Texte remanié de: Diss.--Philosophische Fakultät--Bonn--Rheinische-Friedrich-Wilhelms-Universität, 2002. / Bibliogr. p. 137-152. Notes bilbiogr. Index.

<p>HOGARTH'S PROGRESS: `MODERN MORAL SUBJECTS' IN THE ART OF DAVID HOCKNEY, LUBAINA HIMID AND PAULA REGO</p><p>An Abstract by</p><p>Mora J. Beauchamp-Byrd</p><p> Hogarth's Progress: "Modern Moral Subjects" in the Work of David Hockney, Lubaina Himid and Paula Rego, examines three late twentieth-century, British appropriations of William Hogarth's narrative series. Hogarth is best known for the paintings and engravings that he termed "modern moral subjects," exemplified by satirical series such as The Harlot's Progress (1732) and The Rake's Progress (1733-5). These cautionary yet humorous tales evince a period of great social, political, economic and cultural transformation in England, a time of profound change wrought by colonial enterprise, an increasingly powerful middle class, and a heightened public interest in moral questioning. Recent scholarship on Hogarth has increasingly focused on the artist's diverse representations of eighteenth-century London life, his numerous images of servants of African descent, French dancing masters and Italian castrati. Unsurprisingly, for many contemporary artists, Hogarth's narratives provide a complex visual template for a host of present-day issues regarding race, gender, sexuality and national identity. </p><p>The dissertation will investigate how Hogarthian re-workings by artists David Hockney in the early 1960s; Lubaina Himid in the mid-1980s; and Paula Rego in 1999-2000, modify and/or expound upon narratives of gender and sexuality that are already present in the eighteenth century artist's narrative series. The three contemporary works examined here engage with two works by Hogarth: Marriage-a-la-Mode (1745), which chronicles the doomed union of an Earl's son and the daughter of a wealthy merchant, who sells her in marriage to obtain a higher social standing, and The Rake's Progress. Rake recounts the tale of Tom Rakewell, a merchant's son whose exuberant spending and moral decay, aided by a procession of effeminate French dancing masters, prostitutes and criminals, leads to his final residence, the madhouse "Bedlam." </p><p> </p><p>I will first examine David Hockney's early 1960s "Rake's Progress", a series of 16 etchings loosely based on the artist's first visit to the United States, an insertion of his own personal narrative into Hogarth's tale of moral decline. I will then investigate the work of Lubaina Himid, who initiated a Black women artists movement in 1980s London. In 1986, Himid produced a large-scale installation entitled A Fashionable Marriage. The work employs Scene 4 of Hogarth's Marriage-a-la-Mode series to critique the racist and sexist policies of the London art world during this period. Finally, I will discuss the work of Paula Rego, best known for her large-scale paintings of emotionally-charged domestic scenes. Rego has also re-worked Hogarth's Marriage, employing the earlier series to critique arranged marriages in her native Portugal. Rego's triptych entitled After Hogarth: Betrothal; Lessons; Wreck (1999-2001), like much of her work, reveals the psychological anxieties and ambiguities of gender relations and, in a broader sense, human interaction. For Hockney, Himid and Rego, Hogarth's contradictory evocations of eighteenth century London society provide a complex visual template for a host of contemporary issues such as race, gender, sexuality and national identity. </p><p>Also critical to this study is the relationship between the three contemporary artists. Hogarth is present as the key driving factor in all three works, yet also to be considered is the role that Hockney, as a critical figure in late twentieth-century art, played in the construction of both Himid and Rego's later works. </p><p>Although Hogarth's work has been appropriated by a wealth of artists from the eighteenth through twentieth centuries for a wide variety of uses, this dissertation will examine how three relatively recent quotations employ Hogarth as an "ally in subversion," while simultaneously making use of Hogarth's stature within the English art historical canon. I am proposing that these later uses of Hogarth, many of which explored various configurations of race, gender and sexuality, evolved from a key element inherent within the artist's work, a form of `ambiguous narrativity' that yet somehow appeared to crystallize issues of moral questioning as central ideological theme.</p> / Dissertation

Los Angeles has long been identified as a fragmented city, by nature of its cosmology and those constructed perceptions that constitute it in the collective imaginary. In an effort to articulate, interrogate and understand such a place, we have come to rely on its representations to function as mediators of meaning, delivering through their simulation of the city an experience of the real, lived Los Angeles. As a result, the relationships between the real and the representation become skewed, altering the processes by which we engage with the everyday. To better understand the implications of this dialectic, I examine four representations of the city: Disneyland, David Hockney’s “Domestic Scene, Los Angeles,” David Gebhard and Robert Winter’s A Guide to Architecture in Southern California and the BBC “One Pair of Eyes” installment “Reyner Banham Loves Los Angeles.” By analyzing representations of Los Angeles produced in a range of media, it becomes possible to discern the complex relationships between the real and envisioned Los Angeles, and to recognize the constructive force that emerges out of this discursive space. / text

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

Artemisia Gentileschi and Caravaggio's Looking Glass is an ironic allusion to both the concave mirror and the biconvex lens. It was these simple objects, in colloquial terms a shaving mirror and a magnifying glass, which Artemisia Gentileschi and her father Orazio, learned from Caravaggio how to use to enhance the natural phenomenon of the camera obscura effect. Painting from a projection meant that Artemisia could achieve an extreme form of realism and detail in her work. This knowledge, which was of necessity kept hidden, spooked the Inquisition and also gave artists, who knew how to manipulate the technology, an extreme competitive edge over their rivals. This dissertation challenges the naive assumptions that have been made about Artemisia's working practices, effectively ignoring the strong causal links between art and science in Seicento Italian painting. Introducing the use of optical aids by Artemisia opens up her story to a whole new generation of scholarship. / Art History / M.A. (Art history)

