Art

Year 12:
Bridging work Assignment
2016
The Seven Deadly Sins
Summer Project 2016
The work you produce will be part
of your coursework. It means that
you are starting your AS Now!!!!!
This first unit of work is 60% of
the AS qualification. Obviously you
must start as you mean to go on,
therefore address the tasks with
as much effort as possible.
Lesson 1 will be evaluating your
summer work then we will work
through key skills required to be
successful on this course.
In the sketchbook provided
explore the theme ‘looking back to
move forward’.
In September you will be
exploring the theme of, 'The
Seven Deadly Sins'
Artists, craftspeople and designers have
always looked to the past for inspiration and
innovation. In order to learn from the past
and build on others’ creativity, it is
important for you to appreciate some of the
factors that are essential to a practitioner’s
professional development by understanding
the importance of historical and cultural
influences on art, craft and design.
Questions
‘What would life be like without art ?
‘Why do we need to appreciate the past
to inform the future?
‘ ‘What is the Power of Art?
How do you respond to past masters?’
What’s the importance of art galleries?
Aim to fill your sketchbook with quality
work
Sketchbook checklist
Minimum requirement,
• Visual mindmap of the seven
deadly sins
• Title page
• Two critical studies
developed into your own
outcomes
•Creative responses to the
theme
•Selfie response
• Photographic responses.
•Collection of objects that
relate to the seven deadly sins
Make your sketchbook
personal – you can use the
artists mentioned but we
would love you to find your
own exciting artists
HOW to use your
sketchbook.
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With pride.
With effort and determination
With care and planning.
With evaluative skills
Your challenge is to produce work which you are proud of
before our first lesson in September!! However it is quality of
work that really matters. All the work you produce is part of
your coursework portfolio, this accounts for 60% of your final
AS Grade
Check out the links to give you ideas on how to use your
sketchbook:
http://www.amazon.co.uk/Illustrated-Life-Inspiration-SketchbooksIllustrators/dp/1600610862/ref=sr_1_2?s=books&ie=UTF8&qid=1372242194&sr=12&keywords=extraordinary+sketchbooks#reader_1600610862
http://www.amazon.co.uk/Drawn-Inspiring-Sketchbooks-IllustratorsCartoonists/dp/1592536948/ref=sr_1_4?s=books&ie=UTF8&qid=1372242194&sr=14&keywords=extraordinary+sketchbooks#reader_1592536948
http://www.amazon.co.uk/Artists-Journal-Sketchbooks-ExploringCreating/dp/1592530192/ref=sr_1_1?s=books&ie=UTF8&qid=1372242380&sr=1-1&keywords=sketchbooks
First impressions count in this visual subject
Presentation is of KEY importance
•Consider making the ground colour of your sketchbook
interesting before you start working on a task.
Carefully use appropriate colours and a variety of different
materials/ techniques
•Do not just make do! Leave the work for a period of time then
ask yourself how can you improve the piece? – develop the
detail, add to the complexity of drawing.
•Choose subject matter which interests you!!!!!
•Be prepared to really research and think carefully about the
objects that you collect.
Jartdepartment
You might split your A3 papers into
sections. Don’t feel your drawings have to
fill the page
Ideas on Photography
http://www.studentartguide.com/articles/photography-sketchbook-ideas
Collect
Personally respond
AS (7241)
Art, craft and design
Task 1- Title page of your A3
sketchbook
Present the title- Component 1starting point Seven Deadly Sins
Use words and images
Plan the composition
and be creative in how
you use the front page
in sketchbook. First
impressions count.
The seven deadly sins, also known as the capital vices or cardinal sins, is a grouping and
classification of vices.[1] Behaviors or habits are classified under this category if they directly
engender other immoralities. According the standard list, they are hubristic pride, greed,
lust, malicious envy, gluttony, wrath, and sloth, which are also contrary to the seven virtues.
