TheartworkaboveiscalledTheLargeBathers.Theartistwhodrewthisisafamouspost-impressionistFrenchpainternamePaulCezanne.Heissuperiorinvariouspaintingstylewhichhasgreatlyaffectedthe20thabstractart.PaulCezanne’spaintingfrom pieceofartwork. FauzanOmar’suseofcolourinFireGuttedLandscapeisambiguouslyexquisite.Thebrown andgoldishcolourseemtodominate,butwhenonestepsawayfromthepainting,asudden senseofpalemauvesuddenlyappearsintowork.TheelusivenatureofOmar’suseofcolour asthepaintingisconstructprimarilyofbrown,darkbrownjustlikearepresentationofthe leavesthatwittersinautumn.Theuseoflineisconcentratedaroundtheperimeterofthe plywood,servingtoleadtheeyearoundandthenacrosstheentireartwork. Becausethereisnomainsubjectintheform

TheartworkaboveiscalledTheLargeBathers.Theartistwhodrewthisisafamouspost-impressionistFrenchpainternamePaulCezanne.Heissuperiorinvariouspaintingstylewhichhasgreatlyaffectedthe20thabstractart.PaulCezanne’spaintingfrom thelastfewdecadeshavecreatednew idealforthedevelopmentofmodernart.Workingcalmlyandquietly,Paultransformedtheagitatedpowerofhisearlieryearsintothecreatingofaillustratedlanguagethatwouldgoontoshocknearlyeveryessentialphaseofthe20thcenturyart.PaulCezanne’spaintingfrom the1860’sispersonal,bearingverylittleimagetotheartist’smatureandmoresignificantstyle.AnincredibleattitudeofCezanne’spaintingstyleinthe1860’sisthesenseoffocusandsheerwillintohiswork.Althoughhisearlyworkseemsscrabbleandquestionableincomparisontotheartist’slaterexpressions,theynonethelessexposeadeepextentoffeeling.Eachpaintingseemsreadytoeruptbeyonditsrestrictionandexterior.Inaddition,eachseemstobeaperceptionofanartistwhowouldeitherbeamaniacoragenius.Theworldwillpossiblywillneverknow,asPaulCezanne’struecharacterwasanonymoustomany,ifnotall,ofhistime.Evenwithalloftheoppositionsfrom eitherfamilyorfriends,PaulCezannedidreceiveencouragementfrom Pisarro,whowasaDanish-Frenchimpressionistandafew otherimpressionistsfromthe1860’sandenjoyedtheunusualcomplimentfromthem.PaulCezannewasaffectedbyanumberofthingswhencreatingTheLargeBathers.Firstly,CezannehadspenthisearlyyearsinParisattheLouvremuseum,copyingthepaintingofthegreatmastersduringhistime.ThefiguresofthenudeswereallcreatedinCezanne’simagination,becausehepersonallysaidthatittookfarmoretimetoworkwithreallifemodels.Description:AttheendofPaulCezanne’scareer,hecreatedafewseriesofbathersartwork.TheLargeBathersisbeingcalledthatwaybecauseitwasCezanne’sbiggestcompositionintheseries,moreoveritisalsothelastpaintingtobeproduced.WhenproducingTheLargeBathersCezannewastryingtocreateapieceofartthatwouldbeendless.Cezannedidnotfollowpopularpaintingtrendsandfeltnoburdeninconfrontingthenineteenthcenturyapproach.TheLargeBathers,isthelargestartworkproducedbyPaulCezanneandbecauseitisalsothemostexplicitinaspect,ithasbeenoftensetasanexampleofhisidealcompositionandhisrecoveryofclassicartworkafteritscollapseduringthenineteenthcenturybackthen.SomeofcriticshasdescribethewomenintheLargeBathersasmythicalbeingsinthemiddleofnature.Thetreesareactingastheirarenaandthefiguresinthebackgroundaresortoflookingattheirmovement.Thereisanoticeabletriangleshapethatforcestheviewerstofocusonthelakeandthesmallfiguresinthebackground.Eventhoughthemovementinthepicturethereisanimpressionofharmonyamongthebathers.Theartworklookslikeitistryingtolureviewerstotakeacuriouspeekintotheirprivateworld.PaulCezanne’sscenery,withitsserenitylakeandwhatseemstobeachurchtowerisnotreallyapreciserepresentationofarealsuburb.PaulCezannehasmentionthathecreatedthisimageusinghisimaginationanddrawingsfromnaturebutheintendtofigureitoutandpaintmorethanwhatwasontheexterior.PaulCezannehaspreparedanumberofpracticeartworkbeforehestartedonworkingtheLargeBathers.Heanalysedonhowhewantedthefigurestorelatewitheachotherandhispreviouspiecesshowthatthewomenmeshwitheachotherindifferentways.EventhoughalotofpeoplemostcriticsthinkthattheLargeBathersIsinanunpolishedstate,TheLargeBathersisstillconsideredoneofamasterpieceofmodernartandhasmadeasceneintelevisionshowsasofthebestcompositionsofalltime.Analysis:TheLargeBathers(ii)TheLargeBathersissurroundedbytreesonbothsideofthem.Eachpersonsbodyisbentinward,kindofformingatriangularshapeandconstructingthelake.Cezanneintentionallydidthistokeephisnudesincalculatedspaces.Forthispaintingthereareatleasttwentypracticecompositionsofthevariousbathersandtheirwaveringposes.Someofthewomenkneel,standorsit,almostinaproportionalformation,creatingafew certaintriangleswithingthelargertriangleoftrees.Theyareconfinedwithinthetreesjustlikeanaltarisconfinedwithinachurch.Theroofofachurchcouldprovidespace,butinPaulCezanne’sLargeBathersitisnature’sroof,thetrees.Thewomenseemstobepreparingacampfireorperforminganancientritual,butwecantreallytellwhattheydo.Ariverandtwochunkofbrownearthrunhorizontally,depictingtrue-to-lifedistance.Furtherbehind,treesandthechurchkindofpointsupward.TheLargeBathers(iii)Usuallyachurchisatthehighestpointofaplace,butinthisartworkitisatthecentreofthecompositionandhereithassuccumbtonature.Noticethatinthebackgroundthattheshapeofthechurchandthetreesareseeminglysame.Theforegroundtreeswhichcagethewomen,doesn’tjoinatthetop,andthemiddletreeinthefarsortofpointstoanopening,veryexpressiveofthehigherascensiontothecelestialworld.Thechurchiswithintheartworkandapartofthiscustom spacewherethewomenkindofplaysaroleofshamanssurroundingandactingoutaritual,butnotreallythemeanstoanend.Treesforexamplehavekindofreplacethechurchastheasylumandthevesseltocarrythemtobecomedeity.TheLargeBathers(iv)Intheartworkabovethereisawomansortofpointingtowardsthewaterwherethereisafigurethatlookslikeaswimmer,thatisoneofthedetailtoocalculatedtobeignoredandcertainlysomethingPaulCezannewishedtopointout.Theartworkitselfmaysuggestdeath,astheartistknewthatitwasalmosthistimetoend.Accordingtoresearch,inGreekandEtrusan’spaintings,wherethereisswimmersdivingintowaterarethoughttorepresentthatitisdivingintotheafterlife,althoughitisnotcertainthatCezannewasfamiliarwiththosetypeofpaintings.Farbeyondtheswimmer,therearetwomysteriousfigureattheotherside.Whenwearelookingatthemainartwork,wecansortofseethattwoorthreewomenintherightmaybedivinginsoon.Whereastheotherwomenaremakingpreparations,innakedfortheireventualtransformation,thepassingfromtheearthtotheafterlife.NoticethatthereisasenseofpeaceandharmonywhichmakemethinkthatPaulCezannemusthavebeenatpeacewhenhedied.Figure(v)ForthecolourpaletteCezannehasusedlightanddarkblues,withacombinationofbrownishandbrightwhitecolourstocreateasunnyandcloudyskythatappearstoreachdownthesmallsuburb.Thetrunkoftreeshasbeenshapedwithgoldenhoneyandoakbrowntrees.Eachofthewoman’sskincolourhasbeencomplimentedwithacombofchestnutbrownhairandareasthathavenotbeenworkedon,whichrepresentswherethelightreflectsoftheirskin,arebrightwhite.Therearealsoshadowofblueandgraythatareintelligentlymixedwiththeirskin.Theshadeshelptogivetheskindepthandcreatecurves,forexamplearoundthechest.TheLargeBathersisawell-litpiece.Thebathersarebrightenupfrom