Esta dissertação apresenta uma abordagem sobre os dispositivos móveis como possíveis mediadores do pensamento artístico. Fundamentada em conceitos teóricos que permeiam as relações entre arte, imagem e tecnologia, pretende compreender a participação destes dispositivos no processo de criação a partir da observação da arte visual de David Hockney nos celulares e tablets. Seus objetivos específicos abrangem estudos de como os artistas da arte contemporânea têm se expressado por meio das imagens e como as janelas digitais têm participado deste movimento. A dissertação se inicia com um estudo teórico sobre as janelas da arte, priorizando aquelas que se inserem na arte contemporânea, seguida por uma investigação da trajetória do artista David Hockney. A pesquisa teórica foi importante para o entendimento de como as artes visuais contemporâneas têm materializado os conceitos dos artistas. A arte de Hockney nos dispositivos móveis é analisada a partir da exposição da série de pinturas Flores Frescas, onde o artista expõe suas obras nos tablets e celulares. A análise das imagens de Hockney complementa a pesquisa por meio de uma observação qualitativa e interpretativa de seis obras da mesma série, fundamentada em parâmetros que a pesquisa teórica indicou como prioritários para a construção de uma estética da arte digital. Esta análise identificou tendências da criação artística incorporadas nas pinturas a partir dos dispositivos móveis. A conclusão mostra uma apropriação do dispositivo por este artista por meio de um processo criativo que colabora para a formação de uma estética contemporânea. / This research presents an approach on mobile devices as possible mediators of artistic thinking. Based on theoretical concepts about the relations between art, image and technology, it aims at understanding the participation of these devices in the process of creation from the observation of the visual art of David Hockney in the cellular phones and tablets. Its specific objectives are the studies of how artists of contemporary art have expressed themselves through images and how digital windows have participated in this movement. The research paper begins with a theoretical study on metaphorical windows in art, prioritizing those of contemporary art, and continues an investigation into the trajectory of the artist David Hockney. Theoretical research was important for the understanding of how visual arts materialize the concepts of contemporary artists. Hockney's art on mobile devices is analyzed from the Fresh Flowers painting exposition, in which the artist exposes his works on tablets and cell phones. The analysis of Hockney’s images complements the research through the observation of six paintings of the same series, based on parameters that the theoretical research indicated as important for the construction of an aesthetic of digital art. This analysis was important in identifying trends in artistic creation embodied in paintings for mobile devices. The conclusion shows an appropriation of the device by this artist through a painting that contributes to the formation of a contemporary aesthetic.

Esta dissertação apresenta uma abordagem sobre os dispositivos móveis como possíveis mediadores do pensamento artístico. Fundamentada em conceitos teóricos que permeiam as relações entre arte, imagem e tecnologia, pretende compreender a participação destes dispositivos no processo de criação a partir da observação da arte visual de David Hockney nos celulares e tablets. Seus objetivos específicos abrangem estudos de como os artistas da arte contemporânea têm se expressado por meio das imagens e como as janelas digitais têm participado deste movimento. A dissertação se inicia com um estudo teórico sobre as janelas da arte, priorizando aquelas que se inserem na arte contemporânea, seguida por uma investigação da trajetória do artista David Hockney. A pesquisa teórica foi importante para o entendimento de como as artes visuais contemporâneas têm materializado os conceitos dos artistas. A arte de Hockney nos dispositivos móveis é analisada a partir da exposição da série de pinturas Flores Frescas, onde o artista expõe suas obras nos tablets e celulares. A análise das imagens de Hockney complementa a pesquisa por meio de uma observação qualitativa e interpretativa de seis obras da mesma série, fundamentada em parâmetros que a pesquisa teórica indicou como prioritários para a construção de uma estética da arte digital. Esta análise identificou tendências da criação artística incorporadas nas pinturas a partir dos dispositivos móveis. A conclusão mostra uma apropriação do dispositivo por este artista por meio de um processo criativo que colabora para a formação de uma estética contemporânea. / This research presents an approach on mobile devices as possible mediators of artistic thinking. Based on theoretical concepts about the relations between art, image and technology, it aims at understanding the participation of these devices in the process of creation from the observation of the visual art of David Hockney in the cellular phones and tablets. Its specific objectives are the studies of how artists of contemporary art have expressed themselves through images and how digital windows have participated in this movement. The research paper begins with a theoretical study on metaphorical windows in art, prioritizing those of contemporary art, and continues an investigation into the trajectory of the artist David Hockney. Theoretical research was important for the understanding of how visual arts materialize the concepts of contemporary artists. Hockney's art on mobile devices is analyzed from the Fresh Flowers painting exposition, in which the artist exposes his works on tablets and cell phones. The analysis of Hockney’s images complements the research through the observation of six paintings of the same series, based on parameters that the theoretical research indicated as important for the construction of an aesthetic of digital art. This analysis was important in identifying trends in artistic creation embodied in paintings for mobile devices. The conclusion shows an appropriation of the device by this artist through a painting that contributes to the formation of a contemporary aesthetic.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)