This classification originated with the desert fathers, especially Evagrius Ponticus, who
identified seven or eight evil thoughts or spirits that one needed to overcome. [2] Evagrius'
pupil John Cassian, with his book The Institutes, brought the classification to Europe,[3]
where it became fundamental to Catholic confessional practices as evident in penitential
manuals, sermons like "The Parson's Tale" from Chaucer's Canterbury Tales, and artworks
like Dante's Purgatory (where the penitents of Mount Purgatory are depicted as being
grouped and penanced according the worst capital sin they committed). The Church used the
doctrine of the deadly sins in order to help people stop their inclination towards evil before
dire consequences and misdeeds occur; the leader-teachers especially focused on pride
(usually deemed the worst deadly sin) and greed, both of which are seen as inherently sinful
and as underlying all other sins. To inspire people to focus on the seven deadly sins, the
vices are discussed in treatises, and depicted in paintings and sculpture decorations on
churches.[1] Peter Brueghel the Elder's prints of the Seven Deadly Sins and extremely
numerous other works, both non-religious and religious, show the continuity of this practice
in the culture and everyday life of the modern era
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https://en.wikipedia.org/wiki/Seven_deadly_sins
Pride
Greed
Lust
Envy
Gluttony
Wrath
Pride
Task 2
On a double page of your A3
sketchbook produce a mind map of
the seven deadly sins
Include definitions of the sins and
link visual objects (which
symbolises) each
Make your mind map creative with
your secondary and primary
images.
Be careful , do not include any
offensive images.
Consider staining your pages (plan
the composition first)
Objects and symbolism
Artists select their still life objects for a variety
of reasons: they either want the symbolism of
the object to make a point, or the objects
may hold some form of personal interest
and relevance to the artist's life
The objects in a still life painting carry
the weight of meaning: either religious,
allegorical, social, cultural, personal,
moral, or spiritual.
Audrey Flack Paints ordinary objects in
a representative way. The objects
sybolize her self in similar way to Dutch
Vanitas paintings
Task 3. Objects that
symbolise the_ seven
deadly sins
Collect objects that
represent one sin at a
time.
Produce 7 pages (or
more)of drawings and
photography based on
your chosen objects.
One page per sin
Use different mediums
and approaches
Natural foods such
as fruit, vegetables, and meat often
show up in still life paintings. The
symbolism of the food depends on
whether the food is fresh and ripe or
decaying. Food in a still life often points
out our mortality and the ephemerality
of earthly existence. When the food is
fresh and ripe, it can signify
abundance, riches, and the bounty of
the upper class. Decaying food can
serve as a reminder of our own
mortality and the inevitability of
change.
When skulls or bones appear in still
life paintings, they often have a moral
purpose, with the aim of keeping
humanity's morals in check. Skulls
symbolize mortality and ephemerality.
They are a reminder of the fleeting
pleasures of life. Skulls in art also
represent inner contemplation,
eternity, and life beyond the earthly
and visible.
Consider your use of colour
in interpreting the sin.
Whisk broom- symbolizes marital faith.
Mirror - signifies vanity or an introspective nature.
A knife in a loaf of bread- symbolizes holy communion.
The glowing candle - a symbolic reminder of Christ's Passion.
A Childs toy - symbolizes the freedom and innocence of early life.
Glass prayer beads symbolic of the all-seeing wisdom of God.
Coins on top of a Bible - symbolizes the triumph of the material world over the
pious and holy.
A red pillow- symbolizes hedonism and depravity of the soul.
A clock with missing hands - signifies mans powerlessness to control his own fate.
A lemon next to a salt shaker- symbolizes a doer of wicked deeds.
Hourglass - symbolizes the inevitable passing of time and the certainty of death.
Nails/Nails - The Crucifixion of Christ
An overturned copper tea kettle - symbolizes loss of faith.
A rabbit on a white or silver platter- implies fertility.
A club - symbolizes martyrdom, Saint Jude, one of the apostles, was beaten to
death with a club.
A fluttering blue of white curtain- symbolizes a heavenly world in which the
splendor of the holy and divine is only beginning to be shown.
An unsheathed knife near a money purse or pile of coins- denotes a rebellious
and materialistic viewpoint.
A burned out candle - symbolizes a lack of devoutness and piety.
Task 4. This is a critical study
developed into your own response.
It addresses all the assessment
objectives
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Research. Find a historical artist/ designer which you really
admire because their work relates to the Seven Deadly Sins .
It can be any decade but try and find one who demonstrates
not just beautiful ideas but good technical skills.
Seek inspiration (use the Pinterest page, books, gallery
visits). You might spend a long time looking. Keep a source
log.
Look closely at the historical artist that you significantly
admire. Ask yourself questions, find answers from different
places
Produce a critical appreciation of their work in your
sketchbook over pages of A3.
