Visual Analysis: Painting 20-10-2003
One distinction that can be made is between narrative and iconic paintings. An iconic painting is representative (it represents something) but timeless but a narrative painting is a moment in time (a snapshot). The moment depicted by a narrative painting is typically a carefully choosen point between what has been and what might be. The die is cast and we can foresee the consequences.
The other way to look at paintings are the five genres, first formulated by Félibien (the historiographer, architect and theoretician of French classicism) in 1667, the hierarchy of genres considered history painting to be "the great genre". History paintings included paintings with religious, mythological or historical subjects that conveyed a moral message.
Next came, in order of decreasing worth: scenes of everyday life (called "scènes de genre"), portraits, landscapes and finally still-lifes. The hierarchy of genres had a corresponding hierarchy of formats: large format for history paintings, small format for still-lifes.
This hierarchy, maintained by the Academy, was progressively called into question during the 19th century. In his report on the 1846 Salon, Théophile Gautier already stated that: "religious subjects are few; there are significantly less battles; what is called history painting will disappear... The glorification of man and of the beauties of nature, this seems to be the aim of art in the future".
The other way to look at a painting is through a sequence of analystical questions:
- State the obvious - material, artist, date, subject, patron, period produced, period depicted, relation to other images by the same artist and the same image by other artists.
- Scan the picture unconsciously and then record where you scanned.
- Examine the facture, the surface of the work.
- Use of line and colour.
Jacques-Louis David, The Lictors Bring to Brutus the Bodies of His Sons, 1789
This is a typical history painting depicting a pivotal moment. Brutus is shown on the left in shadow and his sons' bodies are being brought in the door behind him. His sons had revolted against his tyranny and Brutus, in his capacity as a judge, had sentenced them to death.
This a serious painting that suggests that principles must be put above personal feelings. This was very relevant at the time as it was painted the year of the French Revolution. The painting had a powerful effect and helped bring in a new fashion for elegance and simplicity, corsets were banished and hair was worn loose.
Klee, Ad Parnassum, 1932
There is no narrative here but it is representational, we see a house beneathing a deep red burning sun.
Sir John Everett Millais. A Huguenot, on St. Bartholomew's Day Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge. 1852. Oil on canvas
A strong narrative painting. On St. Bartholomew's Day, August 24, 1572, 100,000 Protestants (Huguenots) were killed in France. We know that be refusing to wear the ribbon indicating he is a Roman Catholic he is facing certain death.