Introduction and Chosen Works

In this comparative study, I will be analysing three art pieces that visually have the same theme- symbolism through emotion, but convey contrasting meanings. They come from three distinct
artists, and through investigations such as formal analysis and cultural significance, I aim to draw conclusions that show the comparison and contrast amongst these works. All the pieces stem
from the same concept̶the subjectivity of power during war. The psychological effects on the victims and their raw emotions have always intrigued me so, I plan on delving deeper to
understand the way these sentiments have been projected to present my take on war. I intend to link back the artworks to their respective artists, to follow their outlooks on war in
synchronisation with the time period of art chosen- surrealism. As I chose my artworks, my goal was to have a similar theme, and a visual connection for it would have given me more ground
to compare and differentiate with. Now, with the selected works, I have met both my criterion. But more importantly, I managed to find three disparate artists with diverse takes on symbolism,
which gives me a purpose to work with. These three artworks are inspiring, as each piece comes from a distinct cultural background and uses the metaphor of war uniquely. It motivates me to
draw connections of war from a new aspect.

‘Pope IV’-
‘The Great Francis
ARTIST STUDY

‘The Visage of War’ by Salvador Dali War’ by René Bacon

Salvador Domingo Felipe Jacinto Dalí I Domènech, 1st Marquis Magritte
Francis Bacon was an Irish-British painter born in 1909.
of Dalí de Púbol, was a Spanish painter born in 1904. Dali is
René François Ghislain Magritte was a Belgian artist born in Majorly known for his post-war art as the artist
said to be synonymous with surrealism as his name is spoken
1898. With an unusual viewpoint of the world, Magritte highlighted the trauma and anguish, the wars had left
alongside legendary artists like Picasso and Van Gogh. During
created pieces that were thought-provoking and behind on the people; This narrowed down the focus to
the time he worked as an artist, Dali experimented with various

www.artyfactory.com/art_appreciation/portraits/francis_bacon.html
hypersensitive for his time. Using his idea of perceptions, the psychological impacts on the victim of war which
mediums ranging from painting to filmography, allowing him
the artist created artworks that included him as a subject, allowed Bacon to create paintings depicting soul-stirring

Francis Bacon (1909-1992). Francis Bacon, http://

to represent concepts that are primarily his imaginations if
but more importantly, it made the audience question the emotions. Furthermore, his distinct style and
they were set in the real world. This allowed him to present his
objectivity of elements in his paintings. The piece I chose perception of surrealism allowed him to be widely
vision on realms along the lines of hard facts, universal truths,
from him- 'The Great War', is a figurative piece where a recognised. Francis was often seen distorting his
and events that went down in history as art. This blurring of
seductive woman has been symbolised as war. This take on subjects violently, bringing out a never-ending illusion
his perception and this world for war is why I chose, 'The
war is one of its kind, and upon further research, I of movement. The subtle yet massive sense of symbolism
Visage of War.' The symbolism of 'infinite death' through the
discovered that each element in this piece has a meaning through this variant is why I chose one of the many self-
skulls is an intriguing take I am keen on exploring.
which compelled me to pick this work. portraits he had created.

Salvador Dali, and His Paintings. Diego Rivera, https://www.dalipaintings.com/. Rene Magritte and His Paintings. Henri Matisse, https://www.renemagritte.org/.
 ‘The Visage of War’ by Salvador Dali (1940)
(1) Centre of Interest The Face of War reflects the Spanish Civil War that took place around (5) Colour/Value
The face that has been painted seems to be the focal point
1936. Highlighting the terror that reigned upon Spain, Dali uses a range The colours are solely symbolic of the purpose of this piece.
since it is the only unmistakably visible subject. When this
of formal elements to present a symbolic effect for the oppressed With a range of brown and nude colour shades, the artist
piece is looked at carefully, it is the raw emotion of hurt and
civilians. creates an irony. Brown and all the tones along the lines are
worry (0.1) that is the main centre of interest. Every facial
(0.1) - facial lines of worry meant to show comfort and assurance. The symbolisation of
line created reflects the wave of melancholy that washed over (8.1) - warmth diminishes as the face and skulls show the people
the country at war. It is detailed to a point where it stirs expressive trapped in the Spanish Civil War. This use highlights the issue
emotions amongst the audience. The horror can be seen within on right of nobody ever being genuinely safe. It adds value to the
the numerous skulls that have been painted make the subject
blending of the face, which makes the figure realistic. The
more intriguing to interpret.
darker shading enhances the emotion (5.1), while the lighter
(2) Perspective (8) ones make the face 3D (5.2).
(1)
This piece follows a one-dimensional perspective using a
(6) Movement/Rhythm
defined skill of shading and blending to create a face that is This artwork lacks movement. One of Dali s impressive artist
realistic and 3D in nature. Using the true meaning of (4) (4) qualities is that he makes paintings with barely any movement.
surrealism, Dali makes this work look realistic yet unnatural Barely because small elements always tie the whole piece by
FORMAL ANALYSIS

through the quality of perspective. At large, the face has no (6) adding action to the canvas. With a subtle creation of rhythm,
lighting provided at the back of it, proving that it is indeed (2) (2) the snakes (6) in this specific artwork make this artwork
within the confines of a single dimension (2.1), but when the functional to look at. The way they have been positioned as if
focus shifts to the face, the use of shading brings out the they were coming out from beside the face show this allusion.
(5)
features such as the nose (2.2), projecting it to look more (6) (6) (7) Texture
dimensional. Along with that, the depth of the facial lines also The use of colours in this piece brings out a texture that
adds to the unreliable perspective. reminds one of sand and the desert. Since it is an oil on
(3) Space (4) (7.1)
canvas, in terms of natural texture, there is none. The illusion
One of the notable things about how the artist creates his that comes from the setting of the head projects as sand
works is how he presents his subjects. There may be many of underneath the head is flaky and dry (8.1), causing the
them, but Dali is known to make a still background, usually environment of this work to symbolise that the victims of this
representing a form of the sky (3), allowing a sense of space (5) (5.2) civil war are trapped in an area with no foreseeable way out.
to be projected. This space is negative as it contrasts the As far as the other elements are concerned, there is no
main focus of the piece. Still, it blends in simultaneously due Dimensions: 25.2 inches 31.1 inches; 100 cm 79 cm apparent texture present as the skin on the face seems to be
to the colour bringing peace to the audience as the focal Medium: Oil on Canvas smooth except the lips. This facial feature appears to be
point is given the proper attention without any distracting Original name: La Cara de la Guerra (6) chapped (8.2), which further adds to the desert analogy. The
components in the piece. snakes are too dark to be interpreted from. The rocks in the

(4) Emphasis (1) corner seem to have a particular texture, making them more
The emphasis comes back to the face and the emotion it realistic (8.3).
(8) Balance/Proportion
presents due to the single subject. The skulls painted in the The Face of War is a symmetrical piece since the rule of
eyes and mouth bring a sense of stress towards the everlasting thirds show no apparent shift. However, when we look closely
doom that Spain faced. It brings out a different form of fear, (2.2) into the expression on the face, more fear is visible on the right
one that is can only be experienced by someone who was a (9.1) side due to the shading that has been painted. Then, the
witness to the distressing event. It is foreign to look at, but reptiles are visible more on this side. This creates asymmetry,
strangely enough, it brings out a more significant emphasis. which is not overbearing, considering a balance with a constant
(2.1) (7.3) (5.2) fearful expression. Overall, this piece is balanced since the
colours and the blending don t clash.
 ‘The Visage of War’ by Salvador Dali (1940)
Cultural Significance:
(Spanish Civil War)
In Visage of War,' Dali produces an insight into how he views the war's effect on humankind. His origin and values

War. Encyclopædia Britannica, Encyclopædia Britannica, Inc., 20

Sept. 2019, https://www.britannica.com/event/Spanish-Civil-War.
play a critical role in the development of this piece as it is a memoir to the Spanish Civil War, which took place

The Editors of Encyclopaedia Britannica. Spanish Civil

from 1936-39. The creation of this painting was right towards the beginning of World War II, which added another
dynamic of death to the art. The Spanish painter expresses grieve for his country as he paints the skulls on the
canvas. As Dali paints a feeble head, he brings in a cultural aspect of how, behind all the diversity present in the
society, the common factor is that we are human; And when death frowns upon, shedding our skins, we are all the
same. Taking this into account, not only this artwork raises awareness towards the victims in Spain but also the (WWII)

ones from the World War that had taken place then. The name of the work itself foreshadows where war takes
place in the modern world. The artist paints the common man being poisoned by the snakes that are the higher
authorities across nations. If a particular government declares war to another, the citizens of that country have no
choice but to become victims of all the disaster that comes from war. The Spanish Civil War, which inspired this
piece, was a military revolt against the republican government. However, it turned into a full-blown war after the
military coup failed Between the nationalist and republicans as they received help from the country's various allies.
Reiterating the previous point, the Spanish civilians were found stuck between the two groups, and many died because of the parties' hunger and greed for power over the country.

Material Significance: Conceptual Significance:

In his early years, Dali explored various forms of art, including painting and sculptures. The distinctive use of cultural ideology makes this particular artwork conceptually
However, committing to a canvas was his ideal manner of producing works. There is no strong. Since the purpose is to shed light on war, each element on this canvas has a
material significance per se, as choosing oil on canvas is simply a preference. However, the significance. With that, the main aspects can be broken down into the symbolism of
SIGNIFICANCE

importance of using oil paints is one that can be noted as it is excellent for blending and the head, skulls, dessert, and the hand. Visually, the artist produces a distressing head
smoothening. Surrealism is a form of art that Dali showcased through the distortion of with deep forehead lines of sorrow that highlights the agony. On the other hand, the
perception; Using these paints allowed him to bring in the intense emotions and a realistic hollow parts of the head contain skulls. In a hypnotising manner, these skulls are

outlook to the face as he portrayed what war does to people. Besides that, his skill allowed him consistently painted, symbolising the element that has been discussed here prior- infinite

to create still images that could easily pass photography if there wasn't an abstract element to it. death ̶ taking known examples from history such as the Indian Rebellion War, where the

The reference enables his audience to perceive his work as a recollection or a memory nation fought for its independence, Between 800,000 to 1,000,000 lost their life. The faces

considering it's a piece of his subconscious. In the 1900s, the best method for this was on represent the many who lost their lives for the development of the world.The use of snakes

canvas, as art was still developing. This skill can be further seen in his works, such as 'The has been speculated often by Dali s admirers. It is such that raises questions towards the

