of which would contribute to many of his artworks in the future. At the age of 16, he started an apprenticeship with an art dealer.
One of Van Gogh’s most famous paintings, referenced as the Self Portrait with Bandaged Ear, possesses many contributing elements deriving from his experiences with mental health. The painting’s prominent visual aspects can be defined as thick outlines and emphatic brush strokes, and of course, Van Gogh’s solemn depiction of himself following an incident of self-injury. The subject, Van Gogh himself, wears a dark green coat covered with a layer of short, harsh blue brush strokes that fade into the darker green base. Thick, black lines outline the clothes. The skin is rendered with noticeable strokes of muted green, orange and yellow. The subject wears a glazed-over expression of seriousness - as well as a bandage covering the side of his face, and his ear. Fine, black strokes make up the detailed fur of the hat. An art easel and a Japanese painting, linking to his love for Japanese art, reside in the background partially covered by the subject. The painting, while less detailed, seems to portray some people with mountains and a sunset and it adds to the illusion of detail in the background of the main artwork. A wall is coloured a faded green in short, vertical lines. Van Gogh uses primarily realistic, neutral shapes and form to structure the artwork.
Cool-toned colours in chiefly muted shades form the majority of the artwork, with the exception of the Japanese painting on the wall which has more vibrant pigments of red and orange. The most closely rendered area seems to be the face of the subject. There are varying shades of yellow, brown, green and orange. This could potentially be to emphasise the relevance the facial expression has to the overall meaning of the artwork.
The painting was made two weeks after Van Gogh cut off his own ear, on the unclear and confusing day of December 30th, 1888. It was an enigmatic incident of mutilation to himself that would lead to the meaningful creation of the Self portrait with Bandaged Ear. Accounts of the mysterious night are not fully concrete - there is not a definitive answer we know of that tells us why he severed his own ear.
In 1886, Van Gogh met Paul Gauguin, and attempted to imitate the style of his art, but ended up further developing his own style of art with the thick, short brush strokes and impressionism. Van Gogh and Gauguin had lived together in Arles, France for a short period of time in 1888. The two artists assisted each other in the process of art and inspiration; they produced many works and learnt from each other. However, Van Gogh possibly experienced a mental breakdown following an argument the two had, after nine weeks of this living situation. Despite their differences in personality they possessed many personal similarities and this argument had a significant impact. Considering this, it is widely speculated that this argument with Gauguin was one of the factors that contributed to the stress in which Van Gogh cut his ear. It has been said that he was unstable during and following this event and had been admitted to hospital.
We can observe the effect that this real-life event and state of mind had on the painting in several ways - most noticeably the choice Van Gogh made to depict himself two weeks after the incident. He was eager to leave the hospital and get back to painting, convinced that he was well enough to do so. Some see the self portrait as encompassing this feeling, showing doctors that he is fine and recovering with the choice to paint himself with his ear neatly bandaged. He is turned to the side, the angle making it easier to see the symbol of recovery and it is hard not to notice. The solemn-looking expression he holds is contemplative and serious, as though he is pondering. A quote from one of his letters to his siblings encompasses this feeling - “I am rather well just now, except for a certain undercurrent of vague sadness difficult to explain”. The Japanese print in the background reflects Van Gogh’s love of Japanese art. It was something that deeply inspired him, and the inclusion of it within this painting that depicts recovery from a serious personal event suggests that it meant a lot to him.
True crime is a nonfiction genre focusing on real crimes - and more often than not, they are crimes of a violent nature, including murders, kidnappings and serial killings. Digital technology has made it very accessible with platforms like YouTube and Spotify. Popularity has certainly increased during the Covid-19 pandemic where many people were rendered at home with only the digital world to keep them company. But despite its current trendiness, the history of true crime entertainment can be grisly in places, and continues to be the subject of ethical questions today.
