Yr 11 mock piece based on movement.

Formal Elements.  Thanks Mr Kiff.

Tango 1926 by Jacques Henri Lartigue.

Gerhard Richter
Confrontation 1 1988
© Gerhard Richter/Digital Image, The Museum of Modern Art, New York/Scala, Florence
Oil on canvas
112x102cm

An artist who has wrestled protractedly with the relationship between painting and photography (one might as well here call it “skiagraphy”, shadow-drawing) is Gerhard Richter. In the 1960s he started to make meticulous copies of photographs from newspapers, magazines and various apparently arbitrary sources. He initially said that he did this because “I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic and inartistic thing that anyone could do”. With the years came a certain gravitas. Richter began to talk about the need to express present reality, about the way in which photographs had come to saturate people’s visual lives and with the transfiguration of the photograph into art by the sheer exertion of painting. He edged towards traditional high art modes such as allegory and history painting. His technique developed. The laboured execution of his early photo paintings (by the 1970s he was also doing abstracts, some monochromatic, some garishly coloured) gave way to an austere refinement. By sponging and glazing the picture surface, before passing a very fine brush over it, he obliterated every trace of a brush stroke, blurring the resulting image in a way which made it oddly very unlike a photograph, but instead rather like seeing a reflection in burnished lead, or glimpsing something through the tinted window of a fast car.  Taken from The Tate Etc magazine spring 2007 edition 9.