Last Post - Option #2

There were a lot of different artistic time periods that I found very intriguing throughout the quarter. However, I found myself extremely drawn to both Impressionism and Fauvism. I feel that both of these artistic movements were not only lively but they both emphasized the use of color and light. I feel that Moulin de la Galette by Pierre-Auguste Renoir is a perfect example of why I love impressionist artwork and The Woman With the Hat by Henri Matisse is a perfect example of why I love Fauvist artwork.

            What catches my eye when first glancing at Moulin de la Galette is Renoir’s use of loose brushstrokes. I like that the loose brushstrokes create this feeling of spontaneity as if what we are looking at was a split second in time captured within the painting. Renoir’s use of color and light also really draw me in to this painting. I love that Renoir chose to have the light dappled on the figures in the painting as if they are underneath a tree and the light is shining through creating different intensities and shapes of light on the people below. Another thing that really intrigues me about this painting is that everywhere I look there is something going on. The whole canvas is filled up with figures that are interacting with one another, which makes the painting extremely lively and entertaining. 

            The Woman With the Hat is so aesthetically pleasing to me. Matisse’s interest in bright and complementary colors really draws me. Fauvist artwork is different that anything we have ever really seen prior to this time period because all the colors being used are all so exaggerated and intense. None of the colors on the woman would be seen in reality yet when looking at the painting they seem to go together and make sense. I also like that the Fauvist artists simplified their shapes and really focused in on expressing a mood or feeling. The Woman With the Hat is quite striking and vibrant and I think that’s what really attracts me to this painting and all Fauvist paintings for that matter.

            Something that draws me to both of these artistic periods and these paintings specifically are that they both go against what is expected by the academy. We are seeing very unnatural colors and extremely simplified forms from the fauvist artists. The fauvists are also not as interested in the subject matter as they are in what mood they are conveying and the colors that they are using. The Impressionists were also going against the standards of the academy. The subject matter that we see in Moulin de la Galette is that of modern Parisian life. Rather than seeing a biblical, mythological, or historical painting we are seeing a snapshot of modern life. This subject matter would have been rejected by the academy. The loose brushstrokes would have also been dismissed by the academy. The academy was more interested in precision within a painting rather than spontaneity we see in a large portion of Impressionist artwork. 

Late 20th Century Art

 

            Roy Lichtenstein’s painting Girl at Window was originally to be displayed at the 1964 World’s Fair in New York. This mural was in fact 24 feet by 16 feet and hung on the exterior of a building that was also constructed for the World’s Fair. The World’s Fair was a celebration of American culture, so it made sense to have many pop artists display their work because pop art was inspired by and celebrated culture. Although, many people at the time viewed pop art and comic strips as not worthy in comparison to what they believed to be high art. However, Lichtenstein thought otherwise and believed that high art and popular art were no different.

            In 1961 Lichtenstein moved away from abstract expressionism and began to paint in the style that we now know as pop art. Looking at pop art we can see that it is often commercial images and a reflection of our culture’s fascination of media. Lichtenstein’s work was inspired by culture and reflected very little of his own feelings. His artwork often incorporated primary colors that were contoured with black lines. Some of his artwork also has balloons of speech or thought bubbles that help the viewers understand what is going on in the scene, which is very similar to what we would see in a comic book or comic strip. Lichtenstein’s signature style was use of Benday dots. Benday dots are small colored dots that can be closely or widely spaced as well as overlapped if desired. These dots are always equally sized and help create shading. Lichtenstein was known for enlarging and exaggerating these dots.

            Looking at Girl at Window we can see Lichtenstein chose to paint the main subject of the painting, the woman, in primary colors. The woman’s dress is yellow, her hair, lips, and fingernails all red, and part of the background blue. The window frame however is green and the skin of the woman is a light tan color. All parts of the painting are however outlined and shaded with fairly thick black lines. The black lines help create shading as well as define shape. Looking closely we can see that Lichtenstein painted the woman’s skin using Benday dots that appear to be fairly large in size. The background behind her also incorporates Benday dots as well. We can see that the subject of this painting is a woman full of emotion leaning out an open window and looks as if she is yelling down to someone below. This painting appears to be very similar to something we would see in a comic strip due to its bright colors, thick black outlines, and use of Benday dots.

            Lichtenstein’s iconic images and style have now become well known and easily recognizable as pop art. His ability to incorprate both mechanical reproduction and drawing by hand has helped define him as an extremely successful pop artist. Though his artwork was once frowned upon and considered not worthy by some his art today is highly regarded and widely recognized. 