Temptation of St. Anthony' (1946) and 'Swans Reflecting Elephants'(1937). Both examples of symbolism as snakes are perceived as a creature who is sneaky, two-faced, and several

producing an absolute stillness that makes the work look photogenic, giving it a particular other negative connotations. About this painting, the snakes symbolise the constant attacks

aesthetic. people face during the time of war as the snakes try to snap at the head. The aggressive look
Swans Reflecting on the snake and the inferior one of the head fits the previous description perfectly,
Elephants. Wikipedia, Wikimedia
Foundation, 17 June 2018, https:// (Material highlighting the crux of the war. The barren land reflects the destruction and harm
en.wikipedia.org/wiki/ Examples
Swans_Reflecting_Elephants. that comes from war. The floating head projects as a melancholic loom over the area,
on Dali s
Renan, Sheldon. @Progpaintings other symbolising the scent of death that lurks around after war is finished. It's a blunt
@Ebowman McCay's Little Nemo in
paintings) message that's open to interpretation for the viewers; however, the perception present
Slumberland 1906 vs Dali's
Temptation of St. Anthony 1946
Pic.twitter.com/ here is thorough and leaves a lasting impression. after war is finished. Lastly, the hand is one element
ULUBw0is7c. Twitter, Twitter, 22
Apr. 2016, https://twitter.com/ Face of War by Salvador Dali: History, Analysis & Facts. Arthive, https://arthive.com/salvadordali/works/315820 Face_of_war. created by the chosen artist that remains a mystery. Several theories have been stated; However, nothing
srenan/status/
723613677094469632.
is confirmed. It does make the artwork conceptually significant as it shifts the piece to Dali's mind.
Gareth. The Colourful Career of Salvador Dali. Ken Bromley Art Supplies, 16 Jan. 2019, https://www.artsupplies.co.uk/blog/the-colourful-
career-of-salvador-dali/. The Face of War by Salvador Dalí - Facts & History of the Painting. Totally History, 10 Jan. 2014, http://totallyhistory.com/the-face-of-war/.
 ‘The Visage of War’ by Salvador Dali (1940)
General Function and Purpose:
The flamboyant artist is known to create artworks that highlight his perception of the world as he portrays his most profound thoughts in each
piece. The chosen artwork has been produced the same way. With World War II breaking out, Dali and his wife relocated to the United States, where
they lived for eight years. Along with the World War, Spain: Dali s home country found itself in the Spanish Civil War. The painting depicts the
artist s grieve for his country as thousands of people lose their life. The purpose of this artwork was to create a bold statement of the doom that
comes with the war̶analysing the function of each element, The Visage of War, at large shows what war does to the citizens of various nations.
FUNCTION AND PURPOSE

The universal emotions, along with the lines of grieve, agony, and despair, have been created on a corpse s head, giving insight into the psychology
of war. Furthermore, the skulls within the eye sockets and mouth portray the infinite cycles of terror and death that comes from the subject. The
belief comes from humankind becoming victims of war, which eventually leaves behind a place with no one to work towards development. Similarly,
snakes have been previously used as weapons in battle, giving an outlook of how these animals taint humans from their natural and lively selves. The
function of colour is again symbolic. The tones of brown and nude depict isolation and neglect and may also be associated with death. War is
usually linked with this colour and hence, highlights how the dying victims are neglected as the powers keep the combat going. Surprisingly, there is
no mention of the purpose behind Dali putting his hand imprint on the side of the canvas. Some say that it was for the grieve Dali felt for Spain, but
they are all theories. Defining the general function of this artwork concludes to the fact that the piece serves as a stark reminder where war lies in our modern culture.

Psyche/Challenging Visual Codes Function: Personal Function and Artistic Intention:

From the very beginning, I have discussed the obscure use of symbolism painted by Salvador Dali's art was way beyond his time as he was not afraid to paint about subjects that were frowned upon̶
Dali in the chosen painting̶ The Visage of War. By breaking down every element painted by sexual desires and erotica are two of his main concepts. But several sites use a quotation said by Dali in
the artist, I scrutinised every meaning possible for the piece with regards to the cultural an/to an untraceable source̶ The two most energetic motors that make the artistic and superfine brain
significance as the work of art serves as a memoir to the wars discussed. However, upon further of Salvador Dalí function are, first, libido, or the sexual instinct, and, second, the anguish of death,"
research, I came to the realisation that the chosen painting is not only one of Dali s lesser-known affirms the painter; "not a single minute of my like passes without the sublime Catholic, apostolic, and
works, but it has also gone unnoticed by many critics . This left behind barely any theories and Roman specter of death accompanying me even in the least important of my most subtle and capricious
opinions, which could provide his admirers with some more information on the art. The fantasies." At large, this created a personal function to the artist as he found comfort in personifying
revelation opens room for interpretation, which makes the symbolism subjective. and painting death.
Moreover, the psyche of this artwork and the artist is now to be questioned. Dali s imagination Tons of research provided me with an insightful outcome on Dali's perspective of the Spanish Civil War.
has always been such a capricious matter because of perceptive each of his work was. Plus, War In his book, 'The Secret Life,' the artist opens up about how he entered 'a period of rigor and asceticism'
and its aftermath have often served as inspiration for Dali s work. He sometimes believed his which 'tormented his life.' Then he states, how in the same time frame, 'Spain in fire would light up this
artistic vision to be forewarnings of War. Taking this into account, the chosen painting then drama of renaissance of aesthetics.' He went as far as saying that Spain would serve as a holocaust to that
raises the question of where it can be translated into the modern world? How will it be post-war Europe tortured by ideological dramas, by morals and artistic anxieties. He further personified
interpreted since there is not enough on the internet about it? These are rhetorical inquiries in Spain as a 'she' and claimed how she has no patience, which led to the civil war and how she was then
my mind but, the visual codes represented through the symbolism highlight bring out the capable of suffering and make others suffer. These quotes bring to life the artistic intention of the
psychology of War in literal terms. Each element draws perception from the artist s mind, which chosen artwork and just how much Salvador Dali commemorated on the pain he felt for his country.
aids as the psyche function of the composition. To conclude, the broader artistic intention of the piece has been brought up a few times, but, on a
Ending on that note, The Visage of War, leaves its audience in ambiguity. The mystic nature of microscopic scale, there is an underlying sense of agony and misery that is felt by the painter as he
the painting creates challenging visual codes that serve a purpose that doesn t clearly translate grieved. The raw function of privacy and self is seen in the bottom right corner of the canvas, where
into the modern world as of yet. The art offers a visual into Dali s subconscious as it highlights Dali left his hand imprint. It is the only piece produced by him that had this element that ties together
what he went through during his time in California (where he fled from Spain), but the real the whole concept and intention.
concept of the piece still remains unknown.
 ‘The Great War’ by René Magritte (1964)
(1) Centre of Interest 'The Great War' was painted in 1964 as it reminisces Magritte's (5) Colour/Value
The woman ideally, should be the centre interest. But, when experiences of WWI and WWII. With a fresh outlook on how war can be All the colours used in this artwork serve a fundamental
looked closely, the way the artist has painted the flower over the symbolised, In this slide, I will be analysing how this symbolism has been purpose, for example, the sky is blue with white clouds, and
face (0.1) gives off a mystery which makes that the focal point. It bought out, by the way, Magritte has created this painting. the ledge is grey (5.1). The simple use of colours fascinated me
is the only element in the picture with a contrasting colour (2.1) because it opposes what is exposed in war. The white dress
among the more soft tones that have been used which makes it symbolises purity; Which is an irony of how war is depicted to
interesting to interpret from. war-worshippers (5.2). A different kind of value shines through
(2) Perspective since there is not a single colour here that blends or clashes.
Since this painting is oil on canvas, in literal terms, it is one The tones allow each colour to be given its attention bringing
dimensional. But, the way this painting has been painted, it (0.1) up the value of all as the colour stays balanced.
seems as though it is a picture, which gives it an effect of (6) Movement/Rhythm
being realistic. The shading on the hat and the position (2.1) This painting lacks movement in every way. There is an
(4)
of the woman makes her standout as if this piece was 3D. absolute stillness here which adds to the claim of this piece
(9) looking like a photograph. It captures the essence of the artist's
Then, the way the ledge and ocean behind have been painted (2) (5)
(1) (9.1)- rule of thirds
intention to symbolise the story. A sense of rhythm is,
does not seem as if it was one over the other. The bridge has proportion
FORMAL ANALYSIS

(8) however, is present due to the other formal qualities like

been created in a way where it brings out a perspective (2.2) (8.1)
(3) colours and balance. Everything in this artwork is put together
that is not linear to the piece. It creates variety, and this
(5.2) and gives purpose to all.
brings out unity to the rather still painting. (4) (8) Emphasis
(3) Space (7) (8) The simplicity of this painting makes it challenging to look for a
The woman seems to be the only subject in this painting that point of emphasis, which is not the flower on the face. Taking
(2) the focal point as the emphasis first, the artist wants us to
has been created. This brings a lot of space; however, the size (9.2)
perceive something out of this flower since everyone has a
of the canvas and the dimension of the woman (3.1) and her (7)
(4) separate interpretation of war and it can be seen in the way we
clothes allow only limited space to be projected. With this, (7)
look at the flower. Furthermore, the pop of purple shows that
the painting doesn t look too empty. Magritte has functionally
(5) this is a dominant emphasis to analyse. But, if a new lens is put
used his space and bought out a 70's element (umbrella) (3.2) (4.3)
on this painting, another element of focus could be the way the
which was the period of the World War adding symbolism
hands are positioned (8.1). It is once of authority, something
and covering up quite some area.
Dimensions: N/A that war demands. It looks so fragile yet powerful. It is a subtle
(4) Texture (4.2) Medium: Oil on Canvas point, almost hidden which can symbolise war; It's looming, but
One of the reasons I chose this painting besides the theme was Original name: La Grande Guerre no one knows when it'll hit.
(5.1)
the way the artist has used texture in this artwork. Surrealism (9) Balance/Proportion
The background, has patterns built from
This painting is remarkably symmetrical. In vertical lines of the
is blurring the lines between fantasy and realism, and through semi-geometric shapes referring to the (2.2)
rule of thirds (9.1), the painted woman brings out balance. This
the use of texture, this painting shows just that. Analysing the straight line divisions between the sky,
bounds the piece together as there is no movement and the
woman, her hat has feathers (4.1) that provide a soft looking ocean, and ledge (7.1/2)
balance needs to be apparent so that the painting does not
feature. The umbrella has designs (4.2) all over it, which also (4)
(4.4) become overwhelming to look at. Even the three sub-subjects in
creates a sense of textural flow. Then, the dress has lines and (7)
(4.1) (3.2) the background are proportionate in nature (9.2), making this
crevices along with shading (4.3), which make the dress look
painting, overall, pleasing to look at. The role of aesthetics then
vivid. The granite-like (4.4) ledge adds texture while creating coms into play̶the use of colours and other elements are also
this effect. (5.1) balanced. Aesthetically appealing is the term that can be used
for this piece as the symbolism and the era of this painting
comes through the help of how this painting is placed.
 War I. Encyclopædia Britannica, Encyclopædia Britannica, Inc.,
21 July 2019, https://www.britannica.com/event/World-War-I.

