FELDMAN’S approach to looking at art

• D ESCRIBE what you see

• A NALYSE the elements of art in the picture
• I NTERPRET the elements into meanings
• E VALUATE the work by forming your own judgments
 ☺
WATCH OUT FOR SLIDES WITH THIS SYMBOL…..

The artworks which bear this symbol is in the MOE SOVA

Syllabus. Please remember these visuals as it may appear
in your exams.
The SOVA theme you will learn this year is :
There are 3 components under the theme Self and Relationships
GENERALLY…….

•Art can make people think about war, poverty, racism, violence,
oppression etc.
• Some artists create art that makes a statement about events or
ideas that mean a lot to them.
• Self-portrait is a projection of one’s self and their identity.
• Portraits are one art form that artists use to give a message about
important issues.
Almost every artist has attempted the exploration of self in the
form of self-portraiture.

By exploring different self-portraits, we understand :

4. WHY artists create these works

5. HOW they represent themselves through their art.
Let us use FELDMAN’S approach to

critique the next piece of artwork…

Remember the steps???

 ☺

D ESCRIBE what you see

• A photograph
• A migrant mother – based on the title
• Mother’s face looks wrinkled and troubled
• Mother looking worriedly into the future
• Her right hand touching her face in despair
• Two children leaning against mother
• Children’s faces not shown
• Clothes look old and worn out
• Hair not combed
 ☺

A NALYSE the
elements and principles of art in the picture

• Colour - Picture is in black and white

• Emphasis – mother’s face as the focal point
• Proportion – The picture is in true proportion
(i.e without distortion)
 ☺

I NTERPRET the elements into

meanings
• Black & white picture suggest that it was
taken in the past
• The old, worn out clothes suggest hardship
• True proportions of picture illustrates realistic

depiction of suffering
• The children’s concealed faces suggest that
they may not be able to see a brighter future
 ☺

E VALUATE the work by forming your

own judgments
• Artist managed to depict suffering of a migrant
community.
• We sympathize with the family
• As teenagers, viewers will empathize with the
children in the picture for being deprived of a
promising future
• As parents, viewers will empathize with the
mother’s helplessness in caring and providing
for her children.
 ☺

Background info on portrait:

Dorothea Lange’s photographs showed the

world how people were suffering during the
Great Depression in the 1930’s. This
photograph was published in a news story
which made people aware of the hardships
migrant workers suffered. As a result, the U.S.
government rushed the workers food and set
up relief programs.
 • D ESCRIBE what you see

• A NALYSE the elements of

art in the picture

• I NTERPRET the elements

into meanings

• E VALUATE the work by

forming your own judgements

Image from : http://www.princetonol.com/groups/iad/lessons/middle/Lessons/6picasso.htm


Self-Portrait (1975)
Affandi
(Indonesia 1907 – 1990)
Collection of the Singapore Art Museum
Emphasis through brush strokes, ☺
colours and presentation of the subject
can endow the sitter with a certain
personality and disposition. In this
painting, Affandi uses his signature
whipping convoluted brush strokes to
imbibe a sense of vitality and
dynamism in this self-portrait. Using
primary and secondary colours (red,
yellow and green as well as a hint of
brown and flesh undertones, the artist’s
spiritual and emotional depth is
evoked. His facial expression divulges
an insight into his interpretation of self.
His eyes are downcast and there are
broken teeth in his mouth. We see an
aging artist, yet one who exudes
confidence and passion. While gazing
directly at the viewer, he is aware of his
success and yet realizes the frailty of
his physical self.
 In December 1888, Van Gogh chopped off ☺
a part of his of his ear and presented it to a
prostitue called Rachel, so the story goes.
"Self-Portrait with Bandaged Ear" depicts
the aftermath of these events. This painting
gives a real sense of personal catastrophe.
Still dressed in winter coat and fur hat, this
self-portrait includes an easel in the
background. Van Gogh seems to be
relating his suffering to his art. "Look what
art did to me", he appears to be saying.
Alternatively, the theory goes the easel
reaffirms his continuing commitment to his
art despite his recent breakdown. The
Japanese prints in the background remain
an important influence for the artist who
here has a vulnerable yet steady gaze. He
seems to be looking but not seeing, deep in
contemplation of his own anguish.
Self Portrait with Bandaged Ear (1889)
Vincent van Gogh (The Netherlands)
Oil on canvas
 Lang Kacang (1991)
Bayu Utomo Radjikin
☺
(Malaysia 1969 – present)
Collection of the Singapore Art Museum