References

 

http://whitney.org/Collection/RoyLichtenstein/2002254/Audio

http://www.theartstory.org/artist-lichtenstein-roy.htm

http://www.nytimes.com/2008/06/11/arts/design/11roy.html

The Effect of War on Art

            Dada and surrealism both changed the way art was not only created but the way it was perceived as well. Both Dada and surrealism challenged authority, the academy, and the nature of art. Dada artists were critiquing politics, war, and the bourgeois society. Surrealism was also critiquing the bourgeois society with Marxist and Freudian influences. Dada changed the concept of art because a lot of the art was created with the use of chance. The artwork being created with the use of chance it is not completely reflective of the individual artist. This had never been seen before, thus changing the concept of art. Surrealism changed the concept of art because we are seeing a big interest in social, sexual, and cultural values. The subconscious and dreams were also a big influence to Surrealism.

            Looking at the Surrealist artwork The Phenomenon of Ecstasy by Salvador Dali we can immediately see that the content is like nothing we have ever seen before. Rather than painting a canvas Dali chose to put together pre-existing photos into a photomontage. Surrealist artists began to look toward photography as a more “objective” form of art. We can see that this photomontage is sexually driven and has a dream like sense to it. We can see that Dali was influenced by Sigmund Freud when creating this artwork due to its interest in sex, the subconscious, and being in a dream-like state. The Phenomenon of Ecstasy seems to be based around sexual obsession and the subconscious. The pictures Dali chose to use are mostly cropped and close up photos of female faces though there are some smaller images of other fairly random things such as ears and a chair. This content is definitely not conventional or something that would have been approved of by the academy. Dali chose to separate these photos using thick black lines rather than making the photos overlap like they would in a collage. Surrealist and Dada artists both changed the concept of art due to their ideas of collage, photomontage, and “ready made” sculpture. No longer are the artists using solely there paint and canvas but are now using pre-existing materials such as pictures. The forms that we see in Surrealist and Dada artwork are at times hard to identify because many are forms coming from the artist’s subconscious. We also are starting to see some more geometric forms as well.

            In regards to Duchamp’s “readymades” I feel as if it could possibly be considered artwork however that is somewhat of a stretch. I don’t think the artist who buys the object should get credit for the object. The reason I feel that way is because the artist who bought the object did not create the object or come up with the idea of the object they just bought it and called it their sculpture. That makes me think that anyone could buy anything and consider it to be their own sculpture and take credit for it. 

Gauguin and Primitivism - Option #1

            Gauguin’s painting The Yellow Christ can be considered avant-garde for several reasons. On can see that Griselda Pollock’s formula of reference, deference, and difference can be applied to this painting. Through The Yellow Christ Gauguin shows an awareness of what’s going on in the art world, gives reverence and respect to Impressionism, and shows his advancement in aesthetics by making The Yellow Christ a very modern and avant-garde piece.

            When looking at The Yellow Christ one can see that Gauguin is showing reference to what’s going on in the art world in terms of artistic traditions and conventions through the subject matter. First of all we are seeing that this is a landscape painting. Landscapes and outdoor scenes were common among the impressionists, however Gauguin represents his landscape in a much more avant-garde way. The hills, trees, houses, and road in the background are all extremely abstracted. Gauguin has reduced the landscape to shapes. In the foreground we can see that Christ on the cross is the focal point. Christ being depicted is a reference as well even further back than impressionism. Christ was often depicted in the artwork of the academy, in a much different way however. In this painting Gauguin has again simplified the body of Christ and doesn’t show much detail.

            In The Yellow Christ we can also see Gauguin’s use of deference. He gives reverence to impressionism especially in terms of technique. Gauguin shows interest in light, color, and loose brushstrokes. All of which were important to the Impressionists as well. Gauguin however uses extremely bright colors that don’t imitate the natural colors one would see in real world. For example, as stated in the title of this piece Christ is yellow, shadowed with blues and greens. The landscape is also much more vibrant with great emphasis on the yellow, red, and gold tones. These colors seem to be slightly exaggerated than what one would really being seeing in a landscape like this. Gauguin’s interest in light can be seen in the shadows shown on Christ’s body, and in the contrast of light on the woman in the foreground of the bottom left corner. Gauguin also uses loose brushstrokes, however they do not appear to be as loosely painted as some impressionist paintings.

            The Yellow Christ shows difference because it is modern and avant-garde, which helps the viewers see that Gauguin is making advancements on the current issues regarding aesthetics. Gauguin’s use of color is very different and avant-garde because not only are the colors extremely vibrant and blocked together, but he also has all the figures outlined in black. He is using these colors to evoke emotion and create a mood for the viewers, which is also avant-garde and different from the intentions of Impressionist artists. Gauguin has a deeper perception of feeling and emotions in comparison to the impressionists. We can also see that this painting is showing difference because though it is showing a landscape we are seeing women dressed modernly, which is different from a usual landscape painting. 