Royde-Smith, John Graham, and Dennis E. Showalter. World

‘The Great War’ by René Magritte (1964)
Cultural Significance: (WWI)

Most of Rene Magritte's pieces are inspired by his life experiences and in turn, his perception of a particular subject or event.
This gave the Belgium artist not only to shed light on his unrecognised country as that is where the root of art stemmed from;
But, also share his outlook with those who appear to have similar opinions. Henceforth, the cultural significance is seen in 'The
Great War' that is influenced by Magritte's political involvement and war experiences.
The three aspects involved are seen in his early years. Firstly, the artist grew up with a left-wing persuasion (which means being
liberal in today's generation); therefore, he was open-minded and fought for people. The bias is seen in the chosen painting as he
symbolises war in a hoax mannerism. Secondly, Magritte was heavily involved with those in Belgium, propagating the ideas of the
Dadaist movement. The art movement started after the end of World War I and peaked from 1916 to 1922. The protest was to ridicule

René Magritte, The Great War (La Grande Guerre), 1964, Series 1, Lithograph (S). Masterworks Fine Art Gallery, https://
www.masterworksfineart.com/artists/rene-magritte/lithograph/la-grande-guerre-the-great-war-1964-series-1-2/id/w-3848.
the meaninglessness of the modern world accusing the reason behind the war; Since wars are fought for the 'betterment and
development' of the society. The influence is seen in the creator's works as he explores ways to exploit the painting medium and
denationalise perception. Lastly, Rene Magritte's political motives were one in the spirit of opposition, which is a critical influence on
my chosen artwork for this study. He has designed the war as a sensual woman. Women in the world today are objectified to extremes. MoMA Learning. MoMA, https://
www.moma.org/learn/
Therefore, his perspective and cultural upbringing are factors that help stem the idea presented here. moma_learning/themes/dada/word-
play/.

Material Significance: Conceptual Significance:

For almost all his artworks, René Magritte used oil on canvas; Making painting his The use of aesthetics and name play makes this artwork conceptually strong. 'The Great War' is another
primary medium. There is a subtle sense of material significance as he uses the name for World War I. In terms of the concept of the painting, the significance of this specific aspect

properties of oil paints to create a visually appealing artwork. Foremost, the blending and highlights what war was presented as before the actual event. Furthermore, the four cropped elements of
this artwork focus on the concept that were critical to the inspiration of the piece. The purple flower,
SIGNIFICANCE

shading skills on the dress enhance the technicalities of this artwork. It's been presented
also the point of focus, is known for pride, dignity, and success. By painting this over the woman's face,
in a way that makes it look more traditional, and the artist has also paid his utmost
Magritte speaks out to the war-worshippers who see war as a hidden yet sensual female who will bring
attention to the lace detailing on the accessory. This is an essential element for it's
good in lives. Pride is often characterised as egoism; Wars stem mainly
highlighting the period. The use of material on the subject produces an aesthetic that's
from the desire of power and being the 'top nation.' This is a different
appealing to look at. Using the mentioned skills, he creates a more realistic work as he
significance to the centre of interest. Moving forth, the position of the
works with blending light and dark tones to produce light and its reflection, as seen on hands- as discussed in the formal analysis- are in such a way that
the gloves. As far as the background goes, the use of symbolism has been projected by shows delicate authority. This is a term that describes the objection of
creating neat and straight divisions between the three elements. This precision and skill women. They are taken to be fragile and gentle, which will make people mistake this pose for the
same. However, the body language shows a straightened out posture and a firm grip on the outfit
allowed the artist to make the central figure more dominating. Hs other well-known
worn by the umbrella, proving that once started, the war overshadows and becomes
paintings such as 'Les Amants' (The Lovers; 1928) and 'Mysteries of the Horizon' (1928)

“Mode Aux Courses, 1911-1914.: Umbrellas & Parasols: Edwardian

Fashion, Vintage Photographs, Vintage Fashion.” Pinterest, https://
dominant. The symmetry in the background between the land, water and,
present a similar technique of shading and blending, which brings out the realism in his

www.pinterest.com/pin/455496949804715564/.
tiles creates a stillness that signifies that when war rises, it becomes the main
pieces. Overall, it proves that Magritte's skills with oil paints are specialised and unique.
attraction, leaving behind the other forces of nature to be timeless. The lack
The Mysteries of the of movement in the two upper elements makes this artwork more surrealist as
Les Amants (Gli Amanti), Horizon, 1928 by Rene
Rene Magritte the Magritte. The Lovers, it symbolises that the world has pauses in the name of this event. Lastly, the
Lovers. Pinterest, 29 Aug. 1928 by Rene Magritte,
2019, https:// https:// feathered hat, white dress, and textured umbrella
www.pinterest.com/pin/ www.renemagritte.org/the-
23151385555293588/. mysteries-of-the- represent an era. This was 1900 when World War I
horizon.jsp.
took place. The woman s capabilities. Overall,

History of Art: Rene Magritte, http://www.all-art.org/art_20th_century/magritte1.html.

Cohen, Alina. What You Need to Know about René Magritte. Artsy, 27 May 2018, https:// Magritte picked up real-life elements and culminated in this painting, showing a misconception of war.
www.artsy.net/article/artsy-editorial-rene-magritte.
 ‘The Great War’ by René Magritte (1964)
General Function and Purpose:
Rene Magritte's abstract way of thinking was often exhibited in his art. It was no secret that the key to some of his most famous artworks was using the strategy of
repetition. The pieces created by this artist are what viewers would call a 'powerful paradox.' Every piece he created was simple, yet it provoked unsettling thoughts; 'The
Great War' proves this perspective. The purpose of this painting is to symbolise war as something it isn't. War has been portrayed as an unattainable woman. War-
worshippers believe that she is as beautiful as the garment she wears; however, the real horror of war hides behind the purple flower. The function of these flowers makes
a bold statement as they are coffin flowers. Magritte paints that death has been foreshadowed by beauty, but humans choose to ignore it because of
FUNCTION AND PURPOSE

greed. Visuals and textures are two forms of elements that the artist seems to have explored quite often. Here, pro-hysteria from war has been designed as the
background and foreground complement each other by the symbolism of life dying. The sky and ocean are barely different from one another, signalling that nature is not
being indifferent from the terrorised humans. These souls become the walls (ledge) to protect the ultimate power of war- governments. The calm nature of this piece makes
it eerie as there are no forms of life- no trees, sun, birds. Lastly, the use of colours (dark blue, light blue, and violet) functionally, state that life decided by war is being
melted away into death. All together, this piece aids in the comprehensive picture of the ungracious reality that comes from War. It gives purpose and intensity to the
artwork as the artist creates a metaphor that translates as objectification and social standards in the contemporary world.

Psyche/Challenging Visual Codes Function: Personal Function and Artistic Intention:

The primary reason for choosing René Magritte as my artist for this study was his complex Picking up on the same train of thought jotted in the previous paragraph, the psychological purpose of
personality and life that reflected in his seemingly simple art. The visual codes placed in each this piece of art brings forth the personal function. By painting an element that indirectly sheds light
of his works are subtle and quite easy to miss; Only that, these factors bring together an artwork. on his private life, Magritte introduces a sense of grounding and honour in all his pieces. The real
'The Great War' is no different. Previously, the study highlights the use of symbolism and story of the creator's mother remains unclear. However, as he paints the unfitting objects over the
recurring motifs in the artwork. Upon drawing some conceptual references with some subject's face̶the consciousness can be seen as Magritte pieces together his imagination of his mother.
extensive research, I found the psychological impact that the chosen work sheds light on. The seemingly impersonal chosen painting has an element of incertitude but familiarity as well.
The chose artist not only unusually paints War but also creates it in a subdued and contained Picking up on the same train of thought jotted in the previous paragraph, the psychological purpose
manner. This challenges the psychological impact of the artwork̶there is no sense of War of this piece of art brings forth the personal function. By painting an element that indirectly sheds
unless they read the title of the artwork. Even then, the work is so open to interpretation that light on his private life, Magritte introduces a sense of grounding and honour in all his pieces. The
the opinion conformed is subjective and would be away from the artist's original meaning. By real story of the creator's mother remains unclear. However, as he paints the unfitting objects over
hiding the face with flowers symbolic to the WWI and II, Magritte brings purpose to the the subject's face̶the consciousness can be seen as Magritte pieces together his imagination of his
painting in regards to War. However, it does raise the age-old question̶Why does Magritte mother. The seemingly impersonal chosen painting has an element of incertitude and familiarity.
cover the faces of his subjects? This wondrous thought is dangerous to the visual codes Briefly discussed prior, the artistic intention of this piece plays a vital social function if understood
presented in the chosen piece as the answer holds power to change the whole meaning. After correctly. The history of Magritte's paintings implies that he used vibrant colours during the World
some research, I discovered that there is a theory as to why the artist hides the face, which Wars, which not only question the psychological purpose but also the hidden artistic intend of
could possibly be true. possible colour symbolism. An official René Magritte source states that the trio of colours̶violet,
When Magritte was 13, his mother had committed suicide in the River Sambre. When her body dark blue, and light blue is symbolic, showing the destiny of humankind decided by War which
was retrieved, her face was covered by the dress she was wearing. It is suggested that this life eventually, leads to death. This highlights a profound perspective in terms of the creator's intended.
turning event influenced numerous of his works wherein Magritte portrayed people with cloth
Another functional quality created by the artist in work is a perpetual conflict within the woman.
or objects covering their faces. There is no proof of whether the artist was present during the
Each object has been positioned strategically to hide another. In unveiling itself, an element
retrieval or not.
simultaneously conceals itself, thereby functioning as the curtain for another. This shows the
However, the discovery does give the chosen painting a newfound light that stimulates the
convoluted thinking of my artist and ties the whole piece seamlessly. Lastly, the title of the chosen
psychological function of the composition. It brings a sense of self and room for thought for the
painting cannot go unnoticed. A seemingly direct name̶The Great War, persists a purpose may be
creator and the audience, respectively.
seen as providing a counterpoint to realistic perception.
 ‘The Great War’ by René Magritte (1964)
(1) Centre of Interest As the name suggests, the chosen painting is a study done by Bacon in
(4) Colour/Value
With only one subject present-the distorted figure- 1953. Inspired by Diego Velázquez (who painted the original piece in Colours play an essential role in the painting. The yellow in
the expression on the face is the centre of interest in this 1650), the artist distorts the figure at hand to show the endless emotions the background adds a contrast to the overall art, which allows
painting. Driven by the emotion of pain, agony, and horror, the of hurt and misery. While the painting doesn't connect to the war directly, the viewer not to feel overwhelmed as dark colours tend to do
focal point symbolises the psychological toll taken on the it highlights the feelings felt by the victims of war. In this slide, I will be that. This gives a sense of lightness with the black
victims of war. The focus is drawn more towards the mouth (0.1) analysing how these emotions have been presented. strokes smearing over the yellow. The black colour holds
as the rest of the head has been departed with harsh strokes of
a significant value as there isn t not a blend with the
black paint. This allows Bacon to create intricate details on the
(6) background yet, and it doesn't look jarring. It allows
mouth, signifying the emotion.
a transition (4.1) to be put forth; After these lines, all the
(2) Perspective colours a dark and the movement of emotion becomes dull as
The chosen painting is a two-dimensional piece due to the (2.1)
(6.1) (0.1) (2.2) (Drawn out strokes) (3.1) well. The purple (4.2) of the cloak has no specific significance
medium (oil on canvas). At first glance, all the movement (6.3)
to it as Bacon merely recreated these minute aspects from the
created here looks even. However, upon further analysing, the
original painting. However, the colour does show wealth as it
thin line of white paint creates an illusion of a cuboid (2.1). (8)
symbolised so in the 16th century. In terms of the artwork, the
This brings out the depth to the piece as it adds a subtle wave (2)
colour adds another variation to stop the movement of the
of perspective. Through the deception, a sense of variety is
FORMAL ANALYSIS

