ART CRITICISM
TITLE OF ARTWORK: Raft of the Medusa
ARTIST: Theodore Gericault
DATE: 1818-19
SIZE OF WORK: 16’x23’
Description (What do I see?):
We see bodies – some dead, some dying- along with survivors. They are tightly
crowded aboard a raft that appears to be falling apart. Large waves cover the ocean.
The sky is sunny in some spots, and dark and ominous in other parts. The body
language and facial expressions of the men show utter despair, frustration and
defeat. A few express hope at the sight of a ship in the distance. One man points out
the ship to another, and another man is on top of a barrel waving a shirt in an
attempt to draw the ship’s attention. The work is huge – 16’x23’ – so the figures are
shown life-size or larger.
Analysis (How is the work organized?):
Shape: Gericault divided the scene into two overlapping triangles. The triangle at the
left, defined by the mast and two ropes, includes the dead and dying. The triangle at
right, whose peak is the standing man waving a shirt, is composed of dynamic figures,
with arms outstretched to indicate their surging hopes. The placement of this triangle
at the rafts right, the direction of glances, gestures, and arrangement of drapery all
contribute to the effect of forward thrust and direct the viewer’s eye to the focal point
of the figures frantically waving.
Movement: Gericault created the impression of motion through contrasting the
postures of his figures. The picture as a whole seems to surge upward from the prone
figures of lower left to the upper right, with its concentration of sitting and reaching
figures. The waving man at the peak of the right triangle is the climax of this mood of
rising hope and advancing motion.
Unity and Balance: To prevent the two triangles – one of despair, the other of hopefrom splitting the picture into unrelated halves, Gericault overlaps the triangles, with
transitional figures appearing in both. An arm cuts across the rope (the strongest line
of the left triangle) to point to the peak of the main triangle and unify the two halves.
The two off-centre triangles also lean in opposite directions, each balancing the
other.
Colour and Light/ Dark Contrast: Gericault painted the storm clouds and cresting
waves dark to create a menacing mood. The horizon – where the rescue ship is
located – is bright, like a beacon of salvation. The extreme light/dark contrasts
throughout the painting imply the alternating emotions of hope and hopelessness.
Mood: Jumbled lines of the writhing bodies suggest a mood of turbulence, in keeping
with Gericault’s theme of titanic struggle against the elements.
When looking at any works of art, the viewer should consider elements like these, which artists use to create their intended effects. The more profound the thought, feeling, skill, and invention an artist puts into his or her work, the more it unfolds to an alert spectator. Appreciating art is a gradual, never-­‐ending endeavour, which is why art from all eras still engages and enriches us. Interpretation (What is the artist saying?):
The painting is based on an actual event that took place two years before Gericault
painted the work. The shipwreck caused a political scandal at the time. A government
ship, The Medusa, carrying French colonists to Senegal sank off the west coast of
Africa due to the incompetence of the captain, a political appointee. The captain and
crew were first to evacuate and took over the lifeboats, towing a makeshift raft piled
with 149 passengers. Eventually they cut the towrope, leaving the immigrants to drift
under the equatorial sun for twelve days without food or water, suffering unspeakable
torments. Only fifteen lived.
Gericault investigated the story like a reporter, interviewing survivors to hear the
grisly tales of starvation, madness, and cannibalism. He did his utmost to have the
painting look as authentic as possible in order to emphasize the horror of the event
and stir up rage in the viewer. By showing such extremes of physical and emotional
hardship endured by the victims, Gericault was able to stir up outrage in the viewers
of the painting. The artist wanted to make this a big story, much like reporters today
fight wrongdoings with explosive stories in the media. The painting had the intended
effect – it was a sensation! The painting had a huge emotional impact on people, and
became very famous. Gericault spent much of his life defending the downtrodden.
Judgement (Is this a successful work of art?):
This is a very successful work of art. The artist was able to put across the disgust and
horror he felt towards the captain, crew, and those politically responsible for this
terrible event. The viewers of the painting reacted as he hoped they would. The sheer
size of the painting helped make it into the “big story” that it really was at the time.
HOW TO CRITICIZE A WORK OF ART:
Critiquing an artwork is like playing detective. You must
assume the artist has a secret message hidden within the work.