In this work, we see a profile of the

warrior chief. His head is thrown back
with the force of his roar of frustration
and anger. The facial expression is
contorted in emotion and yet the torso
stands stiff and rigid, bound by
bandages of metal. In contrast to the
constricting armour of metal, the
feathers of the headdress stand defiant
and proud, symbolic of rich traditional
culture and evocative of traditions past
that are slowly being abandoned.
 ☺

Lang Kacang – A series of 3 drawings (1990)

Bayu Utomo Radjikin
(Malaysia 1969 – present)
Collection of the Singapore Art Museum

Self-Portrait (1946)
Georgette Chen
(China 1906 – Singapore 1993)
Collection of the Singapore Art Museum
The artist uses sweeping and blended
brushstrokes of colour in a centrally
focussed composition. Through formal
aesthetic elements, as well as physically,
through her bright red lipstick, upswept
European hairstyle, sharply plucked
eyebrows and confident gaze, she has
combined both Western and Eastern
influences in her self-portrait. She gazes
from a side angle at the viewer with her
head slightly tilted back, as if in appraisal.
The fresh shades of beige, light pink and
white highlights on her face are
complemented by the warm glow of the
background. Her sharply defined cerise lips
and the glossy black of her dress offer
contrasts to heighten the effect of the soft
lilting shades of the palette. Chen exudes a
cool and sophisticated demeanour, and this
is heightened by the stiffness of her
cheongsum collar, the elegant 1940s rolled
hairstyle and the subtle delineations of her
jaw line.

Self-Portrait (1966)
Mochtar Apin
(Indonesia 1923 – 1994)
Collection of the Singapore Art Museum
In this portrait, Mochtar does not gaze
directly at the viewer but towards the
approaching unknown. This does not create
a sinister or wary atmosphere, instead the
central focus of light cast on the forehead
and cheekbones of his side-profile convey
a sense of enlightenment and awakening.
The background of rich mossy green,
dramatic velvety blacks and shades of
brown provide a contrast, evoking the
heaviness of traditional Renaissance
paintings. The bright sunset orange, soft
flesh tones and glowing red bring a
dynamic feel to the portrait and
communicate Mochtar’s breakaway from
stifling aesthetic and conceptual
convictions. Thick angular strokes form the
outline and features of the face, hinting at
his forays into the abstract geometrical
style in his work. Lines criss-crossing are
particularly obvious at the artist’s nose
bridge and lips, lending an air of steely
determination.
Self-Portrait (1967)
Popo Iskandar
(Indonesia 1927 – 2000)
Collection of the Singapore Art Museum
Portraiture is a reflection of the subject’s status in society
(remember Migrant Mother??)

A painting can be used to establish a person’s status in society. A

portrait can be representative of a person’s inherent or
perceived importance as an individual.
We shall explore how artists engage a variety of elements to portray
their sitters’ personalities, characters and/ or status.

