Creation and Design of The Swing Essay You will write a formal and contextual analysis over the following work of art, Fragonard’s The Swing, c. 1760. Desc
Creation and Design of The Swing Essay You will write a formal and contextual analysis over the following work of art, Fragonard’s The Swing, c. 1760. Describe the work of art using the analysis terms and concepts. Type an analysis and submit the analysis to
Using the handouts, elements_art, principles_design, from the Getty Institute, and U1: February 03–Formal Analysis (Roman painting) page, analyze the Rococo painting by Jean-Honoré Fragonard, The Swing. Analyze the work with the terms/concepts listed in the handout: line, shape, etc. Type your analysis using the following template.
Contextual Analysis
[20 mins] Using the handout over contextual analysis and U3: March 13–Contextual Analysis (Caravaggio) page, analyze the painting. Explain possible religious, political, or social issues associated with the work and use some of the questions listed in the handout. Continue to write your analysis down on paper to be submitted.
https://www.wallacecollection.org/collection/les-hazards-heureux-de-lescarpolette-swing/
http://www.getty.edu/art/collection/artists/609/jean-honore-fragonard-french-1732-1806/
Read the following description of the Rococo period from Oxford Art Online.
Rococo, style of art and decoration characterized by lightness, grace, playfulness, and intimacy that emerged in France around 1700 and spread throughout Europe in the 18th century. By extension the term is often used simply as a period label—‘the age of Rococo’, referring to the first half of the 18th century. The word was apparently coined in the 1790s by David’s (Links to an external site.) students, wittily combining rocaille (Links to an external site.) and barocco (i.e. Baroque (Links to an external site.)), to refer disparagingly to the taste fashionable under Louis XV. Thus, like so many stylistic labels, it began as a term of abuse, and it long retained its original connotations, implying an art that was, in the words of the Oxford English Dictionary, ‘excessively or tastelessly florid or ornate’. The word was used as a formal term of art history from the middle of the 19th century in Germany, where those followers of Jacob Burckhardt who tried to establish a rhythmic periodicity for the phases of artistic development applied it to the closing and therefore decadent period of any phase. With more recent changes in aesthetic taste the Rococo has come to be seen as one of the major contributions of French designers and artists to the history of European art. 1 UnderstandingArts
Formal
Analysis
Performing
in Art
Principles of Design
The principles of design describe the ways that artists use the elements of art in a work of art.
Balance is the distribution of the visual weight of objects, colors, texture, and space.
If the design was a scale, these elements should be balanced to make a design feel
stable. In symmetrical balance, the elements used on one side of the design are
similar to those on the other side; in asymmetrical balance, the sides are different
but still look balanced. In radial balance, the elements are arranged around a central
point and may be similar.
Emphasis is the part of the design that catches the viewer’s attention. Usually the
artist will make one area stand out by contrasting it with other areas. The area could
be different in size, color, texture, shape, etc.
Movement is the path the viewer’s eye takes through the work of art, often to focal
areas. Such movement can be directed along lines, edges, shape, and color within the
work of art.
Pattern is the repeating of an object or symbol all over the work of art.
Repetition works with pattern to make the work of art seem active. The repetition
of elements of design creates unity within the work of art.
Proportion is the feeling of unity created when all parts (sizes, amounts, or number)
relate well with each other. When drawing the human figure, proportion can refer
to the size of the head compared to the rest of the body.
Rhythm is created when one or more elements of design are used repeatedly to
create a feeling of organized movement. Rhythm creates a mood like music or
dancing. To keep rhythm exciting and active, variety is essential.
Variety is the use of several elements of design to hold the viewer’s attention and
to guide the viewer’s eye through and around the work of art.
Unity is the feeling of harmony between all parts of the work of art, which creates
a sense of completeness.
Education
Education
The J. Paul Getty Museum
The J. Paul Getty Museum
at the Getty Center
© 2011 J. Paul Getty Trust
point
© 2011 J. Paul Getty Trust
171
CONTEXTUAL ANALYSIS HANDOUT
Contextual analysis can be helpful in understanding how a work of art is part of its time.
Using contextual analysis, an art historian examines how a work of art was perceived or received
in its time, how it is perceived today, or at any other time in history.
Art is not made in a vacuum. It is often influenced or affected by social, political,
economic, and religious circumstances. Art can be both the result of change and an agent of
change within that same culture.
