About People
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Transcript of About People
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About PeopleNg Eng Teng
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Enduring Understanding
Students will understand that artworks
do encapsulate the themes of identity
and relationships in a variety of ways
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Essential QuestionsOverarching Questions1. What is an identity?2. How can relationships within a family or
society be shaped?3. How artists form identity or relationships
with their art?Topical Questions1. How does abstraction enhance the
theme of identity and relationships?
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5W1H
Familial Relationships Human Condition/Experience
NgEng Teng
When1945 - 2001
What
WhereSingapore
HowSculpture
Painting
WhyHis Background
His Influence
WhichContemporary
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Biographical Outline1945: Born in Singapore.1955: Took painting and sculpture at British
Council.1956: Attended NAFA and left soon after due
to illness.1959: Re-enrolled in NAFA and studied under
the Pioneer Artists. 1962-63:Studied pottery with North Staffordshire
College of Technology/Stoke-On-Trent School of Art, UK.
1963-64:Studied studio pottery at Farnham School of Art in Surrey.
1966: Set up a workshop and studio at home.2001: Died in his sleep.
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When (1934- 2001)
1938: Establishment of NAFA.
1942-45: Japanese Occupation of Singapore.
1952: Nanyang Artists visit to Bali.
1964: Racial Riots.
1965: Singapore gained independence.
1997: Asian Financial Crisis.
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Where SingaporeThe art world of the 60s and 70s were
dominated bypaintings. Little was known about pottery and
sculpture.
UKGreater exposure to Western sculptors in UK.
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WhichContemporary Art that belongs to the same period of
time, as in “current”. Refers to the present time, as in “now”. Can also refer to being current with
any
“specified” time, as in the past.
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Liu Kang's Influence
Girl with Two Apples, 1958
Oil on board, 50 x 41 cm
Going to Market, 1957by Liu Kang
Oil,
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Georgette Chen's Influence
Watermelons, 1940-45by Georgette Chen
Oil on canvas, 61.4c x 50.3 cm
In the Kitchen, 1960Oil on board, 55.5 x 80 cm
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Cheong Soo Pieng’s Influence
Preparing Rice Flour, 1960Oil on canvas, 60 x 87 cm
Drying Salted Fish, 1960by Cheong Soo Pieng
Chinese ink and colour, 55 x 88 cm
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Nanyang Style
Which
When- 1930s to 1970s
Who– Nanyang Artists
Liu Kang
Cheong Soo Pieng
Chen Wen Hsi
Chen Chong Swee
Lim Cheng Hoe
Georgette Chen
Refers to the styles developed by the Nanyang Artists who were influenced by School of Paris and local subject matter. Their visit to Bali culminated in an exhibition that catapulted art in Singapore onto an unprecedented plane. This marked a significant moment in the history of Singapore art.
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Abstraction
WhichImagery that departs from representational accuracy via selection, exaggeration or simplification of forms (http://artlex.com/).
Abstract Torso I, 1992
Coloured marker on watercolour paper, 76.5 x 56 cm
Bewitched, 1992
Bronze, 68 x 58 x 28 cm
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Which- Abstraction
Growth Form, 1962Ciment Fondu, 46 x 53 x 57
cm
This is one of the earliest non-representational sculptures in Singapore.
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WhatSubject Matter Figures- have the capacity of movements to
interpret emotions, convey stories. Head- viewed as the convergence of the
complex psychological and physiological features that distinguishes humans- on par with how the head is esteemed in European art.
Torso- viewed as a powerful symbol of emotion and feeling, when used as a whole or in parts like appendages and torsos.
Imaginative- in utilizing the above, for eg: humanoid looking sculptures.
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WhatTheme Relationships
Within the family- between mother and child, or father and child, or both parents and child.In an Asian context- mother plays a nurturing role and thus more physically intimate with the child, while the father plays a supportive role and thus more distant.
Human Condition/ExperienceSocial and psychological issues. The good and bad side of life. The achievements and downfall of mankind.
“The experience of humanity- love, hope, the joy of living as well as dejection, rejection, despair, fear and sorrow” (Koh, B. S., 1997).
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What- Imagination & Humour
I Spy II, 1995Stoneware, 57 x 34 x 29
cm
“ Head” Teapot, 1962Stoneware, 31.5 x 45 x 16
cm
Centre Hair Parting, 1992Earthenware, 24 x 16 x
13.5 cm
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What
Human Condition-Good and bad side of life.Achievements and downfall of mankind.
Family- upbringing and relationships
Overarching theme- humanity and life.