Modernity and Masculinity in 19th Century France - Option #2

            Gustave Caillebotte is often associated with the Impressionists. When looking at Caillebotte’s work one can see influences from the Impressionists, yet at the same time not all his stylistic characteristics fall into the impressionist category. Looking at Caillebotte’s A Rainy Day and Pierre-Auguste Renoir’s impressionist painting Moulin de la Galette one can see that they share several commonalities while at the same time slightly differ.

            Both paintings show an interest in light. Looking at Caillebotte’s A Rainy Day we can see that he took interest in how the light was hitting certain objects. For example we can see that Caillebotte played with the effects of light and color on the ground. With the combination of light and color he made the ground appear to be wet and shiny with water. We can also see light hitting the umbrellas of the people strolling around the streets. Caillebotte used lighter shades to show where the sun was hitting strongly and darker shades to show lack of light. Similarly, in Renoir’s Moulin de la Galette we see an interest in the use of light and color. We can see light shining through the trees above the scene causing the light to be more dappled on the people and on the ground. Renoir also used lighter colors in order to show where the sun was the most extreme and darker colors to show shadows. Both paintings are not only depicting outdoor scenes but they are depicting modern Paris as well. Caillebotte is showing a modern Paris street with people dressed in modern clothes. Renoir is also showing a modern Paris scene with people dancing and interacting at a modern dance hall in modern clothes.

            These paintings differ as well. Renoir used much looser brushstrokes in order to create Moulin de la Galette. Renoir’s painting has a very spontaneous and abbreviated feel to it due to the loose brushstrokes. It looks like he was capturing this fleeting moment in time as fast as he could so he could depict this exact moment. Caillebotte’s A Rainy Day however has a much more refined look. He achieved a refined look because it doesn’t have a sketch like quality. He also didn’t use as loose of brushstrokes as Renoir, which also gave the painting a refined appearance. Each of these paintings also give off different moods. Many impressionist paintings, due to their sketch like quality, give off a lively and energetic feel. However, A Rainy Day has a much more calm and isolated feel. It feels calm because Caillebotte didn’t use loose brushstrokes and also left a large amount of empty space in this scene. This empty space creates and isolated and lonely feel. It also appears to be lonely because none of the people walking in the street are interacting with one another but rather keeping to themselves. While Renoir’s artwork is extremely lively and has a large amount of movement. Not only is this because of his loose brushstrokes but also because he filled the canvas with people interacting with one another. 

The Political Side of Impressionism - Option #1

            Both The Rue Montorgueil by Calude Monet and The Rue Monsnier with Flags by Edouard Manet are depictions of the French festival of June 30th, 1878. Though both are paintings of the same day and same celebration and share many similarities, we can see that each artist chose to depict the scene in their own distinct ways.

            The Rue Montorgeil and The Rue Monsnier with Flags differ greatly. When looking at The Rue Montorgeil by Calude Monet we get a sense of both energy and movement. There is a mass amount of flags that are hanging off the sides of the buildings and look as if they are waving furiously in the wind. The flags are very sketch like making them not clearly defined which also gives them a sense of movement. We can see flags start close to us in the foreground with them continuing all the way as far as the eye can see down the road. Looking at The Rue Monsnier with Flags there are not as many flags and they are spread sporadically down the road. We aren’t seeing any flags really close to us in the foreground; they look as if they start about midway down the road. The flags are much more spread out allowing the viewer the identify individual flags, while in The Rue Montorgeil we are getting the sense that all the flags and the colors of the flags just blur together. In The Rue Montorgeil we are getting an aerial view of the extremely crowded narrow street. Not one person is clearly defined making it look as if these huge crowds of people are all in movement and celebrating. Having so many people on the road gives the painting a very busy energetic feel. It is as if the crowd is in a frenzy of excitement and happiness.  In contrast, we are seeing The Rue Monsnier with Flags in a more straight on point of view and it only has several people strolling the streets and none seem to be in a frenzy or in great celebration. The focus of this painting seems to be the crippled veteran at the left of the canvas. Having the focus be on one man rather than a large crowd of people gives the painting a calm feel. There is no real hustle, just a few people here and there and the old man making his way down the street. This scene looks as if it could be before or after the big rush of people celebrating. The colors Monet used are much darker and vibrant than the colors Manet chose to use. Manet had a much lighter palette with some individuals outlined in a darker color as well as some shadowing. While both are depictions of roads, The Rue Montorgueil seems to have a lot of emphasis on the vertical lines of the tall buildings, while The Rue Monsnier with Flags seems to put more emphasis on the lines of the road rather than the buildings surrounding it.

