In the spirit of our previous readings, individual study and research and previous assignment, I appreciate "The Image appraisal" as our Critical Studies, second assignment. represents an opportunity to test my progress in developing fundamental abilities as:
1. exercising artistic perception, analyse and interpret photographs, using specific terminology and methods.
2. identifying art principles, concepts, ideas and aesthetically patterns at work, as integrated elements in certain artworks used by various consecrated practitioners in Visual Arts.
3. Once I feel familiar it helps to make me able to identify these aspects and assimilate them, in my everyday practice., as a natural evolution in my artistic formation aiming as the ultimate goal, to develop my own concepts and prospect different ways to use them in my own work.
Personal considerations about my criteria used for Appraisal of an image selection
Apart from the fact that is a source of inspiration, some of the famous series and collections of images produced in time by various practitioners, exceed the strict borders of art interpretation because the authors were able to add value into their artworks make them significant in a broader perspective, as a direct source of information for anthropologists or to provide social data. Some of the photographers are driven strictly by the artistic perception of the reality and they treat subjects accordingly. Others are focused to deliver photographs as visual evidence, to illustrate and support specific ideas about communities, society and lifestyle.
In my research, I looked for photographers who could find a balance between the two criteria I mentioned above. I was looking for authors and images iconic for British identity and traditional culture, I found that very few was interested in the countryside typical English, rural communities life, and document typical aspects.
One of them is James Ravilious, as a constant observer of rural life and people. From the moment when he started to be dedicated to this project, he constantly worked seventeen years, during which time he made just under 79,000 negatives about rural Britain.
NATIONAL IDENTITY
Because I avoid picking random themes or subjects, I tend to approach real, and significant aspects for our documentaries art interpretations projects.
And I am a supporter of traditions and cultural identity preservation. traditional rural Britain mentality, more conservatory. the national flag, borders, cultural identity and symbols National symbols still survives because the simple fact that we live, work and study under the same flag. THE UNION JACK.
NATIONAL IDENTITY ILLUSTRATED IN PHOTOGRAPHY
Beyond its political implication, I used the image: “Hoisting the Jubilee flag” opens a discussion and draws our attention to the NATIONAL IDENTITY theme in arts. To exercise the observation and interpretation, might be an opportunity, to see how this national identity SYMBOL was illustrated in the past.. Doing my research on this particular subject, I found several artists and a series of photographs which depicts or use national symbols. Might be a subject to research and discuss extensively, but here will stay within the given physical limitations of my essay. My decision was to avoid elements of conflict, be simple, with a positive message, and as mandatory criteria, to contain a symbol or graphical elements related straight to the national identity, and people, if possible everyday people, not celebrities or political leaders. Having clarified these criteria, what could be more relevant than a scene with Union Jack flag itself in its full glory, raised by a group of people, as you can see in the image below.
James Ravilious, 1977: ‘Hoisting the Jubilee flag, Harepath, Beaford, Devon, 1977’End of FigureThis photograph is part of the documentary archive about the people and landscape of North Devon made by James Ravilious (Hamilton, 1998, p. 2)
This work is mentioned in various contexts and was subject of critical analysis, as a reference one. The interpretation I found, was different than mine. In my view, this is not a constructed photography based on a scenario.
Some authors mention that this is a difficult scene to interpret, and was not the right choice in terms of location and composition, to take the picture in an isolated place.
To me, it seems to be an authentic scene, more exactly these are young people from Devon countryside, finding their way and express their joy to celebrate the Silver Jubilee of Queen Elizabeth's accession to the throne, in an authentic simple manner. Critical studies mentioned that the author was too simplistic in his choice. Not considering to create a more consistent context, with more people, and be in the middle of a community, like a village or a town.
Considering this was a historical moment generally celebrated in many locations, we expected Ravilious to choose a significant rural community, more well defined. But surprisingly, has chosen to make the picture in such isolated scenery. I think it is justified because in this case, the natural surroundings play a role to host such moment in the free space, giving a particular mood to the participants, in this typical English countryside landscape. It speaks about origins, freedom, the simple countryside people's heritage. Also, it helps to put in evidence the large Union flag, once raised, waving over the generous landscape. I think this was the idea in his mind. In my opinion, he did right. I would have a similar approach, considering the given circumstances.
Composition considerations and comparative analysis on NATIONAL IDENTITY theme
As an exercise of comparative analysis, we may find similarities to another image. And yes, there are common elements of composition, now its difficult to conclude, if it was deliberate or not. For instance, this composition with the flag, pole and a group of soldiers disposed along the diagonal of the picture, maybe even in a more dramatical context we can see in other photographers work.
Joe Rosenthal, 1945: ‘US marines raising the US flag on Iwo Jima's Mount Suribachi’
James Ravilious, in his: ‘Hoisting the Jubilee flag, The Union Flag “ image, he put the flag as the dominant element within the frame, apparently was placed based on the rule of thirds. The graphical aspect of the flag symbol looks well emphasised in a B&W spectrum of fine tones of greys. From the anthropological perspective, we can observe and interpret the human features of this group illustrated in this composition. Visible and easy to identify are the social category, age, social status, education. Definitoryelements here to mention are national identity, the nature of a rural community, involved in a ritual of a national celebration of a Royal Jubilee in North Devon. Also, we can identify the characters who are involved, as young white men. And maybe more important, we have to mention the rural people's mentality, and perception regarding a historical moment, in the way they celebrate here.
As a conclusion, useful as a starting point for future research about cultural anthropology, I would mention the value of the consistent work and attentive observation in creating such rare and comprehensive study as James Ravilious did in his work about rural Britain. Maybe Sanders in Germany might be a comparable practitioner, who created a database with valuable visual information about occupational categories and particular communities.
Bibliography, online resources
:https://beafordarchive.org/photographer-category/james-ravilious/https://beafordarchive.org/archive-image/untitled-2578/https://www.theguardian.com/news/1999/oct/08/guardianobituarieshttps://devonassoc.org.uk/devoninfo/book-reviews-james-ravilious/https://www.open.edu/openlearn/people-politics-law/politics-policy-people/sociology/reading-visual-images/content-section-1.7.2
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