Evaluate How Practitioners Use Text, Symbols and Compositional Strategies to Construct Meaning in Artworks.

Evaluate how practiti iodinrs use text, symbols and compositional strategies to construct kernel in ar iirks. inventionists such as Mexican Frida Kahlo and British Francis Bacon be two 20th Century practitioners who employ text, symbols and compositional strategies to construct meaning most themselves and the wider world in their word-paintings. Kahlos prowesss such as he Self-Portrait as a Tehuana (Diego in my thoughts) and enthalpy Ford Hospital 1932 provide an sagacity of her life and her obsessions with child-bearing and her husband, Diego Rivera.Likewise, Francis Bacons Three Studies for the Figures at the Base of a agony and his Self- personation 1971 gives the downsizing of his sexuality and inhumanity of one man to another. Self-Portrait as a Tehuana (Diego on my thoughts) 1943 Oil On Masonite 29 7/8 x 24 Gelman Collection, Mexico City Self-Portrait as a Tehuana (Diego on my thoughts) 1943 Oil On Masonite 29 7/8 x 24 Gelman Collection, Mexico City Frida Kahlos graphicss usually construct meaning finished compositional strategies including autobiographical references and individual(prenominal) symbolism.Kahlos ethnicity alike has a significant impact towards her art reservation practices such as the repetitive themes of life and conclusion. Her excessive fascination towards vaginal birth and her husband, Diego Rivera was ostensiblely portrayed in her art civilizes such as her Self-Portrait as a Tehuana and Henry Ford Hospital. Kahlos Mexican culture is highly apparent through the traditional Tehuana costume found in her self-portraiture artwork whilst a sense of estrangement and detachment from this culture is manifested in her artwork Henry Ford Hospital through her fitation of Detroit where she had experienced her guerilla miscarriage.Kahlos life was perceptibly dominated by her obsessive drive in and constant thought of Diego that is has impacted her artworks thematically. This notion is evident in her self-portrait painting wh ere Diegos miniature portrait appears on her fore doubtfulness that literally and metaphorically signifies Diegos presence in her mind, which was also conveyed in the subtitle of her work Diego on my mind. Diegos repetitive influence on Kahlos work is again presented in another artwork however conveyed in another context.Kahlos Miscarriage in Detroit (Henry Ford Hospital), painted in 1932 elucidated her emotional and physical agonies from her miscarriages within her marriage to Diego. This artwork supports the notion of Frida Kahlos infatuation towards child-bearing whereby the six go images that connects to her lower abdomen by an umbilical cord-looking red lines precisely references to her jiffy miscarriage. Henry Ford Hospital, 1932 Oil on metal 32. 5 x 40. 2 cm Collection Museo Dolores Olmedo Patino, Mexico City. Henry Ford Hospital, 1932 Oil on metal 32. 5 x 40. 2 cm Collection Museo Dolores Olmedo Patino, Mexico City.Kahlo also uses symbolism and texts to convey the depth o f her artworks in relationship with her ain emotions and life experiences. The artwork Miscarriage in Detroit evokes the anguish experience that she had with childbearing whereby the six floating images suggests a sense of detachment and loss of control of her body. It also educes her constant link with Diego through the floating foetus that was named Dieguito meaning little Diego. A snail was used to represent the slow torment and horror of losing a baby while the simple machine is to symbolise her medical impersonality.Fridas study of medicine prior to her passenger car accident enabled her awareness towards the impact of her bus accident to her body and bones. This nonessential significantly affected Kahlos artworks and was evidently revealed in her Miscarriage in Detroit painting where the images of a pelvis and a side-view of a female physical body represents this event along with an orchid that her husband Diego gave her. The concepts of continuative and detachment are two portrayed in this artwork whereby the floating images are connected to her through the umbilical cord-like string connecting to her uterus.This string-like line links the objects to herself advocating its personal connection to Kahlo. The floating images also metaphorically suggest her detachment to the place where she had her second miscarriage. Kahlo also used personal symbolism to convey meaning in her artworks, which was clearly portrayed in her Diego on my mind painting in 1943. Diegos obvious domination in Kahlos life is evident in her artworks where her obsessive love and constant thought of Diego has become a thematic notion in most of her paintings.Diegos miniature portrait on her forehead indicates her obsessive love and constant thought of him. ascribable to this desperate infatuation of Diego, she painted herself in the costume that he greatly admired to attract and entice him closer to her. The roots of the leaves surrounding her head metaphorically symbolises a pattern of a spiders weathervane in which she hoped to trap her prey, Diego. The impassive image of Riveras face on Kahlos forehead however indicates her psychological obsession towards Diego but also of her philandering husbands tarnished indifference to her feelings.Surrealist artists such as Frida Kahlo evoke the meaning of their artworks through the use of symbols, texts and various compositional strategies. Musee National dArt Moderne, Centre Georges Pompidou, Paris Francis Bacon, a British painter elucidates his personal emotions through abstraction and surrealism which are evident in his artworks such as his Self-portrait 1971 and one of his triptych series Three Studies for the Figures at the base of excruciation in 1943-1944. Bacon portrays both the quelling of his sexuality and similarly to Kahlos feeling of detachment and hostility.His Self-portrait 1971 conveys a provocative and disturbing representation of Bacon, one which embodies the painters unattackable feelings of despair and vulnerability that was possibly caused by the suicidal death of his rooter Dyer during the same year. This distorted image of himself intensified with his use of broad-brush strokes, as tumefy as the dark colours which are made harsher and more heavy(p) but the added whites and blues. His emotionless state and detachment from the audience was symbolised through his bleak eyes thus also conveying his constant motif of death and silent screams.The name of his artwork is somewhat ironical towards his painting as the text states that it is a self-portrait however, it was distorted and perhaps metaphorically referring to his emphasis to the suppression of his sexuality. Bacons artwork Three Studies for the Figures at the Base of a Crucifixion in 1943-1944 summarises themes explored in his previous paintings, including his examination of Picassos biomorphs and his interpretations of the Crucifixion and the Greek Furies.Bacon did not realise his original intention to pai nt a large crucifixion scene and place the figures at the foot of the cross. The structure of the artworks when put in concert does not convey any commonality thus further emphasising his personal emotions towards the feelings of displacement. The brightness and contrasting colours used in this artwork signifies the disorderly environment that he was in. The third image illustrates an open and gaping give tongue to as if it was screaming out of pain.This idea references back to his childhood and the suppression of his sexuality. The screaming object in the painting is a representation of Bacons emotions during the times when homosexuality was a crucial topic to the society. The artists Francis Bacon and Frida Kahlo both convey the meaning of their artworks with references to their personal life experiences through the use of symbols, texts and compositional strategies.