For the longest time, humanity’s most violent and depraved acts have been masqueraded before the public. Although the genre has dominated online entertainment in recent years, it should be noted that true crime has captivated onlookers from all time periods - from the modern era to the 20th century and even ancient times. The magazine True Detective was first published in 1924 and became a pioneer of the commercialised genre. During the peak of its popularity, six million copies were sold each month. Crime-inspired melodramas were also popular at the time. Furthermore, before the rise of literary rates during the late Renaissance period, tales of horrific crimes were turned into merrily sung ballards. Execution ballards, in particular, were popular as street literature in the Middle Ages. Fascination and the sensationalisation of violence has been observed even further back in Ancient Rome and the Salem witch trials - for example, the Colosseum was home to bloody battles to the death for the entertainment of the public. Humanity’s morbid fascination for violence is still present today, and with the Internet so widely used, the genre of true crime is very accessible and has taken over content platforms. A 2022 poll conducted by data research company YouGov states that half of Americans enjoy consuming this genre. As well as that, a Pew Research study found that 24% of top ranked podcasts are true crime ones. It is safe to say that non-fictional stories of murder are captivating the public more than ever. However, as popularity grows, so does backlash. Questions have been raised about whether or not creating and consuming true crime content is completely ethical. Does such a genre only exist to maliciously exploit victims and make money? Or should it be seen as a source of addictive entertainment, or even something that helps victims of crime?
It would be difficult to say that true crime is not battling a controversial moral dilemma. Behind every documentary, YouTube video and gossip-esque podcast, there is a real victim and their family - and permission is not legally required to create such content. In 2022, the Netflix docuseries ‘Dahmer - Monster: The Jeffrey Dahmer Story’ became the platform’s most watched show within its first week of airing. The subject of this series was a real serial killer who mainly targeted Black queer men in Milwaukee, a horrific tragedy fueled by the police’s incompetence and racism. Unlike some famous tales of crime from over a hundred years ago, the families of many victims are still alive, meaning they could potentially relive the trauma of losing their loved one in such a tragic way. Rita Isbel, sister of Errol Lindsey, a victim of Dahmer, has talked about how the sordid Netflix series has impacted her and her family. She said, “I feel like Netflix should’ve asked if we mind or how we feel about making it. They didn’t ask me anything. They just did it. I could even understand it if they gave some of the money to the victims’ children. If the show benefited them in some way, it wouldn’t feel so harsh and careless.”. As well as losing a loved one in the first place, families are forced to watch the media turn their loss into dramatised podcasts, series and headlines - and more often than not, the money made goes to no one but the producers of this content. The twisted tragedy of murder is turned into entertainment. Another example is the popular podcast Serial’s episode on the 1999 murder of Hae Min Lee, which elicited a response from her brother. He describes what many families of victims are feeling - “To me its real life. To you listeners, it’s another murder mystery, crime drama, another episode of CSI.” “I pray that you don’t have to go through what we went through and have your story blasted to 5 million listeners”.
Another factor to take into consideration is how true crime content can misrepresent and glamorise real events - which is something that can further negatively impact the families of victims. Even when rooted in good intentions, harm can still be caused. A crime case when covered by an individual who was not involved is essentially an interpretation by that individual. Their own biases could easily influence the way the case is presented and told to an audience. A lot of true crime content also treats cases as if they were fictionalised stories. When exposed to a tale depicting the hellish lows of humanity, it can be easier to imagine that such scary things are stories of fiction. It is comfortable to think that we can feed our morbid curiosity and itch for thrill in a controlled environment from behind a computer screen. People become invested; in working out who the killer is, the adrenaline, and the drama of it all. Once again, Netflix’s Dahmer series is a prime example. Without any prior knowledge about the real life case, it almost could be thought that it is a fictional crime drama, with the aestheticised filmmaking and acting. Another argument brought up is that by casting popular Hollywood actors as real life vile killers - another example is Zac Efron as Ted Bundy in a 2019 Netflix movie - is an act of glorification. By having these stereotypically attractive actors as criminals, it could pull in a fanbase who are intrigued more by the entertainment than education and empathy.