Source your own subject matter and produce your own
contemporary interpretation of the artist’s work (it does not
have to follow similar technique . It could be the concept
that interests you)
Produce a series of pages of idea development showing the
analytical and preparatory run up work to your own
responses.
Photography and digital media is good to embrace
Create your own outcome, this does not have to be of any
particular size (it can be just same studies in your
sketchbook) but keep it skilful and highly sourced with your
own subject matter.
Task 5. This is a critical study developed into
your own response. It addresses all the
assessment objectives
• Research a second contemporary artist/
designer/ architecture which you really admire
because their work links to the Seven Deadly Sins
• Seek inspiration (use the pinterest page, books,
gallery visits). You might spend a long time looking
• Look closely at the historical artist that you
significantly admire. Ask questions, find answers
• Produce a critical appreciation of their work in your
sketchbook over pages of A3.
• Source your own subject matter and produce your
own interpretation of the artist’s work (it does not
have to follow similar technique . It could be the
concept that interests you)
• Produce a series of pages of idea development
showing the analytical and preparatory run up work to
your own responses.
• Photography and digital media is good to embrace
• Create your own outcome, this does not have to be of
any particular size (it can be just same studies in your
sketchbook) but keep it skilful and highly sourced with
your own subject matter
Task 6. Photo shoots
Look at pinterest and the end of
this powerpoint/ booklet for
inspiration
Create a series of your own stage
studio photoshoots based on the
seven deadly sins
Print out contact sheets- annotate
the most successful due to
lighting/ exposure/ composition
and subject matter
Challenge 7
Visual diary of all the
places of art interest you
visit over the holidays
(starting with the Tate
Modern trip)
• Look at flickr/ Pinterest
and other image sharing
sites, cool looking apps
• Inspired by their
presentation, produce a
photo journal of your
arty activities/
experiences/ thoughts
Tate Modern Visit
Challenge 8
Present the information you captured in pages of your
sketchbook.
Use the vocabulary lists and writing support materials within
this booklet.
Challenge 9
YOUR Art………………….who are you with a critical twist?
http://blackeiffel.blogspot.com/20
11/04/become-someoneelse.html
Selfie
Produce a series of
creative selfies which
entwine your
appreciation for the
work of creative
practitioners. Merge
your own image with
a critical link, you
could reproduce the
images on the left
but using yourself or
you may have much
more individual
ideas.
Look on Pinterest for
illustrators and
artists who style
inspires you.
Year 12 Assessment Criteria
Information from AQA
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Courses based on these specifications must require students to develop practical
and theoretical
knowledge and understanding of:
•• relevant materials, processes, technologies and resources
•• how ideas, feelings and meanings can be conveyed and interpreted in images
and artefacts
•• how images and artefacts relate to the time and place in which they were made
and to their social
and cultural contexts
•• continuity and change in different genres, styles and traditions
•• a working vocabulary and specialist terminology
Courses based on these specifications must require students to develop the skills
to:
•• record experiences and observations, in a variety of ways using drawing or other
appropriate visual
forms; undertake research; and gather, select and organise visual and other
appropriate information
•• explore relevant resources; analyse, discuss and evaluate images, objects and
artefacts; and make
and record independent judgements
•• use knowledge and understanding of the work of others to develop and extend
thinking and inform
own work
•• generate and explore potential lines of enquiry using appropriate media and
techniques
•• apply knowledge and understanding in making images and artefacts; review and
modify work; and
plan and develop ideas in the light of their own and others’ evaluations
•• organise, select and communicate ideas, solutions and responses, and present
them in a range of
visual, tactile and/or sensory forms.
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Annotation Tips for A level students
1. Explain your ideas – the layout, use of space, colour, juxtaposition - the
relationship between elements, does it communicate the intended message?
2. Meaning – symbolic, mood, atmosphere – are there hidden or double meanings
in your work/in imagery and words?
2. What are you designing for: commercial use, public information, political,
community or Fine art.
3. Explain how you created a design using Adobe Programs: Photoshop, InDesign or
Illustrator. What font did you use? What materials have you used? How did you go
from idea to finished piece?
4. What tools and features have you use?
e.g. Palettes (colour, layers, objects, bushes, history, size, resolution) Tools
(Marquee, lasso, magic wand, selecting, cropping, clone tool) Layers (Transforming
layers, copying and saving layers, arranging layers, opacity and blending modes,
layer effects); Manipulation (feathering edges, filters, brightness and contrast, hue
and saturation, masks, paths, textures, effects); Save and undo.
