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.
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.
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'
‘Outbreak’ Kathe Kollwitz 1903
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.
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.
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