True crime is not something that has solely harmed, however. When done in a way that is respectful and encourages empathy, it can even be helpful to victims and families. Attention can be brought to cases that are long forgotten and need to be solved. One example is the case of Kristin Smart. In 2018, Chris Lambert created the podcast Your Own Backyard, dedicated to solving the disappearance of the American college student. The podcast brought attention to the case and even started to help bring forth information. According to The Rolling Stone, the San Luis Obsipo Sheriff's Department credited the podcast for helping reopen the case. In 2021, Paul Flores was arrested on suspicion of Kristin’s murder, and was found guilty in October or 2022. The podcast Missing and Murdered investigates the disappearances of Indigenous people in Canada, and in the second season, host Connie Walker worked with the family of Cleo Semaganis Nicotine, a young girl who disappeared in the 1970s. They would eventually use clues to track down her remains, and closure was finally given to the family. These examples show that, when done in a non-exploitative and ethical way, some true crime content can help open up forgotten cases and bring justice to them.
Although it is nothing new, there is an ever increasing problem of entertainment bleeding into what should be education. With popularity comes monetary gain, which many companies are keen to get a taste of, resulting in influxes of potentially exploitative content. Perhaps by shifting the focus from thrill and leisure to empathy, compensation and progress, the true crime genre as a whole can become more ethical.
An abortion is a medical procedure that safely terminates a pregnancy. The decision to not go through with giving birth is one that can save lives. It is more common than you may think - every year, around a quarter of pregnancies end in abortion. However, with the 2022 overturning of Roe V. Wade - a 1973 ruling in the US that legalised abortion - many people will not have safe and legal access to the procedure. This could have dire consequences for millions and strips people of bodily autonomy. As of 2023, abortion is banned in 11 US states and heavily restricted in more. In terms of the entire globe, it is fully banned in 24 countries. Should this be allowed to happen, or should abortion be legal for anyone who decides that it is their best option?
Bodily integrity or autonomy is the right for people to have ownership over their own bodies. It is the right to make autonomous decisions, regarding sexual and reproductive functions. A report from the United Nations Population Fund states that only 55% of women have bodily autonomy; this means that almost half of women are not empowered to make decisions relating to their bodies. Essentially, many women find that their lives and bodies are being governed, often by men in power. Why is it that the USA is referred to as “the land of the free”, yet the right to an abortion is being taken away or restricted in many states? The pregnant person’s partner is allowed to voice their opinions, but ultimately, should it not be up to the person themselves to make the decision that is best for them and their body? There are many reasons people may choose to have an abortion rather than birthing a child. They may not have intended to become pregnant or be equipped to raise a child, they may have health complications that would make giving birth very dangerous, they may be a victim of sexual assault - any number of these reasons could occur simultaneously.
Secondly, banning abortion does not stop it from happening; it only increases the number of unsafe procedures. Whether it is legal or not, many people will have it carried out regardless. The World Health Organisation defines an unsafe abortion as “a procedure for terminating an unintended pregnancy carried out either by persons lacking the necessary skills or in an environment that does not conform to minimal medical standards, or both”. Methods of unsafe abortion include drinking toxic fluids, inserting foreign objects into the uterus, and inflicting blunt force trauma on the abdomen - these can easily cause death or long-term damage. Without a medical professional to safely provide the care, pregnant people are much more at risk. The WHO also estimates that 25 million unsafe abortions take place each year. Médecins Sans Frontières worker Dr Manisha Kumar says, “I was honestly shocked by the number of women we were treating for unsafe abortion. But for most of our Congolese staff, this was something they had grown accustomed to seeing and treating”. It is a leading cause of maternal death, which can be tackled by allowing access to legal and safe abortion procedures.