Evaluate/review your design work as you go through a project:
1. Effectiveness: to what extent has the brief been realised and developed?
2. The use of appropriate methods and techniques used to make your design. Do
you think there is a level of professionalism achieved? How could you make your
work look more professional?
3. Does your work communicate to an audience? Is it appropriate?
4. Talk about the process undertaken, problem solving, how you developed skills,
and areas for improvement.
5. What was your original intention? How did your ideas change and why?
Glossary of words for your use
Identify - indicate who or what (someone or something) is.
Explain - Make (an idea, situation, or problem) clear to someone by describing it in more detail or revealing relevant facts or
ideas.
Explore the potential – explore the possibilities of a material, technique or process.
Considered - Think carefully about (something), typically before making a decision
Define – state, tell the meaning of something
Innovative - being or producing something like nothing done or experienced or created before
Exploit - to make the best use of.
Considered - Think carefully about
Diverse - of a different kind, form, meaning, or material.
Purposeful analysis - having a meaning, relevant to subject.
Full potential - capable of being or becoming
Perceptively – Understand, observant to visual materials
CRITICAL THINKING/CONTEXTUAL STUDY SKILLS
How to think and write about art
Describe
‘There are mountains in the
painting. They are dark. There
is the sea as well. It’s blue. And
there are some lovely boats’.
Process
‘I did this with 2B pencil, then I
used some pastels and I
coloured it in.’
Evaluate
‘I hate this because I don’t like
still life paintings, they are
boring.’
‘It’s nice ‘
‘I like it’ or, ‘It’ sick’
‘I don’t like it’
Use adjectives
Compare
When talking/writing about an artwork you need to describe
what you see in form of analysis. E.g., ‘Even the mountains
seem threatened by the stormy sea. The red highlights on the
quivering boats are complemented by the deep green/blue of
the sea, etc.’
When describing the process of an artist’s or your own work
try to explain why you have done it. E.g., ‘I used a 2b pencil to
accentuate the shadows. I painted the background with oil
pastels because they offer rich contrast with other media.’
Evaluation is different from describing. It is much easier to
describe an artwork but the challenge is to write your own
informed opinion about it too (even if it a negative opinion) –
this is evaluation. E.g., ‘The official line' adhered to by
advocates of academic art, ranked still-life art as the lowest of
the five genres, after: history, portraiture, genre-painting and
landscape. I think this is because after the decline of
Renaissance art in 15th century Europe still life paintings
portrayed mediocre themes.. etc.’
Be specific. What is ‘nice’ about it? The composition, the
colour, the contrast, the observational skill, the technique, the
mood, the feeling it gives you, the details?
Why? You must give specific reasons why you like the work.
E.g., I like this artwork because of the exaggerated contrast,
bright, vibrant colours, etc.
It is OK not to like an artwork. But you must give a legitimate
reason why you don’t like it. E.g., ‘I don’t like the raw effect of
the brush strokes...’
The easiest way to describe an artwork is by using adjectives.
First write down all the adjectives that come to your mind, and
then turn the adjectives into sentences. E.g., when looking at a
Cubist artwork, first write down: ‘overlapping, cubic,
confusing’. Then use these adjectives to form full sentences:
‘The overlapping, cubic shapes form a multi-dimensional view
that creates a confusing effect.’
After the initial description of an artwork you can compare
two or more artworks, again, by using adjectives to start with.
E.g., ‘O’Keeffe exaggerates the contrast and the colour in
order to create abstract forms whereas Kandinsky achieves
abstraction by simplification of forms’.
AO1 Critical studies: To develop ideas through investigations
informed by contextual and other sources demonstrating analytical
and cultural understanding
Success Criteria
Check through these
Research
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An Artist (an medium) who you like
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Understanding of their work through
research in your own words
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Good quality and size relevant images
Analyse their work: (analytical & cultural
understanding)
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Describe their use of the visual elements
and techniques
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Comments on specific parts of the work
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Good use of descriptive language
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Your opinions on their work
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State how it may inspire your future work.
Material samples (inspired by the artists
work)
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Produce small example that imitate the style
and techniques that they use.
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Creative samples using the same techniques
as the artist that show development of your
own ideas .