Portrait of Eugene Chen (1940) higher intellectual concern. The use of colour also
Georgette Chen
(China 1906 – Singapore 1993) figure itself is in soothing organic colours of beige,
Collection of the Singapore Art Museum
Eugene Chen was Georgette Chen’s 2nd husband.
He was the Foreign Minister to the Republic of
☺
China. He was a big influence in her life. This is
one of three portraits that Georgette Chen painted
of her husband before his demise. He appears to
be gazing into the distance, wrapped in thought,
perhaps over the book which he has just read. He
is portrayed as a scholarly and dignified character.
For a high ranking person, he is dressed modestly
and seated on a simple cane chair. With that kind
of portrayal, Eugene Chen appears to have a
disregard for material comforts but is in search of a
exemplifies his simplicity. The background and the
cream, brown and charcoal grey. The book in his
hands however is in red/scarlet. This contrasted
with the general colour scheme, and thus draws
our attention to it. From the relaxed pose, we can
tell that the relationship between the artist and the
subject is very intimate, making the viewers almost
feel intrusive.
 Lai Foong Moi (LFM) received her art education
from Spore (NAFA 2nd generation artist) and in
☺
Paris. Her artworks depict subjects from all races
and walks of life. Virtually all her paintings show a
direct and natural finesse and yet at the same
time, impart an emotional resonance. In this
artwork, the labourer is portrayed as sitting
casually in an eating-place, gazing into the
distance and is deep in thought. He is the principal
subject whilst in the background, a samsui woman
is eating from a tiffin carrier. A sense of
spaciousness is created in the composition by the
laying out of dark chairs and tables in the
background and figures in the foreground. As there
is no clutter or use of shadows, a sense of
simplicity and light is felt. The principal subject is
dressed casually in a labourer’s outfit, but his
clean clothing and combed back hair provide him
with an air of respectability. His legs appear to be
suntanned and muscular and his face, with the
Labourer (Lunch Break) (1965) determined jaw, contribute towards the impression
Lai Foong Moi of an honest working man.
(Malaysia 1931 – Singapore 1995)
Collection of the Singapore Art Museum
 Find a group of 4-5 friends.
Each group will take on ONE question.
Present answers at the end of the group discussion.
You have 10 minutes to discuss…
 A collector and scholar, Raffles
was a colonial administrator in
South East Asia. In 1811 he was
made Lieutenant-Governor of
Java following Britain's invasion.
In 1819 he took over the
governorship of Sumatra and
acquired Singapore where,
between 1822 and 1824, he
oversaw the development of a
thriving commercial port for the
Sir Thomas Stamford Bingley Raffles
British.
by George Francis Joseph
oil on canvas,1817
On display at the National Portrait Gallery
 Study this portrait and explain how
the artist engage a variety of
elements to portray the sitters’
personalities, characters and/or
status.

• Posture? Appear posing or

behaving naturally?

• Relax? At ease or is it an
uncomfortable setting?

• Eye contact?

• Clothing?

Sir Thomas Stamford Bingley Raffles

by George Francis Joseph • Objects in the background?
oil on canvas,1817 What does it say about him?
On display at the National Portrait Gallery
 SUGGESTED
ANSWERS…

Sir Thomas Stamford Bingley Raffles

by George Francis Joseph
oil on canvas,1817
On display at the National Portrait Gallery

Sir Thomas Stamford Bingley Raffles
by George Francis Joseph
oil on canvas,1817
On display at the National Portrait Gallery
• Posture? Appear posing or behaving
naturally?
Ans :Posed portrait. Seated upright but quite
relaxed. Very comfortable with his position/
rank. Exudes an air of confidence and very
dignified.
• Relax? At ease or an uncomfortable
setting?
Ans : He looks very comfortable and how the
left hand hangs over the armrest shows
that he is relaxed. The portrait takes place
indoors and looks like a part of a study
room because there are papers on the
table. He is holding a paper in his right
hand. All these illustrate that he is proud of
his vocation.
• Eye contact?
Ans : He is looking directly at the viewer with a
confident gaze. Exudes a superior
disposition towards the viewers.
 • Clothing?
Ans : He wears a formal British (official) attire.
The high neckline seems to illustrate his
sophisticated demeanor. There is an air of
arrogance and smugness about him.

• Objects? What do objects in the

background say about him?