It is important to consider parties involved in the creation, use, and viewing of the
work—which can include artist, patron and viewers. Works of art should also be considered
according to their intended and eventual use or placement. It is also important to consider our
own assumptions about art.
Questions to consider asking when using formal analy
1. Creation, use, and viewing of the artwork—the patron, artist, and viewers:
o Who were the patron(s), artist(s), viewers?
o What sorts of records did the artist leave about the creation of this work? Did the
artist say anything about his her intentions in creating the work? Were other artists or
workshop assistants involved?
o What were the patron’s motives in sponsoring this work? To what extent did the
patron participate in its creation? What does the contract for the work or
correspondence about it reveal? Was the patron acting individually, or on behalf of an
institution?
o Who was able to see the work? Under what circumstances? What was the response of
contemporary viewers to this work?
2. Addressing the physical work of art, its location, and use:
o When was the work made?
o Where was it originally located?
o In what rituals was this work used or seen?
o Does the work make use of rare and/or costly materials? Does it include materials
that have either a ritual or symbolic value? Are they new or innovative in some way?
o Are the artist’s techniques new or innovative in some way? Was there any particular
significance in the choice of techniques?
Revised 20191003
3. Larger social issues presented by the work of art:
o What is the subject? Why would the artist, patron, or viewer be interested in a
depiction of this subject?
o Was this a new or innovative subject, or a new treatment of a familiar subject? If so,
what prompted the change? If not, what was the motivation for conservatism?
o What political, religious, and/or social messages are being conveyed through the
subject matter or artistic style of this work?
o Was this a new or innovative artistic style? If so, what prompted the change?
Revised 20191003
UnderstandingArts
Formal
Analysis
Performing
in Art
Elements of Art
The elements of art are the building blocks used by artists to create a work of art.
Line is a mark with greater length than width. Lines can be horizontal, vertical,
or diagonal; straight or curved; thick or thin.
Shape is a closed line. Shapes can be geometric, like squares and circles; or
organic, like free-form or natural shapes. Shapes are flat and can express length
and width.
Forms are three-dimensional shapes expressing length, width, and depth. Balls,
cylinders, boxes, and pyramids are forms.
Space is the area between and around objects. The space around objects is often called negative space; negative space has shape. Space can also refer to the
feeling of depth. Real space is three-dimensional; in visual art, when we create
the feeling or illusion of depth, we call it space.
Color is light reflected off of objects. Color has three main characteristics: hue
(the name of the color, such as red, green, blue, etc.), value (how light or dark it
is), and intensity (how bright or dull it is).
• White is pure light; black is the absence of light.
• Primary colors are the only true colors (red, blue, and yellow). All other
colors are mixes of primary colors.
• Secondary colors are two primary colors mixed together (green, orange,
violet).
• Intermediate colors, sometimes called tertiary colors, are made by mixing
a primary and secondary color together. Some examples of intermediate
colors are yellow green, blue green, and blue violet.
• Complementary colors are located directly across from each other on the
color wheel (an arrangement of colors along a circular diagram to show
how they are related to one another). Complementary pairs contrast
because they share no common colors. For example, red and green are
complements, because green is made of blue and yellow. When complementary colors are mixed together, they neutralize each other to make
brown.
Texture is the surface quality that can be seen and felt. Textures can be rough or
smooth, soft or hard. Textures do not always feel the way they look; for example, a drawing of a porcupine may look prickly, but if you touch the drawing, the
paper is still smooth.
Education
Education
The J. Paul Getty Museum
The J. Paul Getty Museum
at the Getty Center
© 2011 J. Paul Getty Trust
point
© 2011 J. Paul Getty Trust
169
CONTEXTUAL ANALYSIS HANDOUT
Contextual analysis can be helpful in understanding how a work of art is part of its time.
Using contextual analysis, an art historian examines how a work of art was perceived or received
in its time, how it is perceived today, or at any other time in history.
Art is not made in a vacuum. It is often influenced or affected by social, political,
economic, and religious circumstances. Art can be both the result of change and an agent of
change within that same culture.
It is important to consider parties involved in the creation, use, and viewing of the
work—which can include artist, patron and viewers. Works of art should also be considered
according to their intended and eventual use or placement. It is also important to consider our
own assumptions about art.