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Excellent control of materials
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Annotate with explanation of how you’ve
used materials,
Creative presentation
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Appropriate colours (neat ink washes)
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Clear Link to artist work
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Neat titles + word processed text.
Assessment Objective 2
Idea Development, progressing ideas
through experimentation
Success Criteria
Idea development must show how you have used your
drawings and artist research to develop your own
original idea for a Final Piece.
• Drawn Designs: well drawn detailed designs which
show clear planning of your final piece (annotate to
explain details)
•Creative presentation use appropriate inked
background – same identity as rest of your work
Clear link to previous work
•Drawing sheets (analytical and expressive)
•Artists’ work (critical)
•Material Experiments
Materials Experiments
•Examples of skilful use of appropriate materials you will
use. You must show a breath of different appropriate
techniques so you can show that you have
experimented and selected appropriate techniques
•Add annotation to explain which you will use.
Annotations
•Write notes describing the final piece, the techniques
you will use and how your artists have influenced your
ideas.
•Use the visual Elements
AO3:
Record ideas, observations
and insights relevant to their
intentions in visual and other forms
Success Criteria
Drawing that show analytical skill
and are for the purpose of
developing your work
Your drawing must relate directly to
your final outcome
Shape
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Accurately drawn shapes
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Accurate proportions (correct related
sizes)
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Softly drawn outlines (not dark)
Tone
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Range of dark and light tone
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Softly blended tone
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Contrast of tone (very dark and light
areas)
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Sharp edges to shading (not fluffy)
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Use of rubber to add highlights.
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Subtle use of marks
Form
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Curved marks following the flow of
the shape to suggest rounded form.
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Softly blended tone following form
Texture
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Range of marks suggesting rough
and smooth surfaces.
Use of sharp pencil
AO 4: Present a personal and
meaningful response that
realises intentions and,
where appropriate, makes
connections between visual
and other elements
Your own responses to the practitioners
you have studied.
You must use your own subject matter!
Try and keep your response housed
within your sketchbook (unless you
have lots of time to spare)
Your own response can be developed in
any medium and technique: sculpture/
textiles/ photography/ painting and
drawing and does not have to be in the
same discipline as your practitioner
Sagmeister and Jessica Walsh have expanded this
concept to include illustrations of the Seven Deadly
Sins and the Seven Heavenly Virtues on the bottom of
the glasses you see here
The “Seven Deadly
Sins,” a remarkable
collaboration by Tim
Tate and Marc Petrovic,
cleverly encapsulates these
“capital vices” in glass, from
peering through a key hole with
envy to lustfully picking apples
from a forbidden tree. Another
Tate/Petrovic collaboration
pictured in Artist of the Month is
"Apothecarium Moderne." Tate
and Petrovic are represented by
Habatat Galleries of Royal Oak,
Michigan.
KIRSTY MITCHELL
Greed
Glutony
Sloth
Mark scheider
Giotta di Bondone "Charity and
Envy"
Envy is a "feeling of discontent
or covetousness with regard to
another's advantages, success,
possessions, etc.
Jealousy is a "mental
uneasiness from suspicion or
fear of rivalry, unfaithfulness,
etc., as in love or aims.
So, in short, you are jealous of
the things you have,
and envious of the things others
have
Theodore Gericault,
"Madwoman with a Mania of
Envy
Karel Dujardin "Athena visiting
Envy"
Pieter van der Heyden "Envy
(Invidia)
Seven Museums, Each
Offering a Deadly Sin 2015
In the New York Region of
America
“Emilie Clark: The Delicacy of
Decomposition” (installation
elements, 2015), Emilie
Clark. CreditAnna Beeke
“Sloth,” (installation element,
2015), Mats Bigert and Sina
Najafi. CreditMats Bigert and
Sina Najafi
Task
Read this website
http://www.nytimes.com/2015/05/10/nyregion/
seven-museums-each-offering-a-deadlysin.html?_r=0
Dante Alighieri
The Italian poet Dante Alighieri (1265-1321), a significant
figure in Christian religion in the 13th century A.D., wrote
three epic poems (known collectively as the Divine
Comedy) titled Inferno, Purgatorio, and Paradiso. In his
book Inferno, Dante recounts the visions he has in a
dream in which he enters and descends into hell.
