q1. Plate 2, Yasumasa Morimura's "Daughter of Art History (1990)" appropriates a typical scene of 19th century life from Plate 1, “Manet's bar at the Folies-Bergere”, 1882. As acknowledged in the extract this artwork achieves its main meaning through male, Japanese artist Morimura impersonating the main subject of the painting, a young white woman. This combined with the detailed copying of many existing aspects of the original painting and a complex synthesis of new ideas and symbols with the old, creates a new mixed meaning that challenges the viewer to reconsider their ideas on gender, race and the history of art. Additionally, Morimura's playful, nude parody of Manet’s original is further heightened by his rendering of the artwork in
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In plate 2 Moore works intricately with a miniature figure, carving in plaster what appears to be a smaller version of a larger form such as those that appear in plates 4 and 5. This likely serves as a maquette, a prototype which allows him to explore his concept and experiment with composition without wasting time or materials associated with a larger piece. This is especially poignant when one considers that the full scale production of many of Moore's works would involve bulky equipment and require a number of assistants. This highlights the importance of Plate 3 in his practice, a series of ink and gouache drawings, allowing Moore to quickly record his ideas in an attempt to better appreciate basic details of a finished sculpture such as the pose, focal point or surface qualities before committing to them in a maquette such as in Plate 2 or perhaps developing those ideas in the maquette into the final product such as plate 4. Plate 4, a finished sculpture located in picturesque garden surroundings, suggests the enduring nature and careful material choice required behind Moore's monumental representation of the human form. …show more content…
“Self portrait” painted in 1640, only a few years after this, shows evidence of what these changes might have meant to the 34 year old Rembrandt and is painted for an entirely different purpose to that of plate 6.
Plate 7 is markedly different and appears to be an artistic statement of confidence and strength. Rembrandt’s gaze is fixed firmly on the viewer, and his face and expression well lit and proudly worn. The shyness and uncertainty that characterize plate 6 are long gone and instead are replaced with a composed and positive body language and demeanour. It is likely to be no coincidence that only a year after this, his elevated status and merit as an artist were committed to history in a biography and he was proclaimed ‘one of the most celebrated artists of this
In plate 2 Moore works intricately with a miniature figure, carving in plaster what appears to be a smaller version of a larger form such as those that appear in plates 4 and 5. This likely serves as a maquette, a prototype which allows him to explore his concept and experiment with composition without wasting time or materials associated with a larger piece. This is especially poignant when one considers that the full scale production of many of Moore's works would involve bulky equipment and require a number of assistants. This highlights the importance of Plate 3 in his practice, a series of ink and gouache drawings, allowing Moore to quickly record his ideas in an attempt to better appreciate basic details of a finished sculpture such as the pose, focal point or surface qualities before committing to them in a maquette such as in Plate 2 or perhaps developing those ideas in the maquette into the final product such as plate 4. Plate 4, a finished sculpture located in picturesque garden surroundings, suggests the enduring nature and careful material choice required behind Moore's monumental representation of the human form. …show more content…
“Self portrait” painted in 1640, only a few years after this, shows evidence of what these changes might have meant to the 34 year old Rembrandt and is painted for an entirely different purpose to that of plate 6.
Plate 7 is markedly different and appears to be an artistic statement of confidence and strength. Rembrandt’s gaze is fixed firmly on the viewer, and his face and expression well lit and proudly worn. The shyness and uncertainty that characterize plate 6 are long gone and instead are replaced with a composed and positive body language and demeanour. It is likely to be no coincidence that only a year after this, his elevated status and merit as an artist were committed to history in a biography and he was proclaimed ‘one of the most celebrated artists of this