I enjoy immersing myself in a painting and learning the intentions of the artist but what fascinates me most is relating the work to its context. When I researched, wrote and produced a documentary for the national competition SPoKE on Raphael's 'Transfiguration,' I was able to develop my understanding and love for a work of art which I thought I knew well. I regard the compositions of Raphael as more sophisticated than those of any other 16th century artist, but investigating the stylistic evolution seen in the work, from High Renaissance at the top to the dynamic and chaotic Mannerist scene below, I began to realise why this work was decades ahead of its time. That, and the historical relevance of a society split due to Martin Luther, made
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One of the interesting aspects of Riley's works is how her paintings appear machine made, given their absolute geometric perfection, yet are all hand painted. This pedantic technique of careful and repetitive paint application reminds me of embroidery and other arts and crafts work, linking back to Nochlin's discussion on the types of art that women often succumbed to. It was Riley's ability to create a composition which distorts and accelerates, and allows her not only to create an illusion of depth but a completely different dimension altogether, which inspired me the most.
During a recent visit to the Tempietto in Rome I gave a presentation on Bramante's use of classical references in this martyrium. The colonnade's sixteen granite columns are recycled from ancient Roman buildings, allowing me to incorporate my knowledge and interest of Classical Civilisation. Consequently, I feel the study of History of Art is an education in every sense of the word.
Throughout my VI form I was Head of the Minerva Society and Lead Delegate of the Food Committee, whilst also taking part in silver Duke of Edinburgh. I have learnt that leadership brings a degree of choice and I invited Dan Evans' to lecture at school on the 'Giants of the Baroque,' helping me to investigate the methods employed by two of my favourite creative geniuses, Rubens and
One of the interesting aspects of Riley's works is how her paintings appear machine made, given their absolute geometric perfection, yet are all hand painted. This pedantic technique of careful and repetitive paint application reminds me of embroidery and other arts and crafts work, linking back to Nochlin's discussion on the types of art that women often succumbed to. It was Riley's ability to create a composition which distorts and accelerates, and allows her not only to create an illusion of depth but a completely different dimension altogether, which inspired me the most.
During a recent visit to the Tempietto in Rome I gave a presentation on Bramante's use of classical references in this martyrium. The colonnade's sixteen granite columns are recycled from ancient Roman buildings, allowing me to incorporate my knowledge and interest of Classical Civilisation. Consequently, I feel the study of History of Art is an education in every sense of the word.
Throughout my VI form I was Head of the Minerva Society and Lead Delegate of the Food Committee, whilst also taking part in silver Duke of Edinburgh. I have learnt that leadership brings a degree of choice and I invited Dan Evans' to lecture at school on the 'Giants of the Baroque,' helping me to investigate the methods employed by two of my favourite creative geniuses, Rubens and