Ans : The way the portrait is painted is very

Sir Thomas Stamford Bingley Raffles
by George Francis Joseph
oil on canvas,1817
On display at the National Portrait Gallery
renaissance in characteristics. The drapes,
the outdoor landscape and the furniture
looks very European. There seems to be a
Buddha relief sculpture on his table which
might suggest his inclination to travel,
especially to Asian countries. He is holding
a piece of paper which may suggest that
he is an administrator who deals with a lot
of writing and paperwork.
Self-Portrait of My Ancestor (1994)
Koh Nguang How
(Singapore 1963 – present)
Collection of the Singapore Art Museum
You inside, are you still ok? (1977)
Chatchai Puipia
(Thailand 1964 – present)
Collection of the Singapore Art Museum
Portraiture is a manifestation of relationships between
people.
Portraiture can tell us about the relationships between the people in
the picture. The facial expressions, poses, arrangements and setting
provide rich information about the sitters and how they relate to one
another.

We shall now learn how artists depict the diversity and

dynamics of human relationships in their works.
Portraits can provide visual clues to the viewer about the relationships of
the subjects in the painting.

We can find clues in : - facialexpressions

- poses
- the arrangement of the subject matter
- composition
- background setting

General questions to ask when looking at portraits are:

10.What is the relationship between the subjects in the painting?
11.How does the painting make you feel and what does it make you think?
12.What personal experiences or opinions shape your judgement?

Family Portrait (1968)
Hendra Gunawan
(Indonesia 1918 – 1983)
Collection of the Singapore Art Museum
•
Hendra Gunawan : ☺
One of the most important artists in the
history of Indonesian Art.
• Self- taught
• During the struggle for independence
(1945-49), he was an active nationalist
revolutionary.
• Together with Affandi, he formed the
Peklukis Rakyat (People’s Painters).
• Had links with the Indonesian
Communists Party
• Member of the Constituent Assembly.
• Became teacher at Indonesian Art
Academy from 1950 – 1957.
• Popularised the theme of nationalism
and ‘concrete humanity’.
• Communists downfall in 1965 saw
Hendra and his fellow members being
imprisoned.
• He was imprisoned in Bandung’s Kebun
Waru prison from 1967 – 78.
 Make some guesses about the
☺
relationships between the people

you see in this artwork.

Notice that there are a lot of

people in the background. Who

do you think they are and where

do you think this place is?

Family Portrait (1968)
Hendra Gunawan
(Indonesia 1918 – 1983)
Collection of the Singapore Art Museum

Family Portrait (1968)
Hendra Gunawan
(Indonesia 1918 – 1983)
Collection of the Singapore Art Museum
• This family portrait was painted in 1968
during a family visit day at the prison. ☺
• His two sons, and his wife Karmini surround
him.
• On his far left is his student, Nuraeni.
• The inclusion of Nuraeni in this family
portrait hinted at Hendra’s desire to marry
her.
• Nuraeni later did became his second wife.
• There are crowds of families in the
background but this do not interfere with the
intimate air between the subjects of his
paintings.
• This painting has whimsical details from the
feathery brushstrokes of his wife Karmini’s
sarong kebaya to the delicate softness of his
son’s features.
•There is little dramatic exaggeration in this
painting, illustrating Hendra’s depth of
emotional sincerity.
 ☺
Artist and Model (1954)
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

• Liu Kang lived to Spore during the Japanese occupation.

• He is one of Spore’s pioneer artists.
• He received his art training in China and Paris.
• Liu Kang is one of the founding member of the Singapore Art Society.
• Like Georgette Chen, he too lectured at NAFA.
• He has played a pivotal role in Singaporean art history as a cultural commentator,
artist and educator.
 Artist and Model (1954)
Liu Kang
☺
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

• In 1952, a few Singaporean master painters, Liu Kang, Cheong Soo Pieng, Chen
Chong Swee and Che Wen Hsi, embarked on a trip to Bali.
• Their intention was to refine a Southeast Asian aesthetic and Nanyang style that
would set them apart from Western and primitive art.
• In this painting, a naïve style of strong bright colours, lack of shadows and
simplified form endow the painting with feelings of freshness and vitality.
• The white outlines imitate the wax outline of the batik technique, deepening the
sense of the exoticness of the posing Balinese lady.
• The mountain range in the background and the triangular configurations of the
chairs and table imbibe depth to Liu Kang’s composition.
 Artist and Model (1954)
Liu Kang
☺
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