therightsideofthepainting,whichdepictsthesmallamountoflightthatishittingthebathersontheright.Thebatherwhoislayingdownhassortofalighthittingtheelbow ofherleftarm andtheundersideofthethigh.However,thenudeontheleftsideofthepainting,whoisfullyspanningoutinfrontofthelake,isentirelyengulfbywhitelight.Boththebather’storsoandlegareradiant,almostasthoughCezannehasintentionallylefthispaintingunfinished.ThetoneandmoodsetbyPaulCezanneforthispaintingIsmysterious.Moreover,thismysterioustoneisbeingpuzzledbythefigureswimminginthelake.Theseeminglycalmwatershavebeendisturbedbytheripples.Cezannelikesusedshort,hatchedbrushstrokestohelpensuresurfaceharmonyinhisartworkaswellastomodelindividualmassesandspacesastheythemselvesproducedoutofpaint.IncreatingtheLargeBathers,PaulCezanneuseanobviousbrushstrokethatgavehisworkaseeminglyunfinishedpaintingandwasnotafraidtoleavethefootstepsofhisworkingpatternsonhisartwork.IntheLargeBathersCezanneusedthickofpaintonhisbrushtocreateaharmonyofblueandgreencolours.InterpretationsCezanne’sworkisaform ofresearch.Ina1889letterhesays,talkingabouthisworkinginisolation:”IhaddecidedtoworkinsilencetillthedayIwouldhavebeenabletobackmyattemptstheoretically.”Inotherwords,he’stryingtoreconsidertheroleoftheartistinthemodernworldandwantstoreachtothatthroughhisartwork,likehowascientistwouldformulateatheoryafterdoinghis(orher)research.Infact,he’san”impressionist”onlyinthatsense.Visualperceptionforhim isnottheobjectofhisstudy,butananalyticaltooltoreachanew form ofexpression.Anew form ofclassicism,inanotherwords.PaulCezannewasoneofthemostimportantofmodernpainters.Afterhim,modernartsplits in two greatcurrents:the analyticalbranch,where he came from,and theexpressionistcurrent,whichwecansaycamefromVanGogh.ItisclearthatmostofPaulCezanne’sartworkisexperimentation,CezannewastryingtomakeImpressionism somethingstableorsturdyandlongerlastingliketheartsinthemuseums.Cezannewastryingtouselargecanvasesandappearingathisownwayofdepictingmassesinspace.Soperhapsratherthanthinkingitafinishedorunfinishedartworkinthemosttypicalway,itcanbethoughinawayweatherornottheartworkhasachieveitsexperimentationalideabyCezanne.TheBatherswhoseeminglylookslikegoddess,ifitiscomparewiththerestofhisartwork,Cezannegenerallyintendedtowalkawayfromthewesterndesiretoseeanyfemalewomennakedasagoddess,insteadCezannewashopingtopaintwomenasrealisticallyandobjectively,theyaremostlypaintedinthesamewayasthephysicalobjectsofCezannesstill-lifeartworks.Oneofthecompositions,thetrianglesthathasbeennoticedeasilymightsuggestthattheyareplaceonsomekindofpedestal,beforeusasdivinebeingordeity.Theartistmeanttoleaveanunresolvedcontrastbetweenthepaintedartworkandthedistortdrawn,expressionlessfacesonthebathersandthepointofthepaintingistodeepenthemystery.Judgement:’Anexcellentartcouldbeugly’.TheLargeBathersproducedbyPaulCezannehasimpacttherepresentationofthenudemorethananyotherartworksincetheHighRenaissance,whereTitanandGiorgionehasalreadysetthestandardofhow