Furthermore, when it comes to this topic it is important for intersectionality to be considered. Abortion bans are more likely to cause harm to people of colour, people with low socioeconomic status, and those living with illness or disability. Additionally, it is not only cisgender women who are affected, it is simply anyone who has the capacity to become pregnant, such as many transgender, non-binary and intersex people. Although many tend to strictly associate abortion with womanhood, it is important to remember that for example, some transgender men can become pregnant, and sometimes face barriers due to prejudice in healthcare. Abortion bans unfairly impact marginalised groups of people.
Ultimately, abortion is a common procedure that can be lifesaving for many people, and banning it unfairly strips pregnant people of their right to bodily autonomy. Unwanted pregnancies can result in financial hardship and more, disproportionately affecting marginalised groups. How does this align with the human rights that are freedom and liberty? Guaranteed safe and legal access to abortion will benefit the lives of people all over the world.
Expressionism Art - A History of the Expressionist Movement
Expressionism as an art movement rose in Germany around 1905, very much encompassing the Avant-Garde, characterised by artistic exaggeration and distortion of 20th century life. It developed prior to World War I and was very popular in Weimar Germany before its decline. Expressionism was not solely limited to visual art, but was also adopted by cinema, drama and literature. Europe was in a period of intense change at the time of Expressionism’s emergence. The continent and world in general was rapidly changing particularly as World War I started to rage. Due to this, the war and similar events were very prominent themes in Expressionist artworks. German artists, in particular, responded to the chaos their country was in through Expressionism. Many began to express their anxieties through abstract work that focused less on realism and more on depicting true feeling. The majority of early Expressionist art included themes of social and political issues. Expressionist artworks acted as a representation to viewers of the artist’s minds. Bold, vibrant and jagged elements were used to depict how the artists felt about the chaos of the world, dodging the artistic conventions of realism. It was influenced by Symbolism, Fauvism and Post-Impressionism.
Edvard Munch, Vincent van Gogh, Emil Nolde and Henri Matisse are often seen as the artists who majorly influenced the Expressionist movement. The work of Van Gogh and Munch in particular displayed many characteristics that would later shape Expressionism. A famous early example of artwork is The Scream by Edvard Munch. While the painting is not traditionally realistic, the bright, swirling colours and anguished face of the subject express a strong sense of emotion.
The word ‘Expressionism’ was believed to have been coined by Antonian Matejcek, a Czech art historian. The movement itself was rather difficult to define as it was broad - many qualities from it overlapped with other art movements of the time. It was used as a tool of expression in reaction to events of the 20th century.
German Expressionism specifically was known for two groups, Die Brücke and Blaue Reiter. Die Brücke was formed in 1905 and is often regarded as the start of German Expressionism. The movement was heavily influenced by the work of Edvard Munch and Vincent van Gogh. Die Brücke artists used their work to rebel against the conformity of the society they lived in. Blaue Reiter formed in 1911, and their artwork was focused more on symbolism and spirituality through abstraction. These two groups existed for a short time, however they still had a large influence on the development of Expressionism.
The widespread popularity of Expressionism resulted in more movements branching from it such as Abstract and Neo Expressionism.
The style of language used here is a formal prose with lots of art language and terminology. It is written in third person and primarily uses past tense to describe the history of the art movement. Second person language is sometimes used when addressing the reader - “discuss the different groups of German Expressionism that will inform your broader understanding”. The tone employed is serious and often uses descriptive language such as “the grim reality of war”, and “detached renderings [represented] the turmoil and chaos that was present within their psyche”.
To allow readers to gain a thorough understanding of Expressionism, emotive art terminology is used to evoke images and express what the movement meant. Plentiful images by well known Expressionist artists are used to demonstrate what the abstract and unconventional elements of Expressionism look like in use.
I thoroughly enjoyed reading this text, as I am very interested in different art movements and their histories. The instances of creative and expressive language used help me visualise what Expressionist artists may have been feeling, and I enjoyed looking at the variety of artworks and how they embody this art movement. I think it was well written because of the detail and context and it allowed me to better understand this part of art history.