According to Dante, he is told by his guide that a soul’s
location in Hell is based upon the sins that they commit
when they are alive. In each ‘ring’ of hell, a specific
punishment is doled out. As they descend lower and
lower, the punishments (and consequently sins) become
worse and worse until he reaches the bottom and
discovers Satan.
The Inferno is not structured around the seven deadly
sins, but Dante encounters various sins in the following
order (canto number): Lust (5), Gluttony (6), Avarice (7),
Wrath (7-8), Heresy (10), Violence (12-17), Blasphemy
(14), Fraud (18-30), and Treachery (32-34).
Lust (Latin, luxuria)
Lust (fornication, perversion) —
Depraved thought, unwholesome morality, desire for
excitement, or need to be accepted or recognized by
others. Obsessive, unlawful, or unnatural sexual
desire, such as desiring sex with a person outside
marriage or engaging in unnatural sexual appetites.
Rape and sodomy are considered to be extreme lust
and are said to be mortal sins. Dante’s criterion was
“excessive love of others,” thereby detracting from
the love due to God. Lust prevents clarity of thought
and rational behaviour. Lust is symbolized by the cow
and the colour blue.
Gluttony (Latin, gula)
Gluttony (waste, overindulgence) —
Thoughtless waste of everything, overindulgence,
misplaced sensuality, uncleanliness, and maliciously
depriving others. Marked by refusal to share and
unreasonable consumption of more than is
necessary, especially food or water. Destruction,
especially for sport. Substance abuse or binge
drinking. Dante explains it as “excessive love of
pleasure”. Associated with pigs and the colour
orange.
Avarice (Latin, avaritia)
Greed (treachery, covetousness) —
A strong desire to gain, especially in money or power.
Disloyalty, deliberate betrayal, or treason, especially for
personal gain or when compensated. Scavenging and
hoarding of materials or objects. Theft and robbery by
violence. Simony is the evolution of avarice because it fills
you with the urge to make money by selling things within the
confines of the church. This sin is abhorred by the Catholic
Church and is seen as a sin of malice; Dante included this sin
in the first poem of the Divine Comedy (the Inferno). Simony
can be viewed as betrayal. Thomas Aquinas on greed: “it is a
sin against God, just as all mortal sins, in as much as man
condemns things eternal for the sake of temporal things.”
Greed is represented by the frog and the color yellow.
Sloth (Latin, acedia)
Sloth (apathy, indifference) —
Apathy, idleness, and wastefulness of time. Laziness is
particularly condemned because others must work harder to
make up for it. Cowardice or irresponsibility. Abandonment,
especially of God. Sloth is a state of equilibrium: one does
not produce much, one does not consume much. Dante
wrote that sloth is the “failure to love God with all one’s heart,
all one’s mind and all one’s soul”. Associated with goats and
the colour light blue.
Wrath (Latin, ira)
Wrath (anger, hatred) —
Inappropriate (unrighteous) feelings of hatred and anger. Denial of the
truth to others or self. Impatience or revenge outside of justice. Wishing to
do evil or harm to others. Self-righteousness. Wrath is the root of murder
and assault. Dante described wrath as “love of justice perverted to
revenge and spite”. Wrath is symbolized by the bear and the color red.
Envy (Latin, invidia)
Envy (jealousy, malice) —
Grieving spite and resentment of material objects, accomplishments, or
character traits of others, or wishing others to fail or come to harm. Envy
is the root of theft and self-loathing. Dante defined this as “love of one’s
own good perverted to a desire to deprive other men of theirs”.
Associated with the dog and the color green.
Pride (Latin, superbia)
Pride (vanity, narcissism) —
A desire to be more important or attractive to others, failing to give credit
due to others, or excessive love of self (especially holding self out of
proper position toward God). Dante’s definition was “love of self perverted
to hatred and contempt for one’s neighbor”. In Jacob
Bidermann’smedieval miracle play, Cenodoxus, superbia is the deadliest
of all the sins and leads directly to the damnation of the famed Doctor of
Paris, Cenodoxus. Pride was what sparked the fall of Lucifer from
Heaven. Vanity and narcissism are good examples of these sins and they
often lead to the destruction of the sinner, for instance by the wanton
squandering of money and time on themselves without caring about
others. Pride can be seen as the misplacment of morals. Associated with
the horse, the lion, the peacock, and the color violet
https://www.faust.com/legend/se
ven-deadly-sins/
Music and art
•Hieronymus Bosch – The Seven Deadly Sins and the
Four Last Things
•“The Seven Deadly Sins” (Die sieben Todsünden) is the
name of a 1933 Kurt Weill / Bertolt Brecht / George
Balanchine collaboration. It was originally sung by Lotte
Lenya and danced by Tilly Losch.
