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Year 13 Exam Discord. You can pursue any of these starting points or devise your own. Avoid the visual cliché (overused image) Ensure that you can access Primary sources for your idea.

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Year 13 Exam Discord

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year 13 exam discord
Year 13 ExamDiscord
  • You can pursue any of these starting points or devise your own.
  • Avoid the visual cliché (overused image)
  • Ensure that you can access Primary sources for your idea.
  • Stylistic ‘borrowing’ or simply copying the work of another artist as in ‘working in the manner of…’ would not be appropriate.
dictionary definition
Dictionary Definition
  • 1) Disagreement; strife
  • 2) Harsh clashing noise
  • 3) A lack of harmony between notes sounding together
  • 4) Disagree or quarrel.
  • The conflict of good and evil, Yin and Yang, harmony and discord has always influenced artists and craft workers. The juxtaposition of these elements in a single artwork provides impact and intrigue.

The elements are in continuous conflict with the landscape. Frost and rain shatter the hardest rocks, lightning splinters trees and rivers carve out valleys and ox bow lakes. Attempts to hold back the progress of this decay leave weathered groynes, smashed concrete ramparts.

  • Emily Carr was most heavily influenced by landscapes. Influenced by styles such as Post-impressionism and Fauvism, her work was alien to those around her and remained unknown to and unrecognized by the greater art world for many yearsShe was one of the first artists to attempt to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were natives and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies". [2] She blended these two themes in ways uniquely her own. .
beverly pepper
Beverly Pepper
  • Beverly Pepper started her career as a commercial artist in New York before shifting to painting and sculpture. She later studied in Paris (from 1949) with Fernand Léger and Andre Lhote, and from 1951 lived in or near Rome. From 1960 she shifted from painting to carving in wood and working in clay and bronze, and the following year began welding. She is known for totem figures, steel sculptures, mirrored works, and environmental earth constructions, as in her "Amphisculpture" series (1947–76).
graham sutherland
Graham Sutherland
  • These pieces are mainly landscapes, which show an affinity with the work of Paul Nash. Sutherland focused on the inherent strangeness of natural forms, and abstracting them, sometimes giving his work a surrealist appearance; From 1940 Sutherland was employed as an official artist in World War II, as part of the War Artists' Scheme. He worked on the Home Front, depicting mining, industry, and bomb damage
elaine de kooning
Elaine de Kooning
  • Her painting style is characterized by a deft line coupled with realist compression and emotionally charged abandon. Her subjects ranged from early still life to portraiture, with purely abstract paintings executed during the fifties
steve slimm
Steve Slimm
  • His main focus has always been the land, with it's ever-shifting moods of light, and the deep sense of mystery surrounding the ancient timeless tracts of land and its coastal extremities. From his early training with John Miller during the late 70's, through his almost obsessional explorations into the works of Turner, Monet, and finally Van Gogh, Steve has moved further and further away from the literal, toward the abstracted interpretation of the essence of what he sees. In more recent years he has also developed an increasing love of colour, and uses it with an ever intensifying passion!

Julian BeesleyHe enjoys painting in watercolour for its 'natural simplicity and surprising versatility'. His work is mostly landscape related views of Cornwall 'where land meets the sea'

Land artists, Andy Goldsworthy and Richard Long use natural materials that decay and decompose in their work. Ephemeral and transient materials are used in their creations, liberating artists to observe the effects that decay, erosion and time exert on their work.
l s lowry
L.S. Lowry
  • L.S. Lowry captured the hardship of urban dwelling in his paintings of industrial Manchester whilst retaining a sympathetic view of the communities and their camaraderie.
edward burtynsky
Edward Burtynsky
  • Edward Burtynsky’s photographs of industrial China are breathtaking whilst at the same time disturbing. Although all the works are politically charged they skillfully balance beauty and ugliness.
conflicts of war
Conflicts of War
  • You may wish to explore various artists who illustrated the devastation of war.
  • Futurists artists - Paul Nash, Mark Gertler, Gino Serverini.
  • Picasso’s ‘Guernica’ – Bombing of Guernica
  • Kathy Kollwitz – Poverty/Death of War
picasso s guernica
Picasso’s Guernica
  • The painting is based on the events of April 27, 1937, when the German airforce, in support of the Fascist forces led by Generalissimo Francisco Franco, carried out a bombing raid on the Basque village of Guernica in northern Spain. At that time such a massive bombing campaign was unprecedented. The hamlet was pounded with high-explosive and incendiary bombs for over three hours. The non-combattant townspeople including women and children were indiscriminately cut-down as they fled their crumbling buildings. The town of Guernica burned for three days leaving sixteen hundred civilians killed or wounded in its smoldering remains. The Fascist planners of the bombing campaign knew that Guernica had no strategic value as a military target, but it was a cultural and religious center for Basque identity. The devastation was intended to terrorize the population and break the spirit of the Basque resistance. In effect it was intended to "shock and awe" the Basques into submission. The bombing of Guernica was a sensation in the world press. The Times of London called it the arch-symbol of Fascist barbarity.
kathe kollwitz
Kathe Kollwitz