(2) dark shades. The skin of the figure has been painted grey (4.3),
formed as the one levelled painting brings out 3D dimensions. (9)
(7) (4) showcasing as a ghostly effect. The effect leads to the blend of
With diversification, comes unity to the aspect as the black
distortion (4.3) to the black strokes. Overall, the use of colours
stokes are pushed inside the geometric shape (2.2). (3) (9.1)- rule
in this painting is responsible for conveying the message.
(3) Space (7.1)
(1)
(4.3)
of thirds
(4) (7) Pattern
Using the space functionally, Bacon created this artwork with proportion
(6) As analysed in the last artwork, here, there is no particular
only one element but drew it out. This means, there is nothing
(6) (5)
beyond the mouth; however, the black strokes add another pattern per se because the human figure hasn't been distorted in
aspect of the sort without making the painting look too full or such that way. The way the strokes have been created can be
unpleasing to the eye. This use of space defines (3.1) the focal (7.2) (4) (6.2) (8) called a type of pattern as they all have a similar line form
(7)
(4.2) (7.1). The shading on the cloak also gives an illusion of design
point but stops the artwork from looking too empty. (8.2) (6)
with waves of cloth going inwards (7.2).
(5) Emphasis
At large, the formal quality of emphasis is similar to the focal (8) Texture
The texture this painting gives is rather interesting to see. Oil
point. At times, the painter may seek to create a subtle point of
Dimensions: 60 ¼ x 46 ½ in. (153 x 118 cm) paints tend to give a smoother effect that what has been shown
attention. Here, the white-collar (5.1) has a specific emphasis
Medium: Oil on Canvas here. As seen in (8.1), a grainy texture has been put up. While
on it in terms of the blend and depth of the paint. This allows
the areas of blending (8.2), is smooth, the artwork as a whole
the viewer to start looking at the distorted head from the (9) Balance/Proportion
seems coarse. There could be several reasons for this, but
downward up, making the piece more impactful. The rule of thirds proportions (9.1), allows me to conclude that the
conceptually, it presents an angry and harsh feeling from the
painting is symmetrical in a form where the main subject has been
(6) Movement/Rhythm artists' side as he paints the emotion he wants to depict. The
created right in the centre of the canvas. Along with that, the upper
Contrasting the intimidating emotions, the movement present texture also seems to come from continuous strokes being
body painted is balanced out with the thin cubic box (9.2), and strokes
is slow and smooth. Like mentioned prior, the distortion on painted without dipping back into the paint (8.3).
which seem to give dimension to space. Since the initial movement is
the face outlines movement as the head drags up into
the black lines, it is tuned out with the slouched figure giving it an
lines (6.1). Simultaneously, the posture of the figure is
overall distressing feel that conveys the meaning but doesn't overwhelm
slouched (6.2), showing discomfort. Screaming (6.3) is an
the audience with it. (8.3)
action accentuated through this posture. This bizarre form
makes the audience feel as if the flow displayed is in real-time. (9.2) (8.1)
 ‘The Great War’ by René Magritte (1964)
Cultural Significance:
Throughout his active years, Francis Bacon has had all types of several art heroes ranging from Picasso to Rembrandt. This allowed him
to create pieces that were influenced by his idols, which, in turn, brought in all forms of themes. My chosen painting comes from a series
that has several names, concepts, and variations. The Screaming Pope Series and Study After Velázquez s Portrait of Pope Innocent X
are some of its most common names, and the variations come from Bacon having created over 50 artworks in this series (elaborated in the
next slide). The background context provided highlights a rooted sense of cultural significance across all his paintings. In this case, his
appreciation and awe for Diego Velázquez are visible as he produces a whole series based off his commissioned painting. However, beyond
this lies, numerous theories about the meaning behind this series. The Guardian is a magazine that covers Bacon s series quite often. And,
it has been stated many times, across various articles that the piece, became a way for the artist to express post-war horror and what
mankind was capable of, and They are seen as a vehicle for Bacon expressing the pain and suffering of post-war humanity. He was
directly influenced by Velazquez s Innocent X, saying he was haunted and obsessed by the image … its perfection. Putting a time frame
to this claim, the paintings were created between the 40s and through the 60s. This was around the World Wars and Nazis taking over
Britain, where Bacon resided. This theory embodies a cultural element as Francis Bacon holds a quality of never painting from life but (Inspiration from 1925 film:
battleship Potemkin)
rather his memory and pictures making the work personal. But on the other end, the work is also said to be a mere sense

Material Significance: Conceptual Significance:

Throughout his artistry, Bacon only painted. There was no other medium involved, which is The artwork visually has a bizarre appeal, with only one element that has been
due to his lack of art education. His self-taught painting skills are seen to be more texture distorted. However, it is conceptually strong in terms of Bacon bringing in his
orientated in this specific work as the blur strokes are a common theme throughout. experiences and the raw emotions that come with it. Since this piece is experimental
SIGNIFICANCE

Materialistically inspired by Velázquez, Bacon also chose a similar canvas size̶153 x 118 cm̶ at large, there are many speculations about the symbolism behind it. Many of these
while the original painting's size was̶41 cm 119 cm. A recent finding published by The theories led back to Bacon's journey of finding his sexuality and his battle with
Independent UK, states that the vision of painting this type of distortion for all the art pieces in mental health, where he felt all kinds of negative emotions ranging from sadness to
this series stemmed from images of people mediated through a great and often blurry mashing misery. The artist from the start takes a distinctive route from the actual creator of
of other images." It also writes, "...these images were often trodden down on the floor of his own the work by adding a new wave of movement as he changes the texture. This
studio, by his own boots...These images were snatched from anywhere and everywhere." The presents as a lead up to the distortion of the head; The passive nature chaos sets a
tone set by this publishing house proves that Bacon s source is that of an unconventional somber feeling. The unrelenting black strokes all over the painting add to the mood,
nature, making this artwork unique. A certain level of skill has been displayed in this artwork as but it also pulls the piece upwards, which gives it this aesthetic that states a
the audience can see the creative process that went into this work. Every aspect narrates a story negative connotation. More specifically, the lines foreshadow the contortion of the
of emotion. Instead of blending out the colours, which are the primary function of oil paints, head as the viewer's eyes move along with the painting. A whirlwind of emotions
the artist keeps it to a more abrupt form making the work look frenzied. Overall, the use of roams as the atheist painter paints an heir of a Pope from a Church who's been
material itself portrays a different aspect of emotion, which makes robbed of his imperious serenity. He, now, sits in a throne of the unknown void
the work more emotionally oriented than one would think at first considering there is a thin appearance of a cuboid can be seen as a cage for the
glance. Pope's unfiltered screams of pain to sit in. Lastly, the atmosphere of helplessness has
ICONIC STUDY AFTER VELÁZQUEZS PORTRAIT OF POPE INNOCENT X, 1953 ON DISPLAY. Francis Bacon, https://
www.francis-bacon.com/news/iconic-study-after-velazquezs-portrait-pope-innocent-x-1953-display.
been highlighted here in an indirect manner. This is an emotion that the
Herzig, M.A. Björn David. GRIN - Francis Bacon's Study after Velázquez's Portrait of Pope Innocent X.". Publish Your artist himself had faced as he was thrown out of his own home after his
Master's Thesis, Bachelor's Thesis, Essay or Term Paper, https://www.grin.com/document/141822.
father didn't accept his sexual orientation. Even with the lavish clothing and
The Truth behind Francis Bacon's 'Screaming' Popes: Art: Agenda. Phaidon,
https://uk.phaidon.com/agenda/art/articles/2013/february/08/the-truth-behind- “Captain: Brandy.” Thursday Boot Company, https://
thursdayboots.com/products/mens-captain-brandy.
the throne, the feeling of existential anguish is something that the distorted
francis-bacons-screaming-popes/.
Glover, Michael. Great Works: Study after Velázquez's Portrait of Pope Innocent X. The Independent, Independent Digital News and Media, 4 July 2013, https:// Pope cannot escape, for it already took over him. Francis Bacon paints the
www.independent.co.uk/arts-entertainment/art/great-works/great-works-study-after-vel-zquezs-portrait-of-pope-innocent-x-1953-153cm-x-1181cm-by-francis-
bacon-8688702.html.bacons-screaming-popes/.
screaming mouth radiating that very emotion.
 ‘The Great War’ by René Magritte (1964)
General Function and Purpose:
Francis Bacon has created a wide range of works in his active years, yet, all of them had the same inspiration for emotions. Many of his works have been inspired by
other artists such as Diego Velázquez and Francisco Goya. The purpose of this painting is similar to the fact that the Velázquez study of popes has inspired it. Bacon
seemed to has a particular fascination with the artist and wanted to re-create something stemmed from the Pope s subject. The first source of inspiration was Portrait
of Pope Innocent X. (1650). Between 1950 and 1965, Bacon produced over 25 works after Velázquez. While his interest in the subject dwindled after 1953-which is
when he created my chosen artwork-they reflected an essential function of the intense struggle and artistic argument Bacon had with his predecessor during more
FUNCTION AND PURPOSE

than a decade of his lifetime. Since the original artist was commissioned to produce these paintings, Bacon s main objective was to tear down the power the work
radiated; Hence, creating the screaming popes. All the artworks that were produced under this subject portray vile emotions. Through art, Bacon abused authority
through surrealistic torture. However, when the artist was asked about why he created the artworks the way he did for this particular theme, he responded lightly by
stating that it was just a stupid obsession that got him nowhere in terms of his art and skill. These, at large, make the purpose and function of Study After
Velázquez s Portrait of Pope Innocent X theories and not solid facts. But, what can be gathered from Bacon s interview is that the purpose of my chosen piece was
simply an obsession from an artist that was huge in his time. The function of all the elements here is the distortion of perception about what power truly is with
miserable emotions. Christian, Perienne. “16th October Life Class - Inspired
by Velazquez.” The Other Art Club, The Other Art Club,
21 Oct. 2013, https://theotherartclub.squarespace.com/
blog/2013/10/21/16th-october-life-class-inspired-by-
velazquez.