figuresshouldbeshowninanartwork.ThenewtypeofartworkthatCezannehascreatedhaspersevereforoveracentury,affectingnotonlytheillustrationofthehumanfigurebutalsofew differentsytlesforexamplefauvism,cubismandorganicabstraction.TheluxurianceofCezanne’slegacywasextractedfrom thecomplexityofhistechniques,whichcombineselementswithaccessofsolidmodellingandallowsthewhitegroundoftheartworktohinderwhatisrepresentedonit.Thiscreatedanoticeabledepictionsofthehumanfigure,wherethefaces,shapesandsizesofthebodypartsareclearlydistorted.Unfinished,emotionless,expressionless,andincomparisontotheharmonythathaddefinemostearlierpaintingsofCezanne’sbathers.TheLargeBathersistheonewiththemostconflict.Themostnoticeableisthecomparisonbetweentheexcitementofthenominalsubjectandthedistortedfiguresinthelandscape.Therearepressureanduncertaintyamongthefigures.Thefacesofthebathersaremasklike,expressionless,andtheirbodiesandinaweirdform.TheLargeBathersgaveasenseofdisturbratherthandelighttoviewers.Therearealsocreepypassagesinwhichthefigure’sshouldersandarmsofthefarrightbatherarethrustingforwardinadislocatedway.Outofall14bathersintheartwork,sixarefacingaway.Thisincreasesthefeelingofisolation andalsoenhancesthepicture’smysterybyleadingourmindtotheblurryfiguresfarfromtheshore,tothenearlyinvisibleswimmerinthemiddleofthelake.Moreover,Thereisamysteriousfigureemergingfarfromthebushatthefarleftsideofthepainting.WhatseemstobeanunfinishedpaintingofCezannenotonlytroubledhiscontemporaries,butalsohisadmirers.Becauseofthefiguresdistortedexpressionanddisturbingsurface,PaulCezanne’spaintingwereconsideredugly,atatimewhenuglinesswasbecomeamainissueinthecontroversyofprogressiveartworks.Nowadays,werealizehowPaulCezanne’slackoffinishhasgivenanincrediblesuggestivespatialopenness,onethatreformulatetheestheticsandstructureofpainting,aswellaswhatseemstobearepresentationofthehumanfigure.TheartworkabovewasproducedbyFauzanOmarfrom Kelantan,Malaysiaonapieceof
grindedplywood.ItiscalledtheFireGuttedLandscape.Thethemeisnaturebutmoreon
environment.Itisaboutthecomplexityofbelonging,multiplenarrativeonidentityandwho
owntheland?Crossingboundariesandenteringterritories.
AsforthevisualimpactoftheFireGuttedLandscapecomesinpartofitserectsize,anearly
elevenfeetwidepieceofenergy.Bystandinginfrontofthepainting,viewersareconsumed
inthespectacularenvironmentitcreates.Whencloselyobserved,thespecificsofthe
techniquesusedcanbefullyappreciated,forexamplethelinesthatgrowwidethendiminish
tocreatetheleaf-likestructure.Thesevariationsgivestheartworkaglittering,3Dquality.
Theentwiningassortmentsoflinesbecomesacuriousnetthatextendsoverthewhole
pieceofartwork.
FauzanOmar’suseofcolourinFireGuttedLandscapeisambiguouslyexquisite.Thebrown
andgoldishcolourseemtodominate,butwhenonestepsawayfromthepainting,asudden
senseofpalemauvesuddenlyappearsintowork.TheelusivenatureofOmar’suseofcolour
asthepaintingisconstructprimarilyofbrown,darkbrownjustlikearepresentationofthe
leavesthatwittersinautumn.Theuseoflineisconcentratedaroundtheperimeterofthe
plywood,servingtoleadtheeyearoundandthenacrosstheentireartwork.
