Art IIIS Exam

Question 1

Jones - Composition

Answer 1

In Jones’ ‘Self-portrait’, Jones uses a triangular composition, leading the eye to the woman in the foreground, particularly her face, as this is where the point (the top) of the triangle is.

In Jones’ ‘Self-portrait’, The eyes of the self-portrait stare directly at you, drawing your eye almost hypnotically to her, the focal point.

Question 2

De Lempicka - Composition

Answer 2

In ‘Self-portrait in the green bugatti’, Lempicka uses the parallel lines of the car to contrast to the more asymmetrical, unbalanced face. As there is variation in its shape and form, the eye is guided around the whole piece

Lempicka uses the angular window frame of the car to close in (frame) the face into the top right hand side of the piece, leading your eye to it.

Question 3

Jones - Media handling/techniques

Answer 3

Jones uses Casein paints in ‘Self-Portrait’, to create layering and boldness, particularly in the foreground of the piece, whilst still achieving the effect of watercolour..

The paint in Jones’ ‘Self-Portrait’ are applied more thick and boldly in the woman than they are in the background, where they have been diluted, which establishes the woman as the focal point and draws the onlookers eye.

Question 4

De Lempicka - Media handling/techniques

Answer 4

De Lempicka uses, careful, controlled brushstrokes which are barely visible due to this. This gives the painting a stylized, vivid effect, showing the energy of the piece whilst still being pleasing aesthetically.

Oil paints are used in ‘self-portrait in a green bugatti’, to create a bold, graphic effect throughout the whole piece due to the layering of the paint.

Question 5

Colour - Jones

Answer 5

The colours in the foreground of Jones’ ‘Self-Portrait’ are very saturated compared to the more neutral colours of the background. This lifts the portrait from the rest of the painting and establishes it at the focal point of the piece.

Question 6

De Lempicka - Colour

Answer 6

In ‘Self-Portrait in a Green Bugatti’, De Lempicka uses the more neutral green of the car to contrast to the bright red lip on the woman, which draws the eye to the face.

Question 7

Jones - Line

Answer 7

Jones uses more rough out-of-focus lines in the background of the piece, which contrasts to her use of more bold outlines in the clothing of the self-portrait. This causes the eye to be drawn to the self-portrait.

Question 8

De Lempicka - Line

Answer 8

The car in ‘Self-Portrait in a Green Bugatti’ has straight, directional diagonal lines, which contrasts to the more ruffled, randomness of the lines of the woman’s scarf, leading the eye around the whole painting

Question 9

Jones - Tone

Answer 9

Jones uses very dark tones in the background of ‘self-portrait’, and brighter tones in the foreground which lifts it from the background, showing the prominence of the portrait.

Question 10

De Lempicka - Tone

Answer 10

De Lempicka uses very bold, striking tones in the piece, which creates a graphic, cartoony feel which conveys the liveliness of the painting

Question 11

Texture - Jones

Answer 11

‘Self-Portrait’ has a mottled, rough texture, especially in the foreground and the face, giving the piece an angsty, earthy feel

Question 12

Texture - De Lempicka

Answer 12

De Lempicka uses a smooth, velvety texture throughout the painting which creates a graphic effect and brings out the highlights, such as the folds of the scarf and the glossiness of the car

Question 13

Jones - shape and/or form

Answer 13

In ‘Self-Portrait’, Jones uses irregularly and imperfection in her piece. The geometric structure of the chair and easel contrasts to the free-flowing shapes of the collar and lapel and this gives the paice variation.

Question 14

De Lempicka - shape and/or form

Answer 14

De Lempicka uses stylized, geometric shapes through the piece, like ellipses, cylinders and parallel lines giving a graphic feel to the piece and making it look striking.

Question 15

Jones - pattern

Answer 15

Jones uses a cluttered, organic pattern in ‘Self-Portrait’. The whole piece is relatively non formulaic and somewhat random. For example, the repeating patterns created from the linear brushstrokes to represent the folds of the jacket This conveys a more natural look and makes the piece feel more realistic

Question 16

De Lempicka - pattern

Answer 16

‘Self-Portrait in a Green Bugatti’ has a geometric, directional pattern formed from the lines of the car, which contrasts to the more irregular curved pattern from the folds of the scarf, giving the piece variety.

Question 17

Jones - Style

Answer 17

In ‘self-portrait’, Jones pains in the Modern American style, characterized by a story in the piece. For example we can we African artifacts in the background and these represent the painter’s connection to her culture.

Question 18

De lempicka - style

Answer 18

De Lempicka’s piece is painted in the Art Deco style, meaning that it has a graphic, look with geometric, stylized look throughout, like in the bold lines of the car and the folds of the scarf

Question 19

Jones - Subject Matter

Answer 19

In ‘Self-Portrait’, Jones is shown in what appears to be her studio, as we can see her sitting in front of her easel. We can see that this is where she feels most comfortable and at ease by the relaxed expression on her face.

Question 20

De Lempicka - Subject matter

Answer 20

De Lempicka paints herself in glamorous, fancy attire including a Hermes cap on her head, not to mention her being in a Bugatti of course. This depicts her as this somewhat regal, untouchable person who thinks highly of themself.

Question 21

DE LEMPICKA - PART B

Answer 21

Influence 1

De Lempicka was influenced by cubism, as it was an instrumental form of art in the 1920’s

Cubism was characterised by the use of strong geometric shapes often in repetition, this influence can be seen in the geometric, faceted folds of the scarf.

Another characteristic of cubism was the use of controlled shapes and planes of colour and this influence can be seen in the sharp, distinct shapes of the car.

Influence 2

De Lempicka was influenced by the greater prevalence of female empowerment in Paris in the 1920’s.

Which can be seen mainly due to the fact that she is the one driving the car; the one with the most power. This wasn’t usual for the time as most women were expected to be chauffeured around by their husbands, and this shows that De Lempicka was breaking the status quo.