Psyche/Challenging Visual Codes Function: Personal Function and Artistic Intention: (Original painting by Velázquez)

To highlight the frail sense of power, Bacon relies on certain formal qualities like movement The figurative painter was known to create artworks based solely on
and textures to enhance the symbols present. The depth of the piece comes from the concept his perception of raw emotions. It's this aspect that highlights the
and cultural influence, which makes the visual codes in the artwork arduous to understand. cultural significance of the chosen painting, Study After Velázquez s.
The distorted head is symbolic of destroying a person's mind, hence, their power. However, Portrait Of Pope Innocent X.' Seen throughout his active years, Bacon
upon researching, many of the symbols are subdued due to the personal function presented by was often seen producing pieces that had emotionally charged
my chosen artist. imagery and fixation on personal motifs. The artwork here is a result
As proven in the previous slide, the chosen painting comes from a series that does not have a
of the latter. As the name suggests, the work is a study after Diego
definite artist's intention because Bacon has been vague about it. However, sources state that
Velázquez's painting of the Pope. He was a Spanish painter who was
beyond the War aspect, the distortion and the colour palette comes from the creator's love
also a constant source of inspiration for Bacon. The study disparages
life. Psychologically as a gay man, the creator was said to be drawn to violent men, and he led
Christianity as he relentlessly fixates the motif of Crucifixion and Pope.
an intense relationship with Peter Lacy. The latter was much older than Bacon and an alcoholic.
His own bias comes live as he painted the 'Screaming Pope in a
The addiction so severe that, he had a vicious streak as a raging drunk who once threw the
surrealistic approach to match his perception. The painting is a photogenic negative of the original
selected artist through a plate-glass window. But, through this all, "Peter Lacy was the great love
artist as he majorly distorts the head. The study went on for over 20 years, after which the artist
of Francis Bacon's life." After his alcohol-related death, Bacon had a shift in perception and
abruptly stopped. He later revealed that he found these paintings 'silly and had wished he'd never done
hence, brought in the elements seen in the chosen painting today. This highlights a hidden
them'. However, in today's time, these series are perhaps Francis Bacon's most famous work. In an
visual code that acts as a psychological function to the piece. It challenges the artist's psyche
article released by Phaidon, it has been stated that Bacon's obsession with painting this theme could
during the creation of this painting.
Another unusual concept brings forth Lacy's age. While it remains unknown, sources across suggest a further sign that is more psychological concerning his sexuality. A remark stated that the

several platforms claim that he was old enough to be Bacon's father. Under odd circumstances, Pope's official garb is similar to that of a drag queen. It has also been speculated towards the opposite

due to the artist's terrible relationship with his father, he found parental comfort in the former spectrum of the Pope being distinguished as the 'Holy Father,' which may bring up Bacon's traumatic

lover. This enacts as another visual symbol of the chosen subject in the painting of the Pope. experience with his father. In the later years, his father rejected the artist due to his homosexual

Bacon painted an older man in regards to the former partner and the solace he attained from it. inclinations, and these emotions of agony can be seen reflected in this artwork.
 Study After Velázquez s Portrait of The Visage of War: Salvador Dali The Great War: René Magritte
Salvador Dali is a world-famous artist known for creating René Magritte is known to create witty and thought provoking
Pope Innocent X : Francis Bacon artworks depicting subconscious imagery. This painting highlights artworks simply, by adding a unique symbolistic element in his
Francis Bacon often creates art pieces which are abstract and often the terror that strips the psychological guards. Like every other pieces. Many critics were astonished at this approach of art at
blur the lines of surrealism and realism. The series of Study of Pope work produced by this artist, this piece has an impact that was first, but, when surrealism became more popular in the 1920 s,
X , was an opportunity for his audience to understand who he truly highly talked about. In my opinion, the use of oils to blend and Magritte further rose to fame. His attitude towards his art is so
is and what he believes in. His methodology of presenting enhance emotions is a great addition to this painting. I also refreshing to see. Like Knight says below, his elements are
unconventional meanings is unique to analyse. In my opinion, this appreciate the use of symbolism present in this work such as the seemingly timeless as the work of the 40's are admired globally
series acts like a sharp cut into our beliefs and makes us question its snakes and skull because they clear the theme of war much today. Magritte is heavy on his aesthetics. A seemingly normal
subjectivity. As mentioned by the critics below, his take one the clearer. The colour palette used create a dull feeling which works painting turns to surrealistic and bizarre with a questionable
formal qualities provides a visual chaos that is often times well with the meaning of this piece. element present. In this work, it is the flowers on the woman s
overwhelming yet, one has a hard time looking away. He creates face. Moreover, his pieces are hypnotic in nature due to the
Quotes by critics in 'Art News in 2005
new level of alert within his audience that psychologically makes "Michael Taylor, curator of modern art at the Philadelphia setting and movement present. It makes his audience want to
use question our knowledge. Museum of Art and cocurator of the Dalí retrospective, puts it̶ unveil the true meaning behind a piece.

Peter Schjeldahl for The New Yorker in 2009 is ripe for revision. Brad Smithfield for The Vintage News in 2018
He was the first in the 20th century to ask the questions that "His hypnotising works of art are always a confounding sight to
"Bacon s striking formal innovations, in handlings of pictorial
CRITICS’ REVIEW

are off the greatest topicality to us today, Curiger explains. behold, even for those familiar with his work. In the 21st century,
space, include swiftly limned cubical enclosures and evocations
audiences struggle with finding a true meaning in Magritte s
of proscenium stages, in which single figures̶or paired figures Artists have always tended to like Dalí, even when he was out
paintings, to no avail.
interwoven in paroxysms of sex and/or death̶leap to the eye of fashion, says William Jeffett, curator of exhibitions at the Smithfield, Brad. Of Course It's Not a Pipe." The Flawless Logic behind the Paintings of René
Magritte. The Vintage News, 27 Jan. 2018, www.thevintagenews.com/2018/01/10/rene-magritte/.
Schjeldahl, Peter. Rough Stuff. The New Yorker, The New Yorker, 18 June 2017,
Salvador Dalí Museum in St. Petersburg, Florida.
www.newyorker.com/magazine/2009/06/01/rough-stuff-2.
Christopher Knight for The Los Angeles Times
Johnathon Jones for The Guardian in 2005 He was the first in the 20th century to ask the questions that
"Bacon is a master, and this exhibition establishes that all the are of the greatest topicality to us today, Curiger explains.
in 1996
"Magritte is pop culture with its pinkie raised…His bizarre, long-
more effectively by seeing him from a modest and prosaic point of
Dalí was a key pre-Pop figure, says Bice Curiger, a curator at suppressed 1940s pictures suddenly shone as likely ancestors to
view - Bacon the portraitist and student of the human head… Postmodern art.
the Zurich Kunsthaus,
Bacon is a passionate student of painting. He is a theorist of art." 'Magritte'--This Is Not the Whole Picture. Los Angeles Times, Los Angeles Times, 19
My sense is that Dalí is going to be completely reborn, and Sept. 1996, www.latimes.com/archives/la-xpm-1996-09-19-ca-45528-story.html.
Jones, Jonathan. How Francis Bacon's Art Tells the Brutal Truth about a Bloody Century. The Guardian,
Guardian News and Media, 9 Aug. 2005, www.theguardian.com/culture/2005/aug/09/ people are going to look at him in completely new ways, says
edinburghfestival2005.edinburghfestival1. Adrian Searle for The Guardian in 2011
Robert Rosenblum, professor of modern European art at New
"It is easy to regard René Magritte as a much better image-maker
Lawrence Gowing and Sam Hunter York University s Institute of Fine Arts.
and inventor of visual and verbal conundrums than he was a
"Bacon brings to the surface fresh levels of awareness, both For too long now people have just swallowed whole the idea
painter…With Magritte, even the bland Belgian sky becomes
mythic and psychological, that range far beyond the scope or that late Dalí is nothing more than commercial, Taylor says.
something other: a sky dreaming of itself in the plainest blue, in his
intention of any contemporary realism…His dominant artistic All along, in everything he did, there was an intellectual
favourite greys and white.
concern has been to capture the instant of movement and life's underside. This has been hidden partly by his own persona and
Searle, Adrian. René Magritte: beyond Surreal. The Guardian, Guardian News and
ephemera before they lose their immediacy. partly by his enemies, of whom there were many. We ve reached Media, 21 June 2011, www.theguardian.com/artanddesign/2011/jun/21/rene-magritte-
Gowing, Lawrence, and Sam Hunter. Francis Bacon Critic. www.moma.org/documents/ tate-liverpool-surrealism.

moma_catalogue_1959_300062980.pdf .
the appropriate time now to reconsider him and to demolish the
myths around him.
Stolz, George. The Great Late Salvador Dalí. ARTnews.com, 18 Nov. 2019,
www.artnews.com/art-news/artists/the-great-late-salvador-dal-111/.
 Similarities & Differences

The Great War: Study After Velázquez s

René Magritte Portrait of Pope Innocent
Colour palette: cool and soothing tones to X : Francis Bacon
SIMILARITIES
the symbolism. Colour palette: chaotic; odd mix of purple, yellow and
black

Type of symbolism: Gender and Flowers. . Theme: Various perceptions of War

Type of symbolism: emotion driven through method of
painting
Use of geometric lines for the background Driven by symbolism connecting to themes.
to divide sky, water and ledge.
Rough lines add to texture in order to show the feelings
Has a central focus as the only element of
of distorted head.
Method of Painting: smooth and detailed; artwork.
two-dimensional and intricate blending
Method of Painting: jarring, fast-paced and frenzied;
on the dress. Fits the Rule of Thirds at large.
Lack of blend in oil paints.

Take on Central Theme: Greed for Power Material Significance: Oil on Canvas
Take on Central Theme: People with High power are
VENN DIAGRAM

and Hunger drives humans to Wars.

also not safe from War.
Space: Evenly divided with no particular bias to
Proportionate and well-balanced negative or positive.
Slight dimension due to cube outline; even use of
space but overwhelming due to harsh strokes.
Choice of Element: Have a human figure
symbolising the theme; the features have been
distorted, incomplete and covered with other
sub-elements.

The Visage of War:

Salvador Dali

- Colour palette: warm and earthy tones. Method of Painting: detailed elements with highlights and
dimensions to produce a 3D/realistic head; Artificially
smooth: copper like.
Type of symbolism: Skulls and Snakes

Take on Central Theme: Effects of War on civilian life.