Both The Rue Montorgueil and The Rue Mosnier with Flags are avant- garde paintings. However, they are both avant-garde in their own ways. Monet’s painting is avant-garde because it is artistically radical. He is using loose brushstrokes, observing light and color, it is an outdoor scene, and looks very sketch like as if done very quickly and spontaneously. Manet’s painting however is both artistically and politically radical. We can see that he too used similar artistic techniques as Monet. At the same time though, Manet’s painting is politically charged. The old man on the left side of the canvas appears to be someone who fought in the war. This veteran who has lost a leg in war is a way for Manet to remind the viewers that he has not forgotten the war.

The Rue Montorgueil and The Rue Monsnier with Flags are also similar in several ways. Each are depicting the same French festival. Both paintings put importance on the flag showing the countries pride and emphasizing the celebration that is taking place. Both also share similar Impressionist artistic techniques such as loose brushstrokes, outdoor scenes, spontaneity, observation of light and color, as well as depicting a modern setting. 

Impressionism - Post #3

            Moulin de la Galette by Pierre-Auguste Renoir was created during the height of the impressionist movement. The scene depicted in this painting is that of modern Parisian life. We are seeing the outdoor courtyard of an old-fashioned dance hall full of jovial people. This painting was created on a fairly large scale of 4 feet 3.5 inches by 5 feet nine inches. Moulin de la Galette depicts a scene that is both spontaneous and lively.

            Renoirs impressionist style gave Moulin de la Galette a spontaneous feel. Renoir created Moulin de la Galette with loose brushstrokes. These loose brushstrokes give us the viewers a sense of speed, abbreviation, sketch, and most importantly spontaneity. His thick application of paint or impasto also gives the painting a very spontaneous feel. It looks as if Renoir very quickly captured this moment in time making the scene seem very natural and real. The dancers also give the painting a spontaneous feel. They are captured in mid movement as if caught in a fleeting moment in time.

Moulin de la Galette also seems to be very natural and spur of the moment because we are seeing modern life depicted. The clothing, light fixtures, and entertainment are all modern. Showing modern life gives the viewers the idea that it was taking a snap shot of what life was like at that very moment. The clothes being worn are traditional to the time period. The type of clothing depicted is appropriate to the time period showing that the painting was trying to accurately show modern life. We can also see that there are lighting fixtures painted all throughout the background of the painting. These light fixtures were new at the time, again showing us modern life.

            The impressionist style to me always seems to be very lively. Moulin de la Galette in particular shows a very active scene that is full of both life and energy. The loose brushstrokes gives the painting a lot of energy and movement that creates a very dynamic scene. The composition of this painting is very interesting and adds to the liveliness. Renoir chose to completely fill the canvas from top to bottom with people interacting with one another. Some people are out on the dance floor dancing, some are engaged in conversation, and others are sitting enjoying refreshments. Renoir chose to cut off figures in the scene giving the viewers the idea that the scene continued outside of the painting similar to that of a photograph. No matter where one looks at this painting there is energy and movement.

            Another key feature of this painting that creates liveliness and energy is the way the Renoir chose to capture the light. The light looks to be very dappled, as if it is coming through the trees. On the dance floor we can see where there are distinct shadows and where the sun is actually hitting the floor. The sunlight also can be seen hitting the clothing of the figures. We can see sunlight on the back of the man seated at the front right table facing away from us. We can see that there are highlighted spots on the man’s back and head where the sun is shining through the trees. The use of light adds interest and energy throughout the painting. The sunlight shining down on the figures makes the scene seem even more happy and joyful because it is a nice day allowing for this outdoors event.

            Renoir’s use of color helps create a very active and lively scene. He uses soft patches of color on brighter colored figures to show the dappled light shining through the trees above head. Renoir created the patches of light with soft pinks, purples, and white. While for the figures clothing he uses more bold and noticeable shades of color such as green, blue, and brown.

            Renoir’s use of loose brushstrokes, thick application of paint, scientific observation of light and color, modern depiction of Parisian life, and split second depiction of a moment all create both spontaneity and liveliness within this painting. This impressionist painting captures the true spirit of modern day Paris and gives the viewers the ability to see an exact moment in time. 

Post #2 Realism and the Early Avant-Garde - Option #1

            Gustave Courbet is known for his socialist ideals and his use of realism within his artwork. While his paintings today are highly regarded and often referred to as “avant-garde”, they were at one time considered to be extremely offensive to the bourgeoisie. In his paintings The Stonebreakers and A burial at Ornans we are seeing social, political, and artistic statements being made. These paintings created much controversy due to his intentional challenge to the academic style and his intention to provoke the bourgeoisie.

            In the painting The Stonebreakers we are seeing a large amount of political radicalism. Courbet chose to show two men, one old and one young, breaking rocks to be used for gravel. We are seeing the men doing backbreaking work that only people of the lower classