Myths are stories that express the beliefs, values, and experiences of a culture. They often feature gods, heroes, monsters, and supernatural events. Artwork can reflect, reinterpret, or challenge mythic themes in various ways. In this article, you will learn how to identify mythic themes in artwork by following these steps:
The first step is to understand the historical, cultural, and religious context of the artwork and the myth it relates to. You can research the background of the artist, the intended audience, the purpose of the artwork, and the source of the myth. This will help you to appreciate the meaning and significance of the mythic theme and how it relates to the specific time and place of the artwork.
As a graphic designer, identifying mythic themes in artwork is acquired through the thoughtful analysis of visual elements, symbolism, and narrative content. This process aims to recognize the cultural context and the common heritage symbolism of visual elements associated with colors within the artwork. This is a crucial activity that enhances interpretative skills and the ability to infuse design projects with rich, symbolic depths.
Eva Hesse no corría por Kettwig, Alemania, como una "runner" de hoy. En esa época, los dolores psicosomáticos en las piernas derivados del horror de regresar al país del que huiste de los nazis, se calman haciendo esculturas con cables, tubos, fragmentos de plásticos, ganchos sobre paneles rotos, y todo envuelto obsesivamente en vendas y colores degradados. En 1960 se fuma y se esculpe, se respiran los gases de resinas tóxicas, se muere por el arte. Y se es cínico, instinto de supervivencia. Con el pelo cardado visitan estudios de artistas, se escribe y se dibuja en agendas. Después de una pandemia, en una página del diario de Eva Hesse aparece más gente que en los últimos cuatro a?os de mi vida. Me siento una escultura blanda yo misma.
As a professional fine artist and artistic entrepreneur, I explore my inner vision for the painting that I am working on. A mythic landscape painting must convey light, shadows, highlights and lowlights, time of day, season of the year.
Le debemos a la Bauhaus la funcionalidad de la arquitectura y el dise?o de espacios interiores, muebles y objetos de nuestra vida diaria. Los taburetes y las sillas de esta oficina, del bar y la estética industrial de los lofts de talleres de artistas ?y de las viviendas; y también hemos asimilado que las artes están interconectadas entre sí, y que somos “multiapasionados”, y nuestros intereses artísticos no se excluyen. Gracias a las ideas de Kandinsky, Paul Klee, vivimos dentro de la sinestesia, la música nos inspira pinturas y este mismo texto.
Estaba pensando en Eva Hesse, los relieves que produjo es su estancia en Kettwig, Alemania en 1965. Los dibujos abstractos, los productos de desecho que encontraba en una fábrica, tableros, cables, tubos, plásticos, trozos rotos de artefactos variopintos... Escribir en un diario. Garabatear. La asociación de ideas sobre la decadencia de la cuidad y el arte minimal. Ver belleza en la dejadez del asfalto, por ejemplo, las farolas si bombillas. Las planchas de Carl André, que son estas tapas de alcantarilla, por ejemplo. Comprender el contexto de una situación personal y sublimarlo en un contexto histórico. La estética de los a?os 60 me ayuda en mi situación personal y creativa actual. Utilidad del arte en el día a día.
The second step is to analyze the symbols that represent the mythic theme in the artwork. Symbols are visual elements that convey ideas, emotions, or values. They can be objects, colors, shapes, gestures, or characters. You can look for symbols that are specific to the myth, such as a lightning bolt for Zeus or a snake for Medusa. You can also look for symbols that are more universal, such as water for life or fire for destruction. You can compare and contrast the symbols in the artwork with the symbols in the original myth or other versions of the myth.
Through the decades, I've often used symbols in my paintings and drawings. One thing to understand is that there are multiple meanings to symbols, depending on the perspective of the viewer. At the same time, people often respond powerfully to a symbol, even when unaware consciously of its meaning or purpose. As the artist I'm not bothered at all by an interpretation that's different than the idea in my head. This is the nature of art.
Visual elements that convey mood, for example, trees, rivers, clouds, can be highlighted or kept in the background with just a hint of a presence.
I don't regard myself as an expert in art. I am very flattered to be asked like this, "You’re in the top 20% of quality contributors to Content Development. Badge holders are typically in the top 5%. Keep making quality contributions to improve your rank." My opinion is absolutely from the perspective of the interpretation of an exhibition or a single object or many objects and the stories we make with them. I am interested in how we look and why we look and the idea of an exhibition as a communicative work in itself. Art gallery and museum exhibitions contribute incalculably in support of myth. Ask yourself, What makes a myth? The next time you know for sure that you are regarding myth.
This reminds me of school when we dived into history in architecture, through understanding the architecture of a building, you could tell what year, style...it was built with. Same applies here by relating the artwork to notable symbols, the myth can be deciphered
The third step is to evaluate the perspective of the artist and the viewer on the mythic theme. Perspective is the point of view or attitude that influences how one sees or interprets something. You can ask yourself questions such as: How does the artist portray the mythic characters? Are they heroic, tragic, or comic? How does the artist use light, color, or composition to create a mood or a message? How does the artwork invite or challenge the viewer to engage with the mythic theme? How does the artwork reflect or critique the values or beliefs of the culture or the myth?
A painting is like a journey you leave clues in it pathways tree ways so people can walk into the painting like sunset or a vanishing Point so you're drawn deeper and deeper into the paint or you use lighter colors in the background stronger colours in the forum so you create an illusion of space time and endless things I look painting stars and little people you take people on that magical journey on a robo on a moon late night or a sunset or a moody Sky this is what it's all about create that feeling that relationship between the fewer and the artist which is a most important thing I'm bleeding yourself
The perspective of the artist can persuade the viewer to join the visual journey, as they fall into the painting or stand back and take it in from a distance.
The fourth step is to explore the connections between the mythic theme and other artworks or cultural expressions. Connections are the links or associations that show how something is related to something else. You can look for connections that are direct, such as references, quotations, or adaptations of the myth in other artworks or media. You can also look for connections that are indirect, such as influences, parallels, or contrasts of the myth in other artworks or media. You can examine how the mythic theme has been used, reused, or transformed over time and across cultures.
How many paintings have been created using nature's myths and magic? How many generations have been emotionally moved by seeing great works of art?
The fifth step is to reflect on your own response to the mythic theme and the artwork. Response is the personal reaction or opinion that one has to something. You can think about how the mythic theme and the artwork affect you emotionally, intellectually, or aesthetically. You can also think about how the mythic theme and the artwork relate to your own experiences, values, or beliefs. You can share your response with others or write it down in a journal or a blog.
I make detailed entries into my journal of the type of medium used - acrylic, watercolor, gouache, torn paper collage - the exact day of the creation of the painting. I assign a grade to each painting, with 10 being the highest number. I add how I feel about the painting, if I am satisfied with it, is it finished, should I tear it up and throw it away? Only then do I consider the comments, feelings, thoughts and opinions of the viewer.
I am always conscious as to what I take to the exhibition be that a gallery stuffed with objects and paintings or a single piece of work. I call it, "The work outside of the artists frame" Quite often the artist or maker may have left a signature or a trade mark on the work itself and maybe a title for the piece. Outside of those things the viewer and or the market provides all the rest. I have worked with objects and asked curators, "What do you want to say with this piece?" A bit like asking an accountant what 2+2 equals and the accountant replying, What do you want it to equal?
Identifying mythic themes in artwork involves a nuanced approach blending artistry and cultural understanding. It's not just about recognizing symbols; it's deciphering the underlying narratives and archetypes. Dive into the artwork's context, historical references, and the artist's cultural influences. Pay attention to symbolism, not in isolation, but as part of a larger visual narrative. Engaging with the artist's intent and exploring how the artwork taps into collective human consciousness allows for a more profound identification of mythic themes, transcending the superficial and unraveling the artistic storytelling woven into the visual tapestry.
The sixth step is to learn more about myths and art by reading, watching, or listening to more sources. Sources are the materials or resources that provide information or inspiration. You can read books, articles, or reviews about myths and art. You can watch documentaries, movies, or videos about myths and art. You can listen to podcasts, lectures, or interviews about myths and art. You can also visit museums, galleries, or websites that display or discuss myths and art.
Art offers us an opportunity to share our pain, grief, or other emotions that may be hard to process emotionally or psychologically. I believe the myths we hold dear to may show up in our art, whether it be stories about Merlin, mermaids, or dragons, or symbols that we've had a personal resonating experience with (such as the spirals that have been with me all of my life, but that I wasn't cognitively aware of until 2019). I think art exists to help us FEEL something. It is meant to be shared, myths, pain, love, and ALL.
Its genesis; where, how and when the work originated. By analyzing genesis can accommodate the viewers’ cosmos to its forms thereby allowing for easier analysis.
In my view, identifying mythic themes in artwork involves recognizing timeless symbols like gods, heroes, and archetypal journeys. These elements often convey universal narratives that resonate across cultures and centuries.