Becausethereisnomainsubjectintheform ofahumanfigure,placeorthing,viewers
mayberequiredtopatientlyscantheworldcreatedbytheartwork,continuouslynoticingnew
patternsandmaybeunexpectedrevelelationsthatcantbeseenwithonlyonelook.
Omarusesmainlyusesamixtureofbrownanddarkbrowntogivetheartworkanearthy
appearance,furtherexposingontheideaoftextuallayerswhichareclearlyshowntothe
viewer.TheelementsandprinciplesOmarusesherearecolour,contrast,texture,emphasis
andrepetition.Theuseofofcolourgivestheoveralleffectsoftheartworkwhichappearsto
beveryearthy,autumnlikeatmosphereandsomewhatcalm from thebrowntothelight
browntotheintensestreaksofstrikingblack.
Contrastwasalsousedduringthecreatingoftheartworktobalancetheartworkresultingin
aformationwhichmayhavegivenOmarwhathewaslookingfor.
TextureintheartworkisalsoasignificantfactoraswellasinthemajorityofOmar’sartwork.
Hisuseoftextureallowstheartworktohavelayersanda3Dlikeappearanceimmediately
creatingaglowingtexture.Omarachievesthisthroughtheuseofbrowntolightbrown.
EmphasisisalsoseeninOmar’sartworkasthereisthickoflongstreaksofblack
throughouttheartwork.Theblackstreakssortofbordertheartworkwhichinreturnallows
viewerstobedirectedinallfourcornersoftheartwork.
FireGuttedLandscape(ii)
FireGuttedLandscape(ii)
Analysis:
Bylookingatthefireguttedlandscapeitappearsrathermuddy,amixtureoflightbrownand
darkbrowntones.Itseemsthattheartworkhasbeendarkenedwiththinkblackcolourto
makeitappearmorevibrant.Omaralsocreatedacomplexlinearofdarkpatchesusing
black.Fortheinitiallayerthecolourwasdiluted,sothatitcouldsoakedintothelengthofthe
plywood,therebycreatingasenseofharmony.
ThecoloursthatwasusedbyOmarinFireGuttedLandscapeisparticularlyradiant.The
brownandgoldishcolourseemtodominate,takeastepbackanditcouldbeseenthatblack
lines.ThemainnatureofOmar’suseofcolourastheartwork isconstructprimarilyof
brown,darkbrownjustlikearepresentationoftheleavesthatwittersinautumn.Theuseof
lineisconcentratedaroundtheperimeteroftheplywood,servingtoleadtheeyearoundand
thenacrosstheentireartwork.
Itcouldbeseenthatthereisarepetitionofleaf-likestructurewhichseemsinformaland
organic.Thethickoflongstreaksofblackisspreadingthroughouttheartworkstoblendin
withthedarkbrowntocreateasenseofharmony.
Interpretation:
Thethickblacksmokerisingfrom theburningtrees,dustparticlespollutingourair,ashand
fumes,hazyskies,lowvisibility.Allthiswillagainbecomeaproblem whenhazecomesto
blightMalaysiaagaininthecomingdays.Thehazemakesusallvulnerableandbrings
disastrouseffecttotheenvironmentandwildlife;nomatterifitisaresultofman’s
negligenceorgreed.butIbelievethatthehazecaninspirenew thoughtsandfeelings,
inducingdeepersentimentsthatevolveideationalandemotionalresponses.Canweagree
thatsomedegreeofaestheticinsightliesintheunbearablehaze?Cancharredremainof
burnedtreesbeconsideredasaestheticartifactsplaceinthesystem patternofburnedand
unburnedlandscapesbeconsideredasart?Onesurethingthatarisesfrom theseongoing
tragediesthatisnoteasyformetodenyorignoreisthebeautyintheuglinessofhaze”The
HazardousBeauty”.
Thisartworkistryingtotellusaboutthehaze.TheHazewilleffecteverydayMalaysianstoo.