‘Outbreak’ Kathe Kollwitz 1903

The concept of freedom has always been one of the strongest motivating forces. Achieving it for some has often involved long, bitter and bloody conflict. Artists and photographers have inevitably been drawn into these conflicts and their work often provides harrowing testimony to the struggle, providing us with some of the most powerful images of our time.
Peter Howson is a British ‘war artist’ who worked in Serbia in 1994. These pictures are called ‘Plum Grove’ (left) and ‘ Serb and Muslim’ (right)
  • Howard Hodgkin, Piet Mondrian, Bridget Riley and Frank Auerbach use colour and texture to create visual battles on their canvases, breaking accepted rules of colour theory and paint application. Giovanni Piranesi and Escher create impossible perspectives to challenge and confuse the eye. Without a doubt discordant elements give mystery and intrigue to these artists’ work.
Howard Hodgkin (British Painter)

Despite their apparent spontaneity and usually small scale, many of Hodgkin's paintings take years to complete, with him returning to a work after a wait and then changing it or adding to it. He often paints over the frames of his pictures, emphasising the idea of the painting as an object. Several of his works are on wooden items, such as bread-boards or the tops of old tables, rather than cavas. A number of his works not shown in frames are surrounded by rectangles of simple colour.

Many artists have freed their work from the confines of the traditional rectangular picture frame and also the picture plane.

Frank Stella (born, 1936)

Americanpainter and printmaker. He is a significant figure in minimalism, post-painterly abstraction and offset lithography.

He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Around this time he said that a picture was "a flat surface with paint on it - nothing more".

In the 1970s Stella's style underwent a dramatic change. The carefully constructed geometric designs executed in flat planes of color were replaced by a "looser" style sometimes reminiscent of graffiti. The shaped canvases took on even less regular forms in the Eccentric Polygon series, and elements of collage were introduced, pieces of canvas being pasted onto plywood, for example. His work also became more three-dimensional to the point where he started producing large, free-standing metal pieces, which, although they are painted upon, might well be considered sculpture.

  • The youthful desire to provoke a response and fight against the rules of society, these challenge contemporary styles, allowing individuals to experiment with their appearance in extraordinary ways. Artists such as Gilbert and George, Vanessa Bell, Peter Blake, Mary Cassat, Velasquez, Cecelia Beaux, Augustus John, Helen Turner and Stanley Spencer recorded the rebels of their age, each generation producing a distinctive style. This is reflected in their portraits and figurative paintings of their time.
vanessa bell
Vanessa Bell
  • Vanessa Bell's significant paintings include Studland Beach (1912), The Tub (1918), Interior with Two Women (1932), and portraits of her sister Virginia Woolf (three in 1912), Aldous Huxley (1929-1930), and David Garnett (1916).
  • She is considered one of the major contributors to British portrait drawing and landscape art in the 20th century.
peter blake
During the late 1950s, Blake became one of the best known British pop artists. His paintings from this time included imagery from advertisements, music hall entertainment, and wrestlers, often including collaged elements On the Balcony (1955-57) is a significant early work and still stands as one of the iconic pieces of British Pop Art, showing Blake's interest in combining images from pop culture with fine art. The work, which appear to be a collage but is in fact wholly painted, shows, among other things, a boy holding Edouard Manet's The Balcony, badges and magazines. It was inspired by a painting by depicting workers holding famous paintings. Blake confronts the viewer with a picture plane that is deceptively flat, effectively blocking the viewer from venturing deeper into the picture plane. This spatial property however is a flatness that resounds starkly; a flat surface that at once becomes a presentation of characters and images as well as a culturally implicit sense of external facade.

One of the most striking initial aspects of this piece is that it seems to radiate an illusionist child-like charm which the viewer can easily identify with making it from first glance an oddly powerful work. His self-identification with the axioms of popular culture in effect show an awareness of the mechanisms of a society being faced with celebrity idolatry and cultural goods. Such banal goods and images were not frequently seen in artwork and created a new space for discourse within a painting. Blake’s characters are strangely static and scarcely seem to notice the accumulation around them – even when images are tacked right on top of them. This was not merely whimsical thinking or dreams of consumer grandeur, and albeit not a simple display of products; it was life as Blake experienced it, as true and telling an account of the surroundings of the time as could be made.

Peter Blake
diego velasquez
Diego Velasquez
  • He was an individualistic artist of the contemporary baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).
augustus john
Augustus John
  • "Augustus was celebrated first for his brilliant figure drawings, and then for a new technique of oil sketching. His work was favourably compared in London with that of Gauguin and Matisse. He then developed a style of portraiture that was imaginative and often extravagant, catching an instantaneous attitude in his subjects
stanley spencer
Stanley Spencer
  • Spencer developed a naïve style, influenced in part by Giotto and the colourful primitivism of Paul Gauguin.
  • His most ambitious work was the consequence of his Great War travails: a cycle of 19 paintings for the Sandham Memorial Chapel (see above), which took five years to complete.
  • Spencer's earthy Christian faith and his preoccupation with death and resurrection are evident in much of his work.
  • Many paintings such as The Resurrection, Cookham (1923–27), set biblical scenes in the village and depict actual villagers as Biblical characters. Today such works, in the rare event that they come up for auction, sell for immense sums.