Cont’d
• The astute use of colours such as the bright scarlet of the flower in the sitter’s
hair, the tea set, and the bag of painting materials serve to bring a sense of
harmony into the highly detailed painting.
• This painting captures art making in its process. Chen Wen Hsi and the model he
is painting are the subject focus.
• The viewer gains a sense of the vibrant energy and inspiration that Liu Kang
enjoyed on his painting trip to Bali.
 Artist and Model (1954)
Liu Kang
☺
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

• This painting reminds us of the

colours used by Matisse in his works.
There are bright tropical hues,
particularly the rich blues of the rolling
mountains and flat colours, makes you
think that this is not a painting, but a
paper collage.

Beasts of the Sea

Papercut / collage
Henri Matisse
 Artist and Model (1954)
☺
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

CLASS DISCUSSION
Answer these questions:
3. Describe the subjects’ facial expressions
4. Analyse their poses in relation to one another. Are they behaving
naturally?
5. What can we tell from their clothing?
4. Interpret the intentions of the artist in this artwork.
 Artist and Model (1954)
☺
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

1. Describe the subjects’ facial expressions.

- Eye contact is avoided between the viewer, the artist and the subjects.
- The model’s face is cast down, giving the impression of being shy.
- The artist seems engrossed in drawing, portraying that he is
professional about his work.
 Artist and Model (1954)
☺
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

2. Analyse their poses in relation to one another. Are they behaving naturally?
- The model is sitting on a stool with her left hand on her face.
- She looks quite uncomfortable about being drawn (shy), but perhaps not
about being topless.
- The artist is sitting directly opposite her and looks very comfortable. He
looks more occupied at capturing her image than with the fact that she is
topless.
- Liu Kang illustrates the side view of the this whole art-making process.
Both the subject matters in this painting seems to be oblivious about his
presence.
 Artist and Model (1954)
☺
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

3. What can we tell from their clothings?

- The model is topless. It is part of the Balinese culture to adorn such
outfits in their daily lives. As such, the model must feel comfortable in
that attire.
- She is very traditional. Her sarong is made out of Batik. She has flowers in her
hair.
- The artist is in casual clothing. He too looks relaxed and seem very
professional in executing his artwork.
- The artist’s clothing suggest that he is not a Balinese local.
 Artist and Model (1954)
☺
Liu Kang
(China 1911 – Singapore 2004)
Collection of the Singapore Art Museum

4. Interpret the intentions of the artist in this artwork.

- Liu Kang is portraying an engrossed artist in the process of painting a
local model. The artist appears to be very professional, deep in task and quite

oblivious that he himself is being portrait.

- Liu Kang uses white paint to outline his subject matters, giving the painting a
Batik feel. He did this on purpose to incorporate the influence of traditional
• First Impressions – spontaneous reactions

• Description – listing exactly what can be seen

• Analysis – looking at relationships among EOAs, PODs and images, as

appropriate.
Consider the following : image, contrast, proportion, line, shape, balance,
variety, harmony, colour, form, rhythm, emphasis, unity, texture, volume.

• Interpretation – personal reflections on the artwork

Consider the following : themes, expression, imagination, ideas,
narratives, associations, cultural context, social issues.

• Background Information – gathering information on the artist and the

artwork.

• Informed Evaluation / Judgement – reflective activity

 Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum

About the artist:

- Born in Batu Pahat (Johor, Msia)
- Received diploma in fine art from in
the Malaysian Institute of Art.
- Exhibited works in Japan, Spore,
England, Australia and US.
- Was conferred the Painting Award in
Salon Malaysia by the National Art
Gallery Malaysia and the Minor
Award in the Young Contemporaries
exhibition.
- Well known for her surreal figurative
paintings that draw from her
personal life.
 Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum

• done a year after Eng’s

Grandmother’s death.
• delves into the artist’s feelings about
her loss.
• She assumes the role of a scarlet
nude figure exposing her physical
self and baring her emotional soul
• Eng juxtaposes herself against her
grandmother.
• Her grandmother is frail in her
wheelchair and yet the epitome of
traditional propriety in her sarong,
scraped back hair and pearl
earrings.
 Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum

• On the right hand side of the

painting, prayer papers and a white
mourning lantern emphasize
traditional Chinese practices and
bringing to mind filial piety.
• We cannot help but compare the two
subjects in the painting – the
grandmother firmly placed in her role
of nurturing mother and mother
whilst Eng herself appears to ponder
her path in life and is able to cast
aside any inhibitions to discover
herself.
 Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum

• In the background, blooming white

lotuses rise out of the mud. Buddhist
symbols of mental clarity and
spiritual purity. The open blossom
signifies the attainment of
enlightenment whilst the floating
boat symbolizes the grandmother’s
journey into the afterlife.
• There are whimsical touches amidst
the sombre subject of this painting –
rocking horses float overhead. The
depth and breadth of visual
elements used evoke the innocence
of childhood and the enormity of
death. This leads the viewer to
ponder alongside the artist on our
existence, the mysterious journey
through life and how actions
determine fate.
Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum

1. How can you describe the

relationship between the
subject matters in this
painting? (4m)
2. What do the objects in the
background tell you about the
people in this painting? (4m)
3. Are the subject matters
behaving naturally? (4m)
4. How does the painting make
you feel and think? (4m)
5. What personal experiences or
opinions shape your
judgment? (4m)
 1. How can you describe the relationship
between the subject matters in this
painting? (4m)

• There are two women, related by blood (grandchild

and grandmother).
• The grandmother is very conservative, a typical
Asian woman, seated properly on wheelchair,
wearing a sarong, neatly combed and tied back hair
and wearing a pair of earrings.
• Unlike the grandmother who is down to earth and
realistic, the grandchild is painted red (surreal), and
not clothed. She squats in an un-ladylike manner.
• Grandchild appears to be more expressive and not
tied down by traditions like her grandmother.
• She is gazing up into the distance, as if looking into
her future.
Memory(1994) • The 2 women have a family relationship
Eng Hwee Chu but they do not share the same principles,
(Malaysia 1967 – present) characteristics, and outlook about their
Collection of the Singapore Art Museum
lives.
 1. What do the objects in the background tell
you about the people in this painting? (4m)

• The objects in the background tell us that the artist

still believes in many of her Asian values despite
her being less traditional than her grandmother.
• We see the white funeral lantern, and prayer
papers distinctly portrayed on the extreme right of
the painting. We see the white lotuses which signify
her belief in religion (Buddhism) near the bottom left
of the painting.
• The rocking horses somehow remind us of
childhood while the boat and the dark river reminds
us of death and the after life. From these, we can
deduce that the artist probably grew up being very
close to her grandmother until her inevitable.

Memory(1994)
Eng Hwee Chu
(Malaysia 1967 – present)
Collection of the Singapore Art Museum
Cinderamata Ala Indonesia (1996)
(Souvenir from Indonesia)
Agus Suwage
(Indonesia1959 – present)
Collection of the Singapore Art Museum
 The Blurring Echo (1997)
Ahmad Fuad Osman
(Malaysia 1966 – present)
Collection of the Singapore Art Museum
 Samsui Women (1977)
Chua Mia Tee
(China 1932 - present)
Collection of the Singapore Art Museum
The Accuser Suddenly Intervened (1992)
Neil Manalo
(Philippines 1965 – present)
Collection of the Singapore Art Museum

Given a chance to make 2 changes to

this work, what would you do and why?
(10 m)
 The Haji Family (1990)
Redza Piyadasa
(Malaysia 1939 – present)
Collection of the Singapore Art Museum
 Canangsari II (1992)
Khalil Ibrahim
(Malaysia 1934 – present)
Collection of the Singapore Art Museum
The Noveau Riche, the Elephant, the Foreign Maid,
or the Discreet Charm of the Bourgeoisie
(1991)
Wong Hoy Cheong
(Malaysia 1960 – present)
Collection of the Singapore Art Museum