Compare and contrast the two art-
works 'Chord II' by Joan Mitchell and
'In the Hold' by David Bomberg
Introduction:
Placing Joan Mitchell's "Chord II" and David Bomberg's "In the Hold" side by side reveals two
cap va ng visual narra ves on canvas. This essay extensively examines the lives of these ar sts,
dissec ng their pain ng styles and delving into the many layers that make "Chord II" and "In the
Hold" so powerful. I will examine the highlights the crea ve greatness of these painters by
concentra ng on their forma ve experiences and the complexi es of their pain ng techniques.
'Chord II' by Joan Mitchell 1986 – Tate 'In the Hold' by David Bomberg 1913 - Tate
Biographies of the Artists:
Joan Mitchell rose to prominence in post-war American art a er her 1925 birth in Chicago. Through a
series of meandering choices in the art world, she eventually found her own unique voice. An
important turning point in Mitchell's career came with the produc on of "Chord II" in 1966. It
showcased her remarkable pain ng skills and her capacity to express deep emo ons via her work.
The vibrant Chicago art culture, which Mitchell was exposed to at a young age, and her schooling in
New York therea er had a profound impact on Mitchell's crea ve iden ty forma on. Her
independent character was in harmony with the kine c spirit of postwar art, par cularly that of the
Abstract Expressionists. With its mesmerising combina on of vivid colours and enthralling forms that
echo the vibe of the '60s, "Chord II" encapsulates her crea ve path.
Two wars, which David Bomberg endured as a child (he was born in 1890), greatly in uenced the
growth of modern art. He follows a crea ve trajectory de ned by an insa able curiosity for new
methods and a preoccupa on with the poli cal and social atmosphere of his day. The heart of his
crea ve inves ga ons are re ected in his 1913 pain ng "In the Hold," which re ects the rapid
transforma ons taking place in early 20th-century Europe.
Amelie Roper – Art Unit 1 Personal Inves ga on Page 1 of 5
, The geometric beauty of Vor cism, which Bomberg rst saw as a child, served as a springboard for
his further crea ve inves ga ons. Nevertheless, "In the Hold" reveals a di erent side of the ar st—
one who is more expressive and emo onal—by breaking away from these geometric limita ons. By
depic ng the events leading up to World War I in a mesmerising display of disjointed shapes, the
pain ng exempli es Bomberg's development as an ar st.
Pain ng Methods:
"Chord II" by Joan Mitchell immerses us in a world of sensory depth and passionate enthusiasm. Her
pain ng techniques showcase her intui ve and visceral approach to art. With brushes and pale e
knives in hand, Mitchell passionately expressed their thoughts on the canvas, crea ng a textured
surface that beckons viewers to engage with their artwork visually and physically. The applica on of
layers of paint in "Chord II" adds depth and complexity, resul ng in an immersive experience for the
viewer.
On the other hand, the way David Bomberg approaches "In the Hold" is marked by a purposeful and
exploratory involvement with form. The artwork's intricate composi on is enhanced by the ar st's
incorpora on of angular lines and planes, which show the in uence of Cubism. The use of paint in
"In the Hold" goes beyond mere representa on. It serves as a powerful tool for Bomberg to express
emo on and tension within the limited space of the pain ng.
Exploring various pain ng styles:
Mitchell's ar s c style in "Chord II" captures the very essence of Abstract Expressionism, a
movement that she wholeheartedly embraced. The expressive brushwork and vivid hues capture the
raw emo on conveyed in her artwork. "Chord II" embodies a visual representa on of Mitchell's inner
world, where abstrac on serves as a means of ar cula ng intricate emo ons and experiences. The
rhythmic pa erns and dynamic composi on re ect the spirit of the Abstract Expressionist
movement, priori sing spontaneity, and emo on over representa onal concerns.
David Bomberg's ar s c journey is a rich explora on of di erent ar s c movements. With a
background in Vor cism, "In the Hold" demonstrates a shi away from strict geometry towards a
more expressive and naturalis c style. The fragmented forms and twisted gures in the pain ng hint
at a departure from tradi onal representa on, indica ng Bomberg's openness to adop ng a more
subjec ve and individualis c approach to ar s c expression.
Composition:
"Chord II" exempli es Joan Mitchell's excep onal skill in abstract composi on. Using his innate sense
of equilibrium, Mitchell transforms the canvas into a living room where disorder and harmony
coexist. Viewers are invited to explore the complex network of brushstrokes and colours as the ar st
skilfully builds depth via several layers of paint. With each part adding to the storyline of the piece,
the composi on unfolds like a visual tour. The ar st u lises powerful, sweeping strokes to bring the
vast canvas to life, crea ng the illusion of movement. Across the piece, the vivid green, blue, yellow,
and red tones blend and overslay, making for a striking visual e ect. Aesthe c and emo ons are
captured in the artwork using a non-representa onal method. "Chord II" is a rhythmic work that
sounds like music, and the tle is quite sugges ve of music as well. As an abstract expressionist
work, "Chord II" is strong and expressive, showcasing Mitchell's unique crea ve vision and de
execu on.