Balanced but not proportioned as the head
leans towards left. Memoir to the Spanish Civilian War: Artist s nation
SIMILARITIES & DIFFERENCES ‘The Visage of War’ & ‘The Great War’
(S1) Themes: The following artworks have
the theme of War being represented.
Similarities: The Great War: René Magritte
Taking an unconventional method of (S2) Material Significance: Both paintings have been (S3) Cultural Significance: Artists, in both these artworks,
depicting the same, Dali and Magritte created on canvases using oil. There is no mention of have drawn something that is culturally impactful and
portray their take on what war is, how it original dimensions for the The Great War work, but reflects something of the past. While Dali, weeps for the

may have affected them and the outcome victims of the Spanish Civil War, Magritte has painted
The Visage of War, is 25.2 inches 31.1 inches; 100
a tribute to World War I.
of the respective wars shown. cm 79 cm.
(S5) Background: Using still and geometric lines, both the artist
(S4) Method of Painting: Use of slow and intricate strokes that highlight create a smilier looking background as they divide the sky and land/
(0.3)
the blends for various aspects of the paintings (0.1). Furthermore, this water with a two-dimensional effect (0.2). Working with their own
method of painting has allowed the chosen artists to create colour palettes, the division on lines has a warm and cool tone in
the corresponding paintings. (0.2)
more photogenic elements that look hyperrealistic and convey the
extent of the message. (S6) Symbolism: The chosen paintings radiate a have a sense
of symbolism as they highlight War through skulls, snakes,
(0.1) flowers and a white dress (0.3). While the perception of War
is on other ends of the spectrum, they come from the similar
use of symbolism and develop the concept from this formal
(0.5)
quality. Both works use elements of objects that have
previously been a part of war.
(D5) Perspective: Comparing the chosen artworks, a
Differences: difference later noticed is the use of dimensions in
(D1) Colour Palette: The visually contrasting difference is evident both artworks. In The Great War. The background, as
due to the colours highly setting the mood. The Visage of War, has written prior, is two dimensional. The woman, however,

The Visage of War: more earthy tones, whereas, The Great War has more neutral colours. These palettes do reflect at has shadings to her dress, which adds perspective to her, but
the emotions of terror and serene, respectively as well through the chosen palette relying on the there is no shadow present, which may heighten the 3D
Salvador Dali
elements of passiveness and chaos. appeal. Visage of War, creates a realistic three-dimensions
The Great War - Cool Palette
head with an evident shadow behind giving it
(D2) Spectrum of Theme: The following artworks show the opposite ends of the
a two-way perspective of surrealism. Even
War. Dali s. The Visage of War highlights how War affects people and terrorises
the detailed blends of expressions adds to the
various nations. While Magritte s, The Great War , is a memoir to World War I
(0.4) The Visage Of War - Warm Palette perspective. (0.4)
symbolised as a woman, essentially making the statement that the idea of War
seems intriguing, but it s covered behind a realm of death (flowers).
(D3) Movement: The formal quality of movement is a contrasting factor to both (D4) Texture: A notable difference between the paintings is the textures. Seen through the
the paintings. This stems from the way both the method of blending and blending of both works. Magritte takes a rather fast-paced stroking method giving the
painting. Focusing on the expressions, Dali creates the head with a lot of dress a rough look. The background has been worked on thoroughly for a sleek surface. On
rhythm. This includes the furrow of the eyebrows trailing down to the snakes the other end, Dali has created a bronze-finished glossy texture on the main element of
(0.4) Whereas, Magritte paints no movement. That could be analysed. It s a the painting. A high sense of detail has been used, and like the other painting, the
rather levelled artwork. background is smooth but dry looking to add to the theme of this artwork. (0.5)
SIMILARITIES & DIFFERENCES ‘The Visage of War’ & ‘Study of Pope X’
(S1) Themes: Rather than the theme of War, this artwork comes
from a similar concept of emotions. The pieces are emotion-
Similarities:
(S3) Material Significance: An obvious comparison that is to be drawn here is the use
driven and the centre of interest. When analysed
of the medium. Painted as Oil on canvas, the method of painting has created
carefully (0.1), the feelings of terror, horror, and pain are
a contrasting texture that adds to the theme and impact of the artwork.
evidently visible. From the emotions in place, the artworks are
(0.1) The dimensions of the pieces are: The Visage of War : 25.2 inches 31.1 inches;
further enhanced.
(S2) Balance: An aesthetic similarity in the two artworks 100 cm 79 cm and Study of Pope X : 60 ¼ x 46 ½ in. (153 x 118 cm).

is the balance of elements and the use of the rule of (S3) Perspective: Both the chosen works for this slide have a three-dimensional aspect in it.
thirds. As seen in (0.2), the focal points are placed right For Dali s painting, the head has shadows and blending that give the head a realistic figure to
in the middle of the canvas with the sub-elements it. The Pope piece by Bacon, on the other end, may look two-dimensional art first, but the
working around them to create an impactful artwork. light white coating of a cube (0.4) shape adds to a cage-like theme that adds to the message
This balances out the artworks because the main to what the artist was trying to paint as he further added dimensions.
elements are predominant in terms of emotions, as Study After Velázquez s
Use of
discussed prior.
dimensions Portrait of Pope Innocent X
(0.4) (0.3) :Francis Bacon
(D4) Background: The paintings being a
varying background due to the use of
perspective. The development is nothing
alike. As seen in Dali s painting, a clear
difference between the background and the
(0.2)
Differences: Sense of (0.6)
head similar in nature, the development
background henceforth is nothing alike. As seen in Dali s
The main subject of the paintings fit right in the (D3) Unity: While the paintings have a like ideology behind them, painting, a clear difference between the
centre of rule and thirds.
the way the respective works have been painted is quite the background and the head is visible due to the
The Visage of War: opposite in nature. Observing The Visage of War, there is a high blending and shading giving it a heightened
Salvador Dali sense of unity as each element bounces off each other, adding to the dimensions. But, in Bacon s work the background is not

(D1) Cultural Significance: The paintings at hands come from a central theme of the artwork. On the other end, Bacon has painted a visible as it has been merged with the distorted head.

different era and an idea of concept. This is from the fact that fierce painting that lacks coherence, and the elements are loud as they try The background that differentiates the elements in the

The Visage of War is a memoir to the victims of the Spanish and overpower one another. Both pieces are a different approach to painting is the light box cube that adds perspective. (0.6)

Civil War but, The Study of Pope X , is a series of Bacon s showing emotions. The contrasting unity also comes from the colour (D5) Colour Palette: While both the colour palettes used

fascination with the Popes and ruining their so-called power palette that has been chosen by the painters. Dali has taken colours from for these paintings are that of warm tones, Bacon has more

by distorting them. the same family, while Bacon worked with colours like yellow and purple mixed tones while, Dali has chosen to use shades of
(D2) Texture: The following artworks have a rather contrasting theme of how the that are not a browns and nudes.
common choice. The Visage Of War - Warm Palette
texture has been used. Dali, has taken a more patient and artistic route of
creating emotions through high level of oil paint blending. On the other end,
(0.5)
Bacon wanted the painting to scream the terror felt by the Pope as he painted fast
and jarring strokes (0.5) all over the canvas. There us all a low level of
Study of Pope X - Mix of Cool and Warm Palette
coherence in the blending of the clothes on the pope which adds to the effect.
SIMILARITIES & DIFFERENCES ‘The Great War’ & ‘Study of Pope X’
(S1) Perspective: Both these artworks have a similar
approach to the way they have been painted. At first
Similarities: (S4) Balance: Making the artwork visually appealing, both
artists have produced something balanced in terms of the rule
glance, the artworks seem to be two dimensional. While they hold this
of thirds. As seen in (0.3), the focal points of the pieces fit
perspective for the most part, upon further analysing, the pieces have a sense
right in the centre of canvas. This adds to the aesthetics of the
of a 3D perspective. In Bacon s work, it seems due to the cuboid cage,
artworks because it prevents the work from becoming
whereas, in Magritte s work, it is seen by the ledge, behind the woman s
overwhelming.
dress. (0.1) (0.1)

(S5) Material Significance: Another similarity here, is

the use of material which is Oil on Canvas. The
dimensions of both works are: The Great War - no
(0.3) use of rule of
detail available and The study of Pope X - 60 ¼ x 46
thirds
½ in. (153 x 118 cm). (S6) Colour Palette:
Study After Velázquez s (0.2)
(S2) Focal Point: Both the paintings have a Unlike the other two
Portrait of Pope Innocent X: The Great War - Cool and Warm Palette
central focus around which the other elements comparisons,
Francis Bacon the colour palettes of these paintings
are created. For Bacon s work, the distorting
(S3) Themes: Driven by symbolism, are similar in nature. This is in the
head is the focus, while in Magritte s work, it is
Study of Pope X - Mix of Cool and Warm Palette sense that both have a largely cool
the artworks have been created the woman s hidden (0.2).
through analogy where a hidden palette with some warm tones that
meaning is present. Seen in the Study of Pope X, the artwork highlights how power is add to the artworks.
subjective and can be ruined at any given point-as seen in the distortion. Similarly, in (D4) Symbolism: Both the pieces do use symbolism as a mean to depict their
The Great War, the symbolic use of flowers highlights the dangers behind the beauty.
Differences: purpose of the artwork but the type of symbolism is contrasting in nature. As
Both pieces indirectly point towards War, and the elements surround it. seen in (0.6), Bacon has used a more direct method of this element through

(D1) Texture: While the medium used for both the artworks are the same, the way the oils have distortion. But, Magritte chose to take an indirect route by using purple

been built up is completely contrasting in nature. As seen in (0.4), there is a rough blend flowers which were a memoir to the WWI victims over a woman, who are often

created by Bacon in his painting. Using harsh strokes, there is a lack of unity amongst the objectified. (0.6/0.7)
colors. Similarly, the purple clothing has not been fully blended but, just enough to create The symbolism and movement are two
dimensions. On the other hand, Magritte has blended the woman and her clothing to look semi- elements that compliment each other.
realistic. The shading around her arms provides substance to the realism of the elements (0.4)
here. He also creates an aesthetically smooth painting when compared to the bluntly painted one by Bacon. (D3) Movement: Going hand in hand with the
texture build up, a contrasting element to be
Along with that, when analysed closely, the background texture is simplistic and blended while, the dress
analysed is the movement created by both the
still has some roughness to it.
artists. As mentioned prior, the use of black strokes
(D2) Background: Another different element present between these pieces in Study of pope X , creates a sense of upwards movement. Which Bacon
is the background. The Great War has a still background that intended as he wanted to show the head being blown off. Especially with
dramatically impacts the purpose of the artwork. It also enhances the the scream (0.7), there is a motion of speed in this painting. On the other
focal point. On the other end, The Study Of Pope X does not have an end, there is stillness present in The Great War , which makes the
painting intriguing. This, was again Magritte s intention that he later
evident background. Instead, the main element blends in with the so-
(0.5) unveils through flower symbolism. The Great War: René Magritte
called background (lines), morphing into one. (0.5)
 ‘The Visage of War’
Influence on Themes: Salvador Dali:
The Visage of War

By investigating war for my study, I realised that while war is about power, it goes beyond the stereotypical battle, fighting and killing. 25.2 inches 31.1 inches
Oil on Canvas