“My works are reflections of my thoughts and experiences
In visual form. The creative impulses come not from the
environment immediately around butfrom a universal world and from
my own inner tensions. My sculptures speak of individual alienation, pain, poverty,
loss of life as well as justice and love. In short, my works are from and of
life and humanity.” - Ng Eng Teng -
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His Ceramics
Mountain Cloud I, 1987Stoneware, 45 x 31.5 x 11.5
cmTorso, 1994
Stoneware, 78 x 42 x 23 cm
Bowl, 1962Earthenware, 6 x 14 x 14
cm
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His Sculptures
Portrait Head of Mother, 1973
Ciment fondu, 30 x 19 x 23 cm
Singapore Girl, 1960-61Terracotta, 37 x 16 x 14
cm
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Organic Forms
Timid Dancer, 1990Ceramics, 112 x 26 x 26 cm
Plump Dancer, 1990Ceramics, 89 x 36 x 36 cm
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Biomorphic Forms
Wondering, 1992Bronze, 96 x 67 x 37 cm
Dreaming, 1992Bronze, 67 x 51 x 25 cm
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What is a Biomorphic Form?
Person Throwing a Stone at a Bird, 1926
by Joan Miró
Oil on canvas, 73.7 x 92.1 cm
Museum of Modern Art, new York
The term is the Greek word ‘bios’ meaning life combined with the word ‘morphe’ meaning form. It is nevertheless abstract which evokes living forms like plants and human body. It was used n the 1930s to describe imagery in the more abstract types of Surrealist painting and sculpture, particularly those of Joan Miró (see inset), Henry Moore and Louise Bourgeois.
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Relationship
Lovers II, 1974Ciment fondu, 29 x 36 x
36 cm
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Relationship
Pride of a Mother, 1978Stoneware 42 x 14 x 14
cm
Nonya Mother, 1978Stoneware 45 x 22 x 15
cm
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Relationship
Mother and Child, 1980Ciment fondu, 42 x 14 x 14 cmOrchard Road, outside Far East
Shopping Centre
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Relationship
Over Mother’s Head, 1990Bronze, 103 x 40 x 38 cm
Over Mother’s Head, 1990Bronze, 103 x 40 x 38 cm
Front View
Back View
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Relationship through Faith
Madonna and Child II, 1990Bronze, 89 x 55 x 41 cm
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Relationship
Father and Son, 1978Ciment fondu, 62 x 50 x 35
cm
Father and Son, Year unknown
Stoneware, 24 x 18.5 x 12 cm
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Relationship
Parents and Child I, 1979Stoneware, 16.5 x 11.5 x 7.5
cm
Parents and Child II, 1979Stoneware, 25.5 x 25.5 x 6.5
cm
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Relationship & Human Condition
Responsibility II, 1985Ciment Fondu, 94 x 65 x 30
cm
Responsibility I, c. 1960Ciment Fondu, 30.5 x 16 x 16
cm
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Relationship- Comparison
Family Group, 1949by Henry Moore
Bronze (ed. of 4), 154 x 118 x 70 cmTate Gallery, UK
Parents and Child I, 1979Stoneware, 16.5 x 11.5 x 7.5
cm
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Comparison with MooreHenry Moore (1898-1986) A famous modern sculptor and most
celebrated at his time. He was born in Castleford Yorkshire and won
a scholarship to the Royal College of Art in London at 23 years old.
He visited museums regularly in London and began to acquire an interest in primitive art, especially Pre-Columbian sculpture.
His technique- he started with direct carving but later changed to modelling.
He once said- “The difference between modelling and carving is that modelling is a quicker thing, and so it becomes a chance to get rid of one's ideas.”
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Comparison with Moore
Reclining, Year unknownStoneware, 6.5 x 15.5 x 4.5 cm
Reclining Figure, 1951by Henry Moore
Plaster and string, 105.4 x 227.3 x 89.2 cm
Tate Gallery, UK
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Comparison with Moore
Seated Woman: Thin Neck, 1961by Henry Moore
Plaster, 170.2 x 81.3 x 103.5 cmTate Gallery, UK
Seated Woman, Year unknownStoneware, 14 x 21 x 10.5cm
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Comparison with Giacometti
Maxi, 1969Ciment Fondu, 50 x 26 x 22 cm
Lotar III, 1965by Alberto Giacometti
Bronze, 65.5x 28 x 35.5 cm
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Comparison with Giacometti
Alberto Giacometti (1880-1959) He was born in 1901 in Italian-speaking
Switzerland. He attended School of Fine Arts in Geneva and
studied under sculptor Antoine Bourdelle (an associate of Rodin) when in Paris.