Amelie Roper – Art Unit 1 Personal Inves ga on Page 2 of 5
works 'Chord II' by Joan Mitchell and
'In the Hold' by David Bomberg
Introduction:
Placing Joan Mitchell's "Chord II" and David Bomberg's "In the Hold" side by side reveals two
cap va ng visual narra ves on canvas. This essay extensively examines the lives of these ar sts,
dissec ng their pain ng styles and delving into the many layers that make "Chord II" and "In the
Hold" so powerful. I will examine the highlights the crea ve greatness of these painters by
concentra ng on their forma ve experiences and the complexi es of their pain ng techniques.
'Chord II' by Joan Mitchell 1986 – Tate 'In the Hold' by David Bomberg 1913 - Tate
Biographies of the Artists:
Joan Mitchell rose to prominence in post-war American art a er her 1925 birth in Chicago. Through a
series of meandering choices in the art world, she eventually found her own unique voice. An
important turning point in Mitchell's career came with the produc on of "Chord II" in 1966. It
showcased her remarkable pain ng skills and her capacity to express deep emo ons via her work.
The vibrant Chicago art culture, which Mitchell was exposed to at a young age, and her schooling in
New York therea er had a profound impact on Mitchell's crea ve iden ty forma on. Her
independent character was in harmony with the kine c spirit of postwar art, par cularly that of the
Abstract Expressionists. With its mesmerising combina on of vivid colours and enthralling forms that
echo the vibe of the '60s, "Chord II" encapsulates her crea ve path.
Two wars, which David Bomberg endured as a child (he was born in 1890), greatly in uenced the
growth of modern art. He follows a crea ve trajectory de ned by an insa able curiosity for new
methods and a preoccupa on with the poli cal and social atmosphere of his day. The heart of his
crea ve inves ga ons are re ected in his 1913 pain ng "In the Hold," which re ects the rapid
transforma ons taking place in early 20th-century Europe.
Amelie Roper – Art Unit 1 Personal Inves ga on Page 1 of 5
, The geometric beauty of Vor cism, which Bomberg rst saw as a child, served as a springboard for
his further crea ve inves ga ons. Nevertheless, "In the Hold" reveals a di erent side of the ar st—
one who is more expressive and emo onal—by breaking away from these geometric limita ons. By
depic ng the events leading up to World War I in a mesmerising display of disjointed shapes, the
pain ng exempli es Bomberg's development as an ar st.
Pain ng Methods:
"Chord II" by Joan Mitchell immerses us in a world of sensory depth and passionate enthusiasm. Her
pain ng techniques showcase her intui ve and visceral approach to art. With brushes and pale e
knives in hand, Mitchell passionately expressed their thoughts on the canvas, crea ng a textured
surface that beckons viewers to engage with their artwork visually and physically. The applica on of
layers of paint in "Chord II" adds depth and complexity, resul ng in an immersive experience for the
viewer.
On the other hand, the way David Bomberg approaches "In the Hold" is marked by a purposeful and
exploratory involvement with form. The artwork's intricate composi on is enhanced by the ar st's
incorpora on of angular lines and planes, which show the in uence of Cubism. The use of paint in
"In the Hold" goes beyond mere representa on. It serves as a powerful tool for Bomberg to express
emo on and tension within the limited space of the pain ng.
Exploring various pain ng styles:
Mitchell's ar s c style in "Chord II" captures the very essence of Abstract Expressionism, a
movement that she wholeheartedly embraced. The expressive brushwork and vivid hues capture the
raw emo on conveyed in her artwork. "Chord II" embodies a visual representa on of Mitchell's inner
world, where abstrac on serves as a means of ar cula ng intricate emo ons and experiences. The
rhythmic pa erns and dynamic composi on re ect the spirit of the Abstract Expressionist
movement, priori sing spontaneity, and emo on over representa onal concerns.
David Bomberg's ar s c journey is a rich explora on of di erent ar s c movements. With a
background in Vor cism, "In the Hold" demonstrates a shi away from strict geometry towards a
more expressive and naturalis c style. The fragmented forms and twisted gures in the pain ng hint
at a departure from tradi onal representa on, indica ng Bomberg's openness to adop ng a more
subjec ve and individualis c approach to ar s c expression.
Composition:
"Chord II" exempli es Joan Mitchell's excep onal skill in abstract composi on. Using his innate sense
of equilibrium, Mitchell transforms the canvas into a living room where disorder and harmony
coexist. Viewers are invited to explore the complex network of brushstrokes and colours as the ar st
skilfully builds depth via several layers of paint. With each part adding to the storyline of the piece,
the composi on unfolds like a visual tour. The ar st u lises powerful, sweeping strokes to bring the
vast canvas to life, crea ng the illusion of movement. Across the piece, the vivid green, blue, yellow,
and red tones blend and overslay, making for a striking visual e ect. Aesthe c and emo ons are
captured in the artwork using a non-representa onal method. "Chord II" is a rhythmic work that
sounds like music, and the tle is quite sugges ve of music as well. As an abstract expressionist
work, "Chord II" is strong and expressive, showcasing Mitchell's unique crea ve vision and de
execu on.
Amelie Roper – Art Unit 1 Personal Inves ga on Page 2 of 5