War can be personal, a battle with your saboteur as you fight to survive every day. The prior statement is inspired by Dali's face of war
which shows timeless despair, which I chose to interpret as addiction. I have grown to see specific influences in my life battle with
addiction, specifically alcohol and nicotine. While these individuals fought their way through it, others may succumb to it, which
eventually may lead to death. For the criterion, I chose to personify the phrase, 'smoking kills.' The opportunity to experiment with this
concept was broad, and I wanted to take this to a surrealistic approach because Dali's perspective invigorated me. One of the first things
DRAWING CONNECTIONS

to capture me in the chosen artwork was the lack of eyes and mouth. Instead, they showed skulls within the skull, symbolising
timelessness. The symbol was critical in defining the purpose of the piece. Hence, I was influenced to digitally edit the eyes and mouth to
emphasise the meaning I aimed to exhibit.
Movement: The snakes in 'The Visage
Influence on Formal Qualities: of War' sparked the idea of floating
Centre of Interest and Emphasis: While the face may have been the centre of interest in smoke all over my work. Its movement
Dali s piece, it were the eyes and nose that were emphasised. They were used as symbols of hovered over the face alluding to something more,
Personal Work:
despair and hopelessness which inspired me to show the effect of smoking in these facial and I wanted to bring out the function in 'Smoking Smoking Kills
1284  pixels  2014 pixels

feature. Using this approach helped build dimension and my approach for the same in my Kills' as it alludes to smoke taking over your body. Makeup and digital editing

work was by darkening the eyes and projecting smoke from

Visually the snakes play a critical role in
them. The concept can be interpreted as a psychedelic effect or
emphasising war as it acts as a symbol of death; I
highlighting what nicotine does to your lungs on the face. My
strived to draw the same narrative in my work and
goal was to allude to multiple perspectives because I viewed
was satisfied with the result. Dali's use of symbols is
'The Visage of War' to have a similar approach. Bizarre thoughts
a niche because he drives the unconventional
and sub-conscious drive surrealism. Thus, the thought process behind my piece was heavily meanings, while my symbol is more direct. There
influenced by the chosen artwork. Colour Palette: War is were some passive cultural references I was able to
The Visage Of War - Warm Palette not depicted using draw through to the movement that is discussed
earthy tones like Dali below.
did, which gave it an eerie feeling. This encouraged me to experiment with
brown tones on my piece to capture the essence of withering away like
Smoking Kill - Cool and Neutral Palette
flames burning paper. The analogy fits especially since smoke is visible
everywhere. To do this, I saturated my work slightly to present a bluish hue
over which I added a filter using the VSCO app. The result produced was
cool tones of brown that made the piece chaotic similar to the tones Dali
Cultural and Conceptual Influences: placed in the background of the chosen artwork.
Conceptual influences have been discussed throughout this slide as it relies on the theme and my interpretation of it. However, Dali's cultural references were focused on the Spanish civil
war driven by symbols. Inspired by the anecdotal view, I visualised how smoking kills and introduced doom through the smoke. But, a passive reference I made was a nod to the devil with
two smoke lines going up the head and into horns. Addiction is seen as a sin, and it is often born from greed; hence, this symbol drove another meaning to my piece as I took on Dali's
method of using unconventional symbols which ended up acting as a visual code purpose.
 ‘The Great War’
Influence on Themes and Significances:
While analysing the significances of 'The Great War,' I recognised that multiple symbols were used to enhance the
piece's overall meaning. Some examples that helped shaped the purpose of my artwork were the 1940s dress and the
flower. To further enunciate this, Magritte painted a metaphor drawing comparisons to how war looks attractive due to
its power like a woman does because of her innocence, keeping the timeline around World War I. The symbols brought
out the theme of appearance versus reality, and I was inspired to bring a similar viewpoint to my work for this part of
the study because it helped draw a narrative that connects to several aspects like culture. The theme designed by the
DRAWING CONNECTIONS

artist also relies intensely on the cultural significances, which were essentially placed by the formal qualities. The
technique made the artwork engaging and interesting to analyse. Hence I attempted to bring in something similar. My
artwork follows a narrative of how Indian society has normalised domestic abuse, especially in marriage. It is claimed to
be 'between the couple', and the woman is often blamed for it. This is another war that wages as I highlight the social
issue; it primarily talks about gender, equality, and caste. Magritte's influence is seen by the use of chains, jewellery and
René Magritte:
the red saree, which is traditional wedding wear for the bride. The heavy earring is a nod to appearances that a woman The Great War
Oil on Canvas
is meant to keep up with.
Furthermore, instead of a necklace, I chose to put on chains to symbolise how the woman is trapped. All these passive Texture: The chosen artwork
elements were inspired by the umbrella, hat and purse that the woman in Magritte's piece wears because they capture details picture-esque qualities;
the essence of the time that I connect parallel to the culture depicted in my piece. The purple flower on the face in 'The hence, the texture is a prominent
Great War' inspired me to design a façade through makeup to emphasise the theme suggested earlier. The split face Personal Work: formal quality in it. As seen on the
Consent to Abuse

shows a crack in the façade because when abuse becomes a pattern, the survivor/victim can only hold it for so long. I see 1000 pixels by 1500 figure and the accessories, natural
pixels each

my piece as a perspective of Magritte's. He talks about the fascination of war, underlying a mystery in his work, while
Mixed Media̶
makeup and digital
textures have been placed to add
editing
attempting to project someone in a war when the mystery unravels and fascination becomes anger. perspective. The piece I created
built on a photograph. Thus texture was not something I could avoid. However, I was
Influence on Formal Qualities: inspired by the flowers Magritte drew in detail and wanted to project something similar
Centre of Interest and Emphasis: The concept of my piece was inspired by Magritte's use of
while creating the bruises. Due to the pandemic, I didn't have the resources to get VFX
the flower that symbolises war. It was the central point of the piece with the stark purple
The Great War - Cool and Warm Palette material to create extra skin and
tone, and I wanted to create something with a similar focus. Hence, the bruises designed on
texture. I used editing apps to
the face in my artwork are the focal point especially since, one side is glammed up with sharpen the areas of bruising along
makeup while the other is bruised and broken. Then, the tears on the 'pretty' side symbolise Consent to Abuse - Mix of Cool and Warm Palette with graining and saturation to
the façade breaking, emphasising the purpose of this artwork. create a grimy texture that would
express the concept.
Movement: To create an eerie feeling feeding to the mystery of the chosen artwork, Magritte avoids declaring any
Colour and Value: Magritte's use of colour is interesting to me because the
shaping movements. Instead, he paints the elements still and geometrical. The only sense of movement apparent
palette is not vast. He uses colours critical to the piece and the various tones of
details in the clothes shows the fall to emphasise a realistic painting. While I wanted my piece to be more it. Unlike my other pieces, there is no similarity in the palettes of both pieces.
prominent and chaotic, I was mindful of the movement because I wanted to capture a similar feeling to Magritte's Still, I was influenced by the artist's technique of colours and stuck to similar
piece. It helped enunciate the concept, which I enjoyed. Like Magritte, I decided to add some movement in the values throughout, with a prime focus on reds and purples. It made my artwork
clothing by placing the saree to fall off the shoulders. It's subtle but draws focus to the chains above. focused and maintained perspective.
 ‘Study of Pope X’
Influence on Themes: Personal Work:
Study of Teenage Chaos
Francis Bacon:
Study of Pope X
Francis Bacon's muse for this series was a grave source of inspiration that I wanted to cooperate in the piece I was going to 3 ft by 2 ft 60 ¼ x 46 ½ in
Acrylics on Fibre Glass Oil on Canvas
produce. This is in light of the way the chosen artist surrealistically abused the power of the Pope, he referred to̶the
ideology guided me to click pictures and form my own muse and then tear apart their emotions to highlight just how
fabricated power is. I chose to stray away from the power that comes with authority which, the artist had created; I was
more interested in the concept-driven by him and decided to bring out the intense chaos that seems to embody almost
every teenager today. My personal work, 'Study of Teenage Chaos,' shows a distressed person and brings out the
DRAWING CONNECTIONS

overwhelming sense of emotions similar to that of 'Study of Pope X,' through colors. It thrives on themes that insinuate
mental breakdowns and turbulent rush. By conducting a photoshoot, I captured the genuine aura of stress through my
captured the genuine aura of stress through my model who was
requested to think about memories that formed tension in their mind
and asked them to scream (references on the side). This approach
allowed me to show how vulnerable we are to power, and anything in
high quantity can eventually ruin us. The factor was connected back
from the Pope while his power was an authority which could
eventually backstab him if used to incorrectly; In the inspired piece, Cultural and Conceptual Influence:
the vulnerability is shown through succumbing into the forces of our As stated previously in my comparative study, the concept behind 'The Study of

emotions. Through this brainstorming and connections, I was Pope X,' felt like a fresh take on war in terms of the authority that it brings and

influenced to bring out a general idea that was similar to my chosen how vulnerable we are to it. I was inspired by the subjectivity of this concept

artist and his work. and wanted to drive it out in a rather personal sense. For my artwork, I wanted
to highlight an everyday teenage issue̶stress and pressure̶it's a type of power
Influence on Formal Qualities: that crumbles almost every teenager (including myself) I know today. The
Centre of Interest and Emphasis: The focal point of the mouth and its Texture: Even though the chosen artwork
concept of how cultural factors within the human soul can hurt the mind if we
distortion, painted by Bacon, provided me with inspiration to portray that in for this study is oil on painting, there was
give it the power was an ideology I produced through my interpretation of
my work. It presented a rush of feelings for the audience to embrace, and I a certain roughness to it that provided a
Bacon's work. It helped me gain insight in terms of how powerful visual
chose to incorporate that through a similar facial expression and an texture. This helped create a symbolic
imagery is. Another significance critical to analyst is the lack of colour on the
unappealing mix of colors. I drew emphasis on the weary expression of the and rustic feel to Bacon s series of
face in my piece. This alludes to the stripping of identity as individuals face
woman which was influenced by Bacon's ability to create intense emotions the subjectivity of power. This is another
mundane struggles that shed them of self.
without the eyes and nose in 'The Study of Pope X,' quality that I was inspired to use simply
Colour and Value: From the beginning, I was in awe with Bacon's method of using because I was enamoured by the way it added to the visual appeal of the emotions in the selected work. For my
tones of colors that aren't usually paired together. In this case, it was hues of purples, piece, the material provided me with a base texture to build from. To enhance it, I chose against painting the fact to
yellow and golden. The blends of these colours were the foundation of the artwork. I build focus on how identity can be stripped away. The hair and the background were tastefully kept more abstract to
wanted to channel that in my piece as well. I chose to use bright colours and pair add an element of the fantastical composition.
them with darker tones to bring out the passive nature of chaos that I was striving for. Movement: The formal quality that really drew me in was the movement in the artist painting. The harsh strokes
‘Study of Pope X’- Mix of Cool and Warm Palette
had their own stories to tell and created an overall idea of the Pope's head being blown off. I wanted to bring that
influence in my artwork. I did this in the background of the sculpture, and by painting strokes upwards, I was able
My Artwork- Mixed palette with warmer tones to portray a story of how the woman's pain translated into the chaotic mess looming.
 New Perceptions, Attitudes and Motivation
Key Learnings:
My exposure to art is limited to the learnings I gathered from MYP Visual Arts so, coming into DP Art̶the chief goal while doing this
comparative study was to investigate something that I hadn't before. The themes and mediums of artworks chosen are aspects that I've
always been curious about. Upon conducting the extensive research I was expected to do for the study, I gathered some key learnings
that I aspire to take forward with me and apply it to the real world. I learned early on that each individual's perception is subjective to
them and that it is open to interpretation for others. I put this as pivotal learning solely on the fact that Art is a personal subject, and
everyone uses the creative outlet to express themselves. The newfound mindset made me conscious of the judgments and opinions I
formed while creating each slide. Beyond Art, this taught me to be more sensitive and empathic in general because perceptions on a
subject can never match̶Therefore, we need to learn to listen to everyone and respect what they're voicing.