ThehazeisaregularphenomenonfacedbyMalaysiaandafew ofherneighbouring
countries.Thehazeisbasicallypollutionofatmosphere,whichhascloggedwithpollutants
andothersubstancesfrom forestfires.Duringthehaze,hospitalsandclinicwillfrequently
reportadramaticincreaseinrespiratoryproblems,lunginfectionsandasthmaattack
amongthecitizens.
Thehazehaslong-termsideeffects.Prolongedinhalationofpollutedairwillresultinserious
lunginfectionwhichparticularlyaffectstheelderly.Thehazecanalsocausedrythroatsand
resultin flu orrunny nose.Moreover,some people may come down with sore
eyes(conjunctivitis),headache,dizziness,decreaselungfunction,chestpain.
Inaddition,thiswillperhapsbringdeathtothosewhoisnotstrongenoughtowithstandthe
detrimentaleffectsofthehaze.Besidescausingillhealth,thehazecancauseserious
injuriesorlivestobelost.Thisisbecausethehazeobscuresvisionontheroadorintheair.
Thehazecancauseacollisionofpilotslosetheirbearingbecausethehazehamperedtheir
vision.
Hazeparticlescangreatlyaffectheartandlungs,especiallytothosewhohasalreadyaweak
heartorlungdisease.Thereiscurrentlynodatabothlocallyorinternationally,thatlooksinto
thelongtermhealthimpactofshort-term,episodicexposuretohaze.
Researchingthiswouldbehighlychallenging.Anyresultswouldbebasedonlstudiesonly,
whichwouldnotbeabletoshowaprecisecause-and-effectrelationship.Itwouldalsobe
verydifficulttostudythedirectlong-term healtheffectsduetotheepisodicexposureto
haze,astherecouldbemanyothercontributingfactorstothelong-termhealthoutcomewe
arecalculating.
Healthimpactsarerelatedtoconcentrationsaswellasexposure,addingtothehealth
statusandtheactivityofanindividual.Thehealthadvisorswillalwaysissueadailyupdate
onthehazebaseonforecastandstudies.
Ifthesymptomsaremoderate,onecanavoidthehazebystayingindoorswiththewindows
anddoorsshut,andturningonaneffectiveairpurifiershouldbesufficientenoughtohelp
withrespiration.Ifthesymptomsaremoreseriousoritisunsurehowbadlythehazehas
spread,itisbesttoconsultwithanearbydoctor.
Itisencouragenottoself-medicateoruseinhalersthatisnotrecommendedbyaprofesion.
Forexample,anasthmamedicationthatcontainssteroidsandalong-actingbronchodilator
medication.Itisaprescription-onlymedicationthatisnotwithoutsideeffectsanditshould
notbetriedwithoutpropermedicaladviceandpropercare.
Inconclusion,children,theelderly,andpeoplewithchroniclungdisease,heartdiseaseare
moresensitivethehealtheffectsofhaze,andshouldmaintainthepreventivemeasuresin
theMOHhealthadvisorywhenairqualityispoor.Citizensareadvisedtoconsulttheirdoctor
shouldtheydevelopbreathingdifficultiestoavoidanyuncertainties.Inaddition,itisvery
advisedthatpregnantwomenreduceexposuretohazeforthehealthoftheirunbornbaby.
Judgement:
FauzanOmarcreatedthisartworkbecausehewantedtoexpresshisconcernaboutthehaze
problem thathasconstantlybeencausingalotofproblem forMalaysiansandhelpthe
citizentoknowtheimportanceofwhattodoandnottododuringhaze.Omarbelievethat
thehumanswillalwaystrytoprevail,grindingtheirteethtofindasolutionforthehaze.
Artisatitsbestwhenithelpstoadvancesomecausethatwill,presumablyadvancethe
interestinhumanity.Judgingbythesentence,itwouldhaveseem thatFauzanOmar’s
artworkisinstrumentalismwherebytheworkofanartismeasuredbyitscapacitytochange
humanbehaviourinpublicandvisibleways.Inthiscase,Omarwastryingtoemphasizethe
dangerofhazethatcouldeffectthehumanlifeandwhathumanscandotopreventany
harmfromhappening.