This tutorial was to be based around the EMA and have a discussion about sculpture (in all its forms).
The EMA is broken down into several section:
Title/Question – think of this based around the work that you’ve seen
Essay – write to the question you’ve designed
Pro-forma – this is essential, fail without it
appendix – what is an appendix for – not for shoving in loads of work not able to fit into the word count
We were then given two examples of past EMAs and given time to look through them. They were both written in a completely different style from each other, one was academic and third person whilst the other was written in the first person, I always feel more comfortable writing in the first person and it was good to hear that this was OK as long as caution was used.
We then had an opportunity to discuss possible ideas we had for our own EMAs even though it was early. I asked about my ideas on The Passion Altarpiece at the Bowes Museum and looking at its place in the making of altarpieces during that period in Brussels and whether the guild and workshop system would have influenced this. J. thought that there should be more than enough material here for an EMA.
So some task to take into mind when starting the EMA:
look to access the reading room at Bowes museum
visible description is extremely important – make sure that the fact you have visited the piece is very obvious
ensure that the essay is about Making and/or Locating and/or Viewing
find information on the Brussels sculpture guild and Netherlandish altarpieces
look for collection of EMA titles to give me an idea of how to phrase question
Rogier van der Weyden? his influence on The Master of the View of Ste-Gudule
remember to mention scale when discussing art works – especially sculpture
ensure pro-forma is on Dropbox so I can work on it wherever
book – Spufford – Merchant in Medieval Europe
book – Charles Avery – Florentine Renaissance Sculpture
Slides on sculpture
Modelling – plastic; includes clay, terracotta, wax, plaster
Carving – glyptic; includes wood, stone, marble, alabaster, gemstones
Metalworking – toreutic; includes gold, silver, bronze, iron
in the 20th century there is also assembly
Important considerations for sculpture:
patronage – relative costs
sculpture in the round – rediscovered skill, not done since classical Roman era
Allied trades: weapon making, bell casting, ceramics, enamelling, printmaking, painting/polychromy, public celebratory making, woodcarving and furniture making
Attended the first tutorial in Leeds, was a small group. Will just get down some of the notes I took and probably leave them in note form.
write the TMA out as a bookmark on a 6×4 card to keep it handy in all the material I’m reading
look at Cranach in Edinburgh (Melancholy)
look at altarpieces in Bowes museum, with possible links to works in Brussels
Boccaccio exhibition in Manchester?
This course has several attributes that distinguishes it from a purely art historical course
getting away from ideas of connoisseurship, looking at material culture, socio-anthopological
broad range of materials considered through the course
reconsidered interactions between Northern Europe and the Italian peninsula during the Renaissance period
looking at workshop practices rather than just at individuals, anon. school of, master of, circle of, etc
looking further afield than the Italian Renaissance, from Northern Europe to Crete and looking at the developments there
All books build on each other for the TMAs. So Book 1 only for TMA01, Books 1 and 2 for TMA02 and Books 1, 2 and 3 for TMA04.
We then chose a postcard from an upside down pile that the tutor had, I luckily chose one I could recognise – The Art of Melancholy 1528, oil (and tempera) on wood, Cranach the Elder.
using oil and tempera on the same panel was mixing the older (Italian) technique with the newer (Northern) technique of oil painting.
wood rather than panel, canvas, paper, etc
Melancholy, one of the four temperaments – also famously explored by Dürer and Melancholia I
good size, large, 133cm x 74cm
no direct information on who it was produced for, but it is a secular subject, so would not necessarily have been for a religious building, the subject of Melancholy was part of the classic revival of the time with humanists referring back to the classical period of the Romans and Greeks
using an idealised landscape to frame the symbolic treatment of a Temperament, esp. it’s link to dreams and thoughts
the symbolism is similar to Dürer’s Melancholia I in that there are a lot of mathematical and architectural tools, hounds, sleeping dog, heady fruits
the face of the woman is similar to that used by Cranach the Elder in a lot of his paintings, this had helped me recognise the artist when I initially received the card – this could point to the use of templates and assistants
Sort out SCONUL access to Durham University library.
Unfortunately they are all in Leeds which is a bit of a pain to get to especially just for a couple of hours, but will have to link it in with other things or it just wouldn’t be worth the money in petrol and parking, so I suppose shopping or nip down to Wakefield for the sculpture park and some galleries.
Still looking forward to them though.
Still have to get the diary up to date with study plans and such, so will slot these dates into the diary and on a quick look they don’t seem to clash with anything else 🙂