Exploration of Themes and Significances:

Power is this concept that has highly fascinated me for as long as I can remember. It is something that everyone chases after and will do almost anything to attain it.
It is an ideology presented by artists across various cultures on bigger scales, such as War. By choosing this theme, I promised myself to explore this fascination, and
by doing that, I allowed myself to attain a deeper understanding of the world and just how greedy humans are to be superior. I also realised that power does indeed
come at a price̶in War, it's the life of the common man and exhaustion of resources. Overall, the themes embraced and explored made me more mindful of how I
view the world. It helped me look for ulterior motives being presented in an opportunity, and its terms of Art̶I further learn to examine an artwork from different
perspectives to get a fair judgment of the piece. When highlighting the learnings attained through
examining artists from different cultures; The main point to be noted is that cultural influence plays a
significant role in the outcome of the piece since it reflects back to the creators' childhood and life
experiences. It helped me to look at each of my chosen artists in a different light and taught me the
importance of being expressive. I like to think of myself as a conceptual creator, and by conducting an extensive study on the conceptual
CONCLUSIONS

significances, I understood just how much it adds depth to artworks. To conclude, my artworks beyond this study have a newfound meaning
and acumen to it, which strengthened me as an artist.

Refined Approach to Art:

As I approach the end of my comparative study, a learning that is close to my heart is my enlightened approach to art that I aim to showcase
in my portfolio. Every time I created a slide, the research that I conducted for the segments of that slide made me realise the value of them. It
helped me appreciate the depth of artworks and the thoughts and skills that go into them. As an HL student, I was allowed to create pieces
that stem from the inspiration of the chosen works. The criterion gave me the push I needed to explore mediums I was once afraid of, and
now, they are means that I strive to incorporate and continuously try out to get better. As a whole, this outlet shaped me to be more open as
an artist and to explore mediums beyond the normal. A new perception of Art pushed me to be more aware in general because it helped me
portray emotions relevant to today's time and audience. I explored the themes of addiction, domestic abuse and navigating lives as
teenagers. The development of ideas are contrasting and this approach to Art has an audience that will relate to the meaning behind the piece
whilst learn to interpret and provoke thought. This is a development in my communication skills through this creative means. And lastly, I
came to the realisation that every topic has a broad spectrum. The face stands true for aspects of my life beyond Art, and it motivates me to
be a more open person in general, which is a productive form of growth. By choosing three different perceptions of power stemming from
War, I gathered an immense sense of knowledge on how war is interpreted. This motivated me to research more on the subjects on which my
artwork will be based on, which made me a highly cognisant human.
 Comparative Study
“Francis Bacon (1909-1992).” Francis Bacon, http://www.artyfactory.com/art_appreciation/portraits/francis_bacon.html

(image) Tófoli, Luís Fernando. “Internação Compulsória é Método Ilegal, Ineficaz e Iníquo Para Resolver o Problema Da Cracolândia.” Medium, Políticas De Drogas No Brasil, 15 Mar. 2019, https://medium.com/
politicas-de-drogas-no-brasil/compulsoria-solucao-ilegal-ineficaz-iniqua-cracolandia-1ce6b2dffb06. “Salvador Dali.” PZ C, http://pz-c-g.blogspot.com/2013/05/salvador-dali.html.

(image) 01哲學團隊 . “培根：回到感官本身 (10/28).” ⾹香港01, ⾹香港01, 28 Oct. 2018, https://www.hk01.com/哲學/51055/培根-回到感官本身-10-28. “René Magritte.” Wikipedia, Wikimedia Foundation, 7 Sept. 2019, https://en.wikipedia.org/wiki/René_Magritte.

“Rene Magritte - 370 Artworks.” Www.wikiart.org, https://www.wikiart.org/en/rene-magritte. (image) “The Great War, 1964 by Rene Magritte.” Henri Matisse, https://www.renemagritte.org/the-great-war.jsp. “Francis Bacon Paintings, Bio, Ideas.” The Art Story, https://www.theartstory.org/artist/bacon-francis/.

“Rene Magritte and His Paintings.” Henri Matisse, https://www.renemagritte.org/. “Salvador Dali, and His Paintings.” Diego Rivera, https://www.dalipaintings.com/. “The Face of War by Salvador Dalí - Facts & History of the Painting.” Totally History, 10 Jan. 2014, http://totallyhistory.com/the-face-of-war/.

Admin. “The Face of War by Salvador Dali.” ArtPaintingArtist, 12 June 2014, http://artpaintingartist.org/the-face-of-war-by-salvador-dali/.

The Editors of Encyclopaedia Britannica. “Salvador Dalí.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 16 Aug. 2019, https://www.britannica.com/biography/Salvador-Dali. “Salvador Dalí Art, Bio, Ideas.” The Art Story, https://www.theartstory.org/artist/dali-salvador/.

“Face of War by Salvador Dali: History, Analysis & Facts.” Arthive, https://arthive.com/salvadordali/works/315820~Face_of_war. “The Face of War.” The Face of War by Salvador Dali, http://salvadordaliprints.org/face-of-war/.

“Artwork of the Week: Salvador Dalí's 'The Face of War'.” The 8 Percent, 15 Mar. 2016, http://the8percent.com/artwork-of-the-week-salvador-dalis-the-face-of-war/. “René Magritte Paintings, Bio, Ideas.” The Art Story, https://www.theartstory.org/artist/magritte-rene/.

Cohen, Alina. “What You Need to Know about René Magritte.” Artsy, 27 May 2018, https://www.artsy.net/article/artsy-editorial-rene-magritte. “The Great War, 1964 by Rene Magritte.” Henri Matisse, https://www.renemagritte.org/the-great-war.jsp.

“René Magritte, The Great War (La Grande Guerre), 1964, Series 1, Lithograph (S).” Masterworks Fine Art Gallery, https://www.masterworksfineart.com/artists/rene-magritte/lithograph/la-grande-guerre-the-great-war-1964-
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“ICONIC STUDY AFTER VELÁZQUEZS PORTRAIT OF POPE INNOCENT X, 1953 ON DISPLAY.” Francis Bacon, https://www.francis-bacon.com/news/iconic-study-after-velazquezs-portrait-pope-innocent-x-1953-
display.

Herzig, M.A. Björn David. “GRIN - Francis Bacon's ‘Study after Velázquez's Portrait of Pope Innocent X.".” Publish Your Master's Thesis, Bachelor's Thesis, Essay or Term Paper, https://www.grin.com/document/141822.

The Editors of Encyclopaedia Britannica. “Spanish Civil War.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 20 Sept. 2019, https://www.britannica.com/event/Spanish-Civil-War.

Gareth. “The Colourful Career of Salvador Dali.” Ken Bromley Art Supplies, 16 Jan. 2019, https://www.artsupplies.co.uk/blog/the-colourful-career-of-salvador-dali/.

Journablog. “Salvador Dali - The Face of War.” Salvador Dali - The Face of War, 1 Jan. 1970, http://journablog.blogspot.com/2008/02/salvador-dali-face-of-war.html..

History of Art: Rene Magritte, http://www.all-art.org/art_20th_century/magritte1.html.

“The Truth behind Francis Bacon's 'Screaming' Popes: Art: Agenda.” Phaidon, https://uk.phaidon.com/agenda/art/articles/2013/february/08/the-truth-behind-francis-bacons-screaming-popes/.

Https://Www.jstor.org/Stable/23927139?Seq=1#page_scan_tab_contents.bacons-screaming-popes/.

Glover, Michael. “Great Works: Study after Velázquez's Portrait of Pope Innocent X.” The Independent, Independent Digital News and Media, 4 July 2013, https://www.independent.co.uk/arts-
entertainment/art/great-works/great-works-study-after-vel-zquezs-portrait-of-pope-innocent-x-1953-153cm-x-1181cm-by-francis-bacon-8688702.html.bacons-screaming-popes/.

Salvador Dalí Art Gallery - Paintings, Drawings, Photos, Videos, and Much More., www.dali-gallery.com/main.html.
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kozakartclass Follow. “Surreal Dali and Psychology.” LinkedIn SlideShare, 5 Jan. 2015, www.slideshare.net/kozakartclass/surreal-dali-and-psychology.

https://core.ac.uk/download/pdf/5008927.pdf

“The Secret Life Of Salvador Dali : Salvador Dali : Free Download, Borrow, and Streaming.” Internet Archive, 1 Jan. 1970, archive.org/details/in.ernet.dli.2015.76092/page/n27/mode/2up.

“Rene Magritte.” HYENA, www.hyenaproductions.com/rene-magritte.aspx.

“René Magritte - 7 Interesting Facts • Artlistr.” Artlistr, 5 Mar. 2019, artlistr.com/rene-magritte-7-interesting-facts/.

Cohen, Alina. “What You Need to Know about René Magritte.” Artsy, 27 May 2018, www.artsy.net/article/artsy-editorial-rene-magritte. “René Magritte.” The Alexandria Papers, 20 July 2019, www.thealexandriapapers.com/rene-magritte/.

History of Art: Rene Magritte, www.all-art.org/art_20th_century/magritte1.html. “Painting Under Crisis: Magritte and World War II · SFMOMA.” · SFMOMA, www.sfmoma.org/read/painting-under-crisis-magritte-and-world-war-ii/.

“Portrait of Francis Bacon's Violent Lover to Be Auctioned at Sotheby's.” The Guardian, Guardian News and Media, 8 Apr. 2013, www.theguardian.com/artanddesign/2013/apr/08/bacon-lover-auctioned-sothebys.

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Glass, Nick. “Visceral and Unsparing: Why Francis Bacon's Portraits of Screaming Popes and Lovers Live On.” CNN, Cable News Network, 29 July 2019, edition.cnn.com/style/article/francis-bacon/index.html.
BIBLIOGRAPHY

Brown, Mark. “One of Francis Bacon's 'Screaming Popes' to Be Auctioned in New York.” The Guardian, Guardian News and Media, 29 Mar. 2019, www.theguardian.com/artanddesign/2019/mar/29/francis-bacon-
screaming-pope-auction-new-york-study-head.

“Francis Bacon 'Screaming Pope' Painting to Be Sold at Auction.” The Guardian, Guardian News and Media, 26 Sept. 2012, www.theguardian.com/artanddesign/2012/sep/27/francis-bacon-screaming-pope-auction.

Jones, Jonathan. “Pope Painting by Francis Bacon to Go on Sale after 45 Years Hidden Away.” The Guardian, Guardian News and Media, 15 Sept. 2017, www.theguardian.com/artanddesign/2017/sep/15/francis-bacon-
pope-painting-auction-christies-45-years-hidden-away.