He experimented with cubism and surrealism while in Paris.
Although he was a key player in the Surrealist movement, the nature of his work and his relationship with Existentialist Jean Paul Sartre aligns him with the Existentialist movement.
He was eventually expelled from the Surrealist group.
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Human Condition/Experience
Old Age, 1960Oil on canvas, 86 x 60 cm
Blind Woman, 1960Oil on board, 61 x 32.5 cm
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Human Condition/Experience
Tragedy of War I, 1966Teracotta, 36 x 36 x 36 cm
Tragedy of War II, 1967Teracotta, 68 x 18 x 48 cm
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Human Condition/Experience
Tension (mobile), 1972Ciment Fondu, 38 x 35 x 35
cm
Pancake, 1980Ciment Fondu, 13 x 80 x 8 cm
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Human Condition/Experience
Fear I, 1978Stoneware, 11.5 x 12 x 12 cm
Fear II, 1978Ciment fondu, 50 x 56 x
51 cm
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Fright, 1979Stoneware, oil painted10.5 x 17.5 x 13 cm
Human Condition/Experience
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WhyHis Background His family upbringing, education and religion
influence his art forms and content. He studied under Nanyang artists like Liu Kang,
Georgette Chen and Cheong Soo Pieng. Their influences are evident in some of his paintings.
He met Jean Bullock, with whom he was exposed to sculpture and learnt about the material ciment fondu.
The artist has a compassion for human suffering, in our environment of poverty, over-population and strife.
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WhyHis Background Humanity and life itself inspires him “He works with the figural tradition of
Henry Moore.” (Sheares, 1991). His abstraction is sometimes reminiscent of
the simplicity and reduction of Giacometti and Brancusi.
His Inspiration He admires the emotional and powerful
elements in Jacob Epstein’s works.
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Why- His InfluenceJacob Epstein (1880-1959) He was an American-born sculptor who
worked in UK. He pioneered the modern sculpture. He often produced controversial works
that challenged the taboos concerning what public artworks should depict.
His technique- direct carving. He was also a painter.
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Why- His Influence
Female Figure in Flenite, 1913by Jacob Epstein
Serpentine, 45.7 x 95 x 12.1cmTate Gallery, UK
Torso, in Metal form “The Rock Drill, 1913-14
by Jacob EpsteinBronze, 70.5 x 58.4 x 44.5cm
Tate Gallery, UK
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How
Ciment fondu
Fast setting. It is strong and durable.
Typically used as acomposite material, with sand and water.
A type of cement in powder form.
“Ciment fondu is a very beautiful material. You can stain it to different colours and,
should it be damaged, you can repair it back to its original condition”
- Ng Eng Teng -
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How
Other Media Stone Metal Clay- he prefers clay because it offers
him direct and immediate manipulation.
Bronze- he likes bronze because it’s malleable and durable.
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How He works in series. He works preliminary with drawings and
maquettes in clay before proceeding to the final sculptures.
This is to help him conceptualize the final artworks.
He uses form to increase the haptic (relating to touch) quality of his sculptures.
He also avoids the conventions of proportion. Instead, he exaggerates specific parts of the body
while reducing and even omitting others.
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How
Others
SculpturesCeramics
Throwing. Adding and subtracting. Modelling and moulding.
Casting Modelling and moulding.
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Reference Kwok, K. C. (1996). Channels & Confluences: A History of
Singapore Art. Singapore Art Museum: Singapore. Sabapathy, T.K. (1991). Sculpture in Singapore. National
Museum Art Gallery: Singapore. Sabapathy, T.K. (1998). Ng Eng Teng, Art and Thoughts.
NUS Museums, NUS: Singapore Sabapathy, T.K. (2002). Bodies and Figures, An Overview of
Ng Eng Teng. NUS Museums, NUS: Singapore. Sabapathy, T.K. (2003) Configuring the Body, Form and
Tenor in Ng Eng Teng’s Art. NUS Museums, NUS: Singapore. Koh Buck Song (Ed) (1997). Southeast Asian Art: A New
Spirit. Art and Artist Speak: Singapore.
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Reference http://www.thecore.nus.edu/landow/post/
singapore/arts/sculptors/ngengteng/drawingov.html
http://www.postcolonialweb.org/singapore/arts/sculptors/ngengteng/paintingov.htmlttpsingapore/arts/sculptors/ngengteng/sculptureov.html
http://www.bluffton.edu/~sullivanm/mooretoronto/mooretoronto.html
http://www.tate.org.uk/