•“Seven Deadly Sins” is a 1990 song by the rock and roll
supergroup, Traveling Wilburys.
•Modern artist Paul Cadmus painted a series of graphically
disturbing, anthropomorphic depictions of the seven
deadly sins, in the style of comic books. After his death,
this series was willed to the Metropolitan Museum of Art.
•The album Heaven and Hell by Joe Jackson is a modern
musical interpretation of the seven deadly sins.
•A song by Flogging Molly about seven drunken pirates is
titled “Seven Deadly Sins.”
•The Iron Maiden album “Seventh Son of a Seventh Son”
starts and ends with a melodic verse on the 7 deadly sins.
•The rock group Simple Minds has a song titled “7 Deadly
Sins” on its Good News From the Next World album.
•“Seven Deadly Sins” is a conceptual disco album by
Rinder and Lewis.
Further reading
•Summa Theologiae, by Saint Thomas Aquinas
•Inferno, by Dante Alighieri
•Purgatorio, by Dante Alighieri
•The Concept of Sin, by Josef Pieper
•The Traveller’s Guide to Hell, by Michael Pauls& Dana
Facaros
•Sacred Origins of Profound Things, by Charles Panati
•Faerie Queene, by Sir Edmund Spenser
•Oxford Univ. Press series on Seven Deadly Sins (seven
vols.), 2006.
Marc Quinn
Artworks
Emotional Detox: The Seven
Deadly Sins II
1995
Overview:
‘Emotional Detox’ is a series of sculptures made of lead and cast from the artist's own body.
Detoxification is shown both as an overpowering physical convulsion to rid the body of
poisons, and as a psychological battle to gain mental stability. This struggle against
dependency involves a painful release as repressed emotions are newly experienced, forced
out and sweated through the skin.
These sculptures are inspired by a traditional iconography – the seven deadly sins: anger,
avarice, envy, gluttony, lust, pride and sloth. They are not, however, direct representations
of those vices. Instead, the busts convey the impact of a body grappling with conflicting
responses and venting powerful emotions.
Perhaps unexpectedly, considering the pressure and intensity they embody, the figures
evolved through stages of disciplined preparation rather than abandoned outpouring. Quinn
used photographs and collaged drawings to select poses and combine body sections; not all
couplings of head and torso belong to the same casting session. His performance and
method was thus different from the mescaline-influenced, self-portrait snapshots (miniperformances staged in a station photobooth) used by Arnulf Rainer as a basis for his ‘face
farce’ drawings of the late 1960s and 1970s. Quinn’s controlled excess emulates more
closely the ‘character heads’ made by Franz Xaver Messerschmidt in the late eighteenth
century, some of which were also cast in lead. The results of a more time-consuming process
than Rainer’s swift scribbling, Quinn’s sculptures pose a question of whether facial
contortions can authentically convey fleeting inner sensations, or whether their features
express no more than frozen muscular reflexes. He has created a complex dialogue between
his material, subject and medium that is rich in association and vibrantly direct
1993: ’The Seven Deadly Sins and
the Four Last Things’ international
touring exhibition of thirteen large
scale computer manipulated photo
works, based on the painting of the
same name by the 15th cent.
Flemish painter Hieronymous
Bosch, the work explores aspects
of Scotland’s’ history and culture,
incorporating broader themes
relating to global exploitation,
pollution and morality in the late
20th century. Exhibited worldwide including venues in
Edinburgh, London, Athens,
Istanbul, Munich, Milan, Dundee,
Zagreb, Stockholm, Helsinki and
Kawasaki, awarded in 1997 the
13th Higashikawa Overseas
Photographer Prize, sponsored and
financed by Portfolio Gallery,
Edinburgh, B+S Visual
Technologies, Glasgow, The
British Council, and The Scottish
Arts Council, works in collection
of Gallery of Modern Art,
Glasgow, Ferens
http://www.7deadlysins.at/start_e
ng.htm
Still life collections but with modern
compositions
Still life collections but with
modern compositions
• http://www.photopedagogy.com/
threshold-concept-1.html