Your job is to find the message and solve the mystery.
You can use the following four-step system to help you find the
hidden messages in art. The four steps, which must be taken in
order, are Description, Analysis, Interpretation and
Judgement. By taking these steps you will be able to answer
the following questions:
-
What do I see (Description)
How is the work organized? (Analysis)
What is the artist saying? (Interpretation)
Is this a successful work of art? (Judgement)
As you go through the steps of description and analysis, you
will collect facts and clues. When you get to interpretation, you
will make guesses about what you think the artist is trying to
say. Finally, during judgement, you will make your own
decisions, both personal and objective, about the artistic merit
of the work.
STEP ONE: DESCRIPTION (WHAT DO I SEE?)
In this first step of art criticism, description, you carefully make a list of all the things
you see in the art work. This step is meant to slow your pace, so you notice things you
might otherwise miss. It keeps you from making a judgement before you have studied all
the details.
Every description should include the size of the work and the medium used. You will
find these facts in the credit line of the artwork.
Be as objective as possible at this stage – “just the facts” – don’t make assumptions!
STEP TWO: ANALYSIS (HOW IS THE WORK ORGANIZED?)
During step two you are still collecting facts. Now, however, you will pay attention to
the elements and principles of design:
Elements: line, shape, form, space, colour, texture, value
Principles: rhythm and movement, balance, proportion, variety, emphasis, contrast, unity
and harmony
In analysis, you discover how the work is organized. This is where the artist creates
the secret message, the mood or idea, by the way he or she organized the elements using
the principles.
STEP THREE: INTERPRETATION (WHAT IS THE ARTIST SAYING?)
During Step Three you will answer the question, “What is the artist saying to me?” In
interpretation you will explain or tell the meaning or mood of the work. It is here that you can
make guesses.
Interpretation can be the most difficult step in art criticism, because you must dare to be
different. It can also be the most creative and the most rewarding step.
You must use your intelligence, imagination and courage. You must not be afraid to make
an interpretation that is different from someone else’s. After all, you are different from other
people. Your interpretation will depend on what you have experienced and seen in your life.
Your interpretation must be based on the facts and clues you collected during your first
two steps. Your interpretation can be based on your feelings, but your feelings must be backed
up by observation of what you actually see in the artwork.
STEP FOUR: JUDGEMENT (IS THIS A SUCCESSFUL WORK OF ART?)
In Step Four you will judge whether or not the work is successful. In judgement you
determine the degree of artistic merit. This is the time to give your opinions. No one can tell you
what you like or dislike. You must make up your own mind. To make a good judgement, you need
to be honest with yourself. You need to know why you feel the way you do.
ART CRITICISM: What is Art?
“The urge to create art has been with people throughout history. The
visual arts satisfy human needs for celebration, personal
expression, and communication. We use the visual arts to enhance
our environment, to express deepest feelings about life, and to
record events.” – Art Talk
“To look is to merely notice and label an object with a name such as
“chair” or “house.” To PERCEIVE is to become deeply aware
through the senses of the special nature of visual object. A
perception is a sensation to which you attach a meaning.” – Art Talk
THE PURPOSES OF ART:
1. Personal Functions: Artists create art to express personal
feelings or ideas. Edvard Munch’s painting “The Scream”
shows the intolerable fear of losing one’s mind.
2. Social Function: Artists may produce art to reinforce and
enhance the shared sense of identity of those in a family,
community, or civilization. For example, visual art in a parade –
costumes, band uniforms, floats and dances – help to
commemorate an important holiday or event.
3. Spiritual Function: Artists may create art to express
spiritual beliefs about God and the meaning of life. During the
Middle Ages in Europe, almost all art was created for the
Catholic Church.
4. Physical Function: Artists and craftspeople constantly
invent new ways to create functional art. Architects employ
new building materials such as steel-reinforced concrete to
give buildings more interesting forms.
5. Educational Function: In the past, many people could not
read and art was often created to provide visual instruction.
Art from the past shows us what people wore, how they
looked, how they worked, and their beliefs and values.
Check your understanding:
1) What does it mean to perceive?
2) Name the 5 purposes of art.
3) Describe 2 of the purposes of art.