Questions to consider asking when using formal analy
1. Creation, use, and viewing of the artwork—the patron, artist, and viewers:
o Who were the patron(s), artist(s), viewers?
o What sorts of records did the artist leave about the creation of this work? Did the
artist say anything about his her intentions in creating the work? Were other artists or
workshop assistants involved?
o What were the patron’s motives in sponsoring this work? To what extent did the
patron participate in its creation? What does the contract for the work or
correspondence about it reveal? Was the patron acting individually, or on behalf of an
institution?
o Who was able to see the work? Under what circumstances? What was the response of
contemporary viewers to this work?
2. Addressing the physical work of art, its location, and use:
o When was the work made?
o Where was it originally located?
o In what rituals was this work used or seen?
o Does the work make use of rare and/or costly materials? Does it include materials
that have either a ritual or symbolic value? Are they new or innovative in some way?
o Are the artist’s techniques new or innovative in some way? Was there any particular
significance in the choice of techniques?
Revised 20191003
3. Larger social issues presented by the work of art:
o What is the subject? Why would the artist, patron, or viewer be interested in a
depiction of this subject?
o Was this a new or innovative subject, or a new treatment of a familiar subject? If so,
what prompted the change? If not, what was the motivation for conservatism?
o What political, religious, and/or social messages are being conveyed through the
subject matter or artistic style of this work?
o Was this a new or innovative artistic style? If so, what prompted the change?
Revised 20191003
Contextual Analysis
[20 mins] Using the handout a over contextual analysis and U3: March 13-Contextual
Analysis (Caravaggio), page, analyze the painting. Explain possible religious, political, or
social issues associated with the work and use some of the questions listed in the
handout. Continue to write your analysis down on paper to be submitted.
Wallace Collection Online | Les hazards heureux de l’escarpolette (The Swing) e
• Getty Museum | Jean-Honoré Fragonarde
· Smarthistory/A
beginner’s guide to Rococo arte
Read the following description of the Rococo period from Oxford Art Online.
Rococo, style of art and decoration characterized by lightness, grace, playfulness, and intimacy that
emerged in France around 1700 and spread throughout Europe in the 18th century. By extension the
term is often used simply as a period label-the age of Rococo’, referring to the first half of the 18th
century. The word was apparently coined in the 1790s by David’se students, wittily combining rocaille
e and barocco (i.e. Baroque-), to refer disparagingly to the taste fashionable under Louis XV. Thus, like
so many stylistic labels, it began as a term of abuse, and it long retained its original connotations,
implying an art that was, in the words of the Oxford English Dictionary,’excessively or tastelessly florid
or ornate! The word was used as a formal term of art history from the middle of the 19th century in
Germany, where those followers of Jacob Burckhardt who tried to establish a rhythmic periodicity for
Wallace Collection Online | Les hazards heureux de l’escarpolette (The Swing) –
• Getty Museum | Jean-Honoré Fragonarde
Smarthistory | A beginner’s guide to Rococo arte
.
Read the following description of the Rococo period from Oxford Art Online.
Rococo, style of art and decoration characterized by lightness, grace, playfulness, and intimacy that
emerged in France around 1700 and spread throughout Europe in the 18th century. By extension the
term is often used simply as a period label=’the age of Rococo’, referring to the first half of the 18th
century. The word was apparently coined in the 1790s by David’se students, wittily combining rocaille
< and barocco (i.e. Baroque-), to refer disparagingly to the taste fashionable under Louis XV. Thus, like
so many stylistic labels, it began as a term of abuse, and it long retained its original connotations,
implying an art that was, in the words of the Oxford English Dictionary, 'excessively or tastelessly florid
or ornate! The word was used as a formal term of art history from the middle of the 19th century in
Germany, where those followers of Jacob Burckhardt who tried to establish a rhythmic periodicity for
the phases of artistic development applied it to the closing and therefore decadent period of any phase.
With more recent changes in aesthetic taste the Rococo has come to be seen as one of the major
contributions of French designers and artists to the history of European art. 1
1. Osborne, Harold and Marc Jordan. "Rococo." The Oxford Companion to Western Art. Oxford Art Online. Oxford University Press, accessed March 24, 2014,
http://www.oxfordartonline com/subscriberlarticlelonr/+118/e2251
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