K.T IN THE LONESOME KINGDOM

His artworks are often-satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.^[6] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

Banksy does not sell photos of street graffiti or mount exhibitions of screenprints in commercial galleries.^[7] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder. ^[8]

Banksy's "The Flower Chucker" is included the feature film The Age of Stupid to represent all modern art stored in an archive after the end of the world as we know it.

Banksy started as a freehand graffiti artist 1992-1994^[9] as one of Bristol's DryBreadZ Crew (DBZ), often assisting writers Kato and Tes.^[10] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too ^[11]. In 1998 he arranged the enormous "Walls On Fire" graffiti jam along with fellow Bristol graffiti legend Inkie on the site of the future "@t Bristol" development.^[12] The weekend-long event drew artists from all over the UK and Europe, and his organisation of the event established his name within the European graffiti scene. By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a "piece." He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number^[13] and employing this technique soon became more widely noticed for his art around Bristol and London.^[13

Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects include animals such as monkeys and rats, policemen, soldiers, children, and the elderly.

 

 

Leonardo da Vinci began painting the Mona Lisa in 1503 (during the Italian Renaissance) and, according to Vasari, "after he had lingered over it four years, left it unfinished...."^[5] He is thought to have continued to work on it for three years after he moved to France and to have finished it shortly before he died in 1519.^[6] Leonardo took the painting from Italy to France in 1516 when King François I invited the painter to work at the Clos Lucé near the king's castle in Amboise. Most likely through the heirs of Leonardo's assistant Salai,^[7] the king bought the painting for 4,000 écus and kept it at Fontainebleau, where it remained until given to Louis XIV. Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre. Napoleon I had it moved to his bedroom in the Tuileries Palace; later it was returned to the Louvre. During the Franco-Prussian War (1870–1871) it was moved from the Louvre to a hiding place elsewhere in France.

Mona Lisa was not well known until the mid-19th century when artists of the emerging Symbolist movement began to appreciate it, and associated it with their ideas about feminine mystique. Critic Walter Pater, in his 1867 essay on Leonardo, expressed this view by describing the figure in the painting as a kind of mythic embodiment of eternal femininity, who is "older than the rocks among which she sits" and who "has been dead many times and learned the secrets of the grave."

Mona Lisa (also known as La Gioconda) is a 16th century portrait painted in oil on a poplar panel by Leonardo da Vinci during the Italian Renaissance. The work is owned by the French government and hangs in the Musée du Louvre in Paris, France with the title Portrait of Lisa Gherardini, wife of Francesco del Giocondo.^[1]

The painting is a half-length portrait and depicts a woman whose expression is often described as enigmatic.^[2][3] The ambiguity of the sitter's expression, the monumentality of the half-figure composition, and the subtle modeling of forms and atmospheric illusionism were novel qualities that have contributed to the painting's continuing fascination.^[1] Few other works of art have been subject to as much scrutiny, study, mythologizing and parody.^[

Leonardo used a pyramid design to place the woman simply and calmly in the space of the painting. Her folded hands form the front corner of the pyramid. Her breast, neck and face glow in the same light that models her hands. The light gives the variety of living surfaces an underlying geometry of spheres and circles. Leonardo referred to a seemingly simple formula for seated female figure: the images of seated Madonna, which were widespread at the time. He effectively modified this formula in order to create the visual impression of distance between the sitter and the observer. The armrest of the chair functions as a dividing element between Mona Lisa and the viewer.

The woman sits markedly upright with her arms folded, which is also a sign of her reserved posture. Only her gaze is fixed on the observer and seems to welcome him to this silent communication. Since the brightly lit face is practically framed with various much darker elements (hair, veil, shadows), the observer's attraction to Mona Lisa's face is brought to even greater extent. Thus, the composition of the figure evokes an ambiguous effect: we are attracted to this mysterious woman but have to stay at a distance as if she were a divine creature. There is no indication of an intimate dialogue between the woman and the observer as is the case in the Portrait of Baldassare Castiglione (Louvre) painted by Raphael about ten years after Mona Lisa, and undoubtedly influenced by Leonardo's portrait.

The painting was among the first portraits to depict the sitter before an imaginary landscape. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her a vast landscape recedes to icy mountains. Winding paths and a distant bridge give only the slightest indications of human presence. The sensuous curves of the woman's hair and clothing, created through sfumato, are echoed in the undulating imaginary valleys and rivers behind her. The blurred outlines, graceful figure, dramatic contrasts of light and dark, and overall feeling of calm are characteristic of Leonardo's style. Due to the expressive synthesis that Leonardo achieved between sitter and landscape it is arguable whether Mona Lisa should be considered as a traditional portrait, for it represents an ideal rather than a real woman. The sense of overall harmony achieved in the painting—especially apparent in the sitter's faint smile—reflects Leonardo's idea of a link connecting humanity and nature.

Mona Lisa has no visible facial hair—including eyebrows and eyelashes. Some researchers claim that it was common at this time for genteel women to pluck them out, since they were considered to be unsightly.^[21][22] For modern viewers the missing eyebrows add to the slightly semi-abstract quality of the face.

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.^[

 

The Last Supper (Italian: Il Cenacolo or L'Ultima Cena) is a 15th century mural painting in Milan created by Leonardo da Vinci for his patron Duke Ludovico Sforza and his duchess Beatrice d'Este. It represents the scene of The Last Supper from the final days of Jesus as narrated in the Gospel of John 13:21, when Jesus announces that one of his Twelve Apostles would betray him.

The painting measures 460 × 880 centimeters (15 feet × 29 ft) and covers the back wall of the dining hall at Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, but Leonardo's interpretation gave it much greater realism and depth. The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donato da Montorfano, to which Leonardo added figures of the Sforza family in tempera. (These figures have deteriorated in much the same way as has The Last Supper.) Leonardo began work on The Last Supper in 1495 and completed it in 1498—however, he did not work on the piece continuously throughout this period. According to 'Leonardo Da Vinci' [Kenneth Clark, p.144, Penguin Books 1939,1993], this beginning date is not certain, as "the archives of the convent have been destroyed and our meagre documents date from 1497 when the painting was nearly finished."

The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock.

These names are all agreed upon by art historians. In the 19th century, a manuscript (The Notebooks Leonardo Da Vinci pg. 232) was found with their names; before this only Judas, Peter, John and Jesus were positively identified.

In common with other depictions of The Last Supper from this period, Leonardo adopts the convention of seating the diners on one side of the table, so that none of them have their backs to the viewer. However, most previous depictions had typically excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus. Another technique commonly used was placing halos around all the disciples except Judas. Leonardo creates a more dramatic and realistic effect by having Judas lean back into shadow. He also creates a realistic and psychologically engaging means to explain why Judas takes the bread at the same time as Jesus, just after Jesus has predicted that this is what his betrayer will do. Jesus is shown saying this to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread, as, unseen by him, Jesus too stretches out with his right hand towards it. (Matthew 26: 17-46). The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines.

The painting contains several references to the number 3, which may be an allusion to the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus' figure resembles a triangle. There may have been many other references that have since been lost to the painting's deterioration.

Medium

Leonardo painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a layer of pitch, gesso and mastic, then paint onto the sealing layer with tempera. Because of the method used, the piece has not withstood time very well – within a few years of completion it had already begun showing signs of deterioration.

Two early copies of The Last Supper are known to exist, presumably the work of Leonardo's assistant. The copies are almost the size of the original, and have survived with a wealth of original detail still intact.^[1]

The Vitruvian Man is a world-renowned drawing with accompanying notes created by Leonardo da Vinci around the year 1487^[1] as recorded in one of his journals. It depicts a nude male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, but is only displayed on special occasions.^[2][3]

Leonardo based his drawing on some hints at correlations of ideal human proportions with geometry in Book III of the treatise De Architectura by the ancient Roman architect Vitruvius, thus its name. Other artists had attempted to realize the conception, with less success. Vitruvius described as the principal source of proportion among the orders of architecture the proportion of the human figure.

This image exemplifies the blend of art and science during the Renaissance and provides the perfect example of Leonardo's keen interest in proportion. In addition, this picture represents a cornerstone of Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe." It is also believed by some that Leonardo symbolized the material existence by the square and spiritual existence by the circle. Thus he attempted to depict the correlation between these two aspects of human existence.^[4] According to Leonardo's notes in the accompanying text, written in mirror writing, it was made as a study of the proportions of the (male) human body as described in Vitruvius, who wrote that in the human body:

Leonardo is clearly illustrating Vitruvius' De architectura 3.1.3 which reads:

The navel is naturally placed in the centre of the human body, and, if in a man lying with his face upward, and his hands and feet extended, from his navel as the centre, a circle be described, it will touch his fingers and toes. It is not alone by a circle, that the human body is thus circumscribed, as may be seen by placing it within a square. For measuring from the feet to the crown of the head, and then across the arms fully extended, we find the latter measure equal to the former; so that lines at right angles to each other, enclosing the figure, will form a square.

The multiple viewpoint that set in with Romanticism has convinced us that there is no such thing as a universal set of proportions for the human body. The field of anthropometry was created in order to describe these individual variations. Vitruvius' statements may be interpreted as statements about average proportions. Vitruvius goes through some trouble to give a precise mathematical definition of what he means by saying that the navel is the center of the body, but other definitions lead to different results; for example, the center of mass of the human body depends on the position of the limbs, and in a standing posture is typically about 10 cm lower than the navel, near the top of the hip bones.

Note that Leonardo's drawing combines a careful reading of the ancient text with his own observation of actual human bodies. In drawing the circle and square he correctly observes that the square cannot have the same center as the circle, the navel, but is somewhat lower in the anatomy. This adjustment is the innovative part of Leonardo's drawing and what distinguishes it from earlier illustrations. He also departs from Vitruvius by drawing the arms raised to a position in which the fingertips are level with the top of the head, rather than Vitruvius's much lower angle, in which the arms form lines passing through the navel.

The drawing itself is often used as an implied symbol of the essential symmetry of the human body, and by extension, to the universe as a whole.

It may be noticed by examining the drawing that the combination of arm and leg positions actually creates sixteen different poses. The pose with the arms straight out and the feet together is seen to be inscribed in the superimposed square. On the other hand, the "spread-eagle" pose is seen to be inscribed in the superimposed circle.

The drawing was in the collection of Giuseppe Bossi, who illustrated it in his monograph on Leonardo's The Last Supper, Del Cenacolo di Leonardo Da Vinci libri quattro (Milan 1810).^[5] The following year he excerpted the section of his monograph concerned with Leonardo's "Vitruvian Man" and published it as Delle opinioni di Leonardo da Vinci intorno alla simmetria de'Corpi Umani (Milan: Stamperia Reale, 1811), with a dedication to his friend Antonio Canova.^[6]

Dedicated by the author to his friend, the neoclassical sculptor Antonio Canova, this discussion of Leonardo's theory of human proportions is extracted from Bossi monograph on the Last Supper, pp. 202-26 (No. 318).

After his death in 1815 it was acquired with the bulk of his drawings by the Accademia.

 

 

 

 

Leonardo as observer, scientist and inventor

Journals

Renaissance humanism saw no mutually exclusive polarities between the sciences and the arts, and Leonardo's studies in science and engineering are as impressive深刻印象 and innovative as his artistic work, recorded in notebooks comprising some 13,000 pages of notes and drawings, which fuse art and natural philosophy (the forerunner 先驱of modern science). These notes were made and maintained daily throughout Leonardo's life and travels, as he made continual observations观察力 of the world around him.^[

The journals are mostly written in mirror-image cursive草书. The reason may have been more a practical expediency than for reasons of secrecy as is often suggested. Since Leonardo wrote with his left hand, it is probable that it was easier for him to write from right to left.

His notes and drawings display an enormous 巨大range of interests and preoccupations, some as mundane现世 as lists of groceries and people who owed him money and some as intriguing 吸引人as designs for wings and shoes for walking on water. There are compositions for paintings, studies of details and drapery, studies of faces and emotions, of animals, babies, dissections, plant studies, rock formations, whirl pools, war machines, helicopters and architecture。

Scientific studies

Leonardo's approach to science was an observational one: he tried to understand a phenomenon 现象by describing and depicting it in utmost 极度detail, and did not emphasize 强力experiments or theoretical explanation. Since he lacked formal education in Latin and mathematics, contemporary scholars mostly ignored Leonardo the scientist, although he did teach himself Latin. In the 1490s he studied mathematics under Luca Pacioli and prepared a series of drawings of regular solids 坚硬in a skeletal form to be engraved 刻上as plates for Pacioli's book De Divina Proportione, published in 1509.^[10]

It appears that from the content of his journals he was planning a series of treatises论文 to be published on a variety of subjects. A coherent 连贯treatise on anatomy was said to have been observed during a visit by Cardinal Louis D'Aragon's secretary in 1517.^[51] Aspects of his work on the studies of anatomy, light and the landscape were assembled for publication by his pupil Francesco Melzi and eventually published as Treatise on Painting by Leonardo da Vinci in France and Italy in 1651, and Germany in 1724, with engravings based upon drawings by the Classical painter Nicholas Poussin.^[5] According to Arasse, the treatise, which in France went into sixty two editions in fifty years, caused Leonardo to be seen as "the precursor of French academic thought on art".^[10

Anatomy

Engineering and inventions

During his lifetime Leonardo was valued as an engineer. In a letter to Ludovico il Moro he claimed to be able to create all sorts种类 of machines both for the protection of a city and for siege围城. When he fled逃避 to Venice in 1499 he found employment as an engineer and devised发明 a system of moveable 可动barricades to protect the city from attack. He also had a scheme 计划for diverting the flow of the Arno River in order to flood Pisa. His journals include a vast number of inventions, both practical and impractical. They include musical instruments, hydraulic pumps, reversible crank mechanisms, finned mortar shells, and a steam cannon.^[7][10]

In 1502, Leonardo produced a drawing of a single span 720-foot (240 m) bridge as part of a civil engineering project for Ottoman Sultan Beyazid II of Istanbul. The bridge was intended to span an inlet at the mouth of the Bosporus known as the Golden Horn. Beyazid did not pursue the project, because he believed that such a construction was impossible. Leonardo's vision was resurrected in 2001 when a smaller bridge based on his design was constructed in Norway. On 17 May 2006, the Turkish government decided to construct Leonardo's bridge to span the Golden Horn.^[52]

For much of his life, Leonardo was fascinated by the phenomenon of flight, producing many studies of the flight 飞行of birds, including his c. 1505 Codex on the Flight of Birds, as well as plans for several flying machines, including a helicopter and a light hang glider.^[10] Most were impractical, but the hang glider has been successfully constructed and demonstrated.

 

 

 

 

 

stelarc(b,1946)

the presence of the human body is essential 必不可少to performance art, happenings and body art.

technologies-photography, film and video

challenged the restriction 限制placed on them by traditional concepts of what constitutes组成 art.

the most immediate直接 object - the artist's body

delve探究 into a number of themes including a search of meaning through the ritualistic仪式 past of humanity, and exmination of social and political

 

cultural frame

in the mid 70's began his extreme acts of the body based on texts physial suspension悬挂 & vided

exploration of the internal 内在body"my body is a convenient conainer of energies & rhythms that i can manifest表明. think of the body as an evolutionary projectile.

a range of cultural contexts with ritualized and shamanic performances

embracing the magic, the occult 神秘的and ancient myth western artists attempt賞试 to aquire 取得spiritual elightenment in late capitalistic society.

 

postmodern

use the body as site to challenge political viewpoints, gender issues m racial identity etc. comment on the impact of new technologies or raise an awearness of local or global atrocities

comments on the impact of new technoligies on the evolution human form

 

the influence of new media on his work

without the availabiliy 可能and advancements先进 in medical and electrical equipment . he would not have been able to create his artworks exploring his belief that th body is obsolete. he used lasers雷射,electronics, amplifiers增幅器, interactive 互动technology, biotechnology and other associated 联合media to suggest a new possible form of existence存在物. by using medical equiment and minuscule camara capsule 胶蓈into his stomach, colon and lungs to film bodily 肉体activity. these compelling 令人瞩目的images hae been possible as  result of advanced technology and the rejection 拒绝by stelarc of past art conventions.

 

the inclusion of his own body add to the meaning of the artworks

his suspension events were an act that used his own body as an object rather that as a subject for art. it involved the incision 刀口of hool. into his skin reulting in almost intnerable levels of pain. thie suspension of himself in the air questioned the characteristics and limitations of the body and of gravity谨慎. his Amplified body, described previously, a connection of laser eyes to his head and a thrid robotic hand capable能 of its own movements as a result of advances in technology. the performance created questions regarding a possible future existence: the body is obsolete.. this time for the body depart 出发and diversify in form and function.

 

 

 

 

width length focus tapering uneven continuous horizontal vertical diagonal perpendicular oblique radial zigzag blurry fuzzy choppy jagged graceful

edge silhouette gest ca perspective   implied lligraphic ure cacontour illusion depth  cross enclose geometric architecture organic irregular sculpture static dynamic intersect surface quality categories actual evoke pottery . implied certain violet intermediate colours harmony analogous  triadic monochromatic intensity value schemes patchwork dyeing embroi beading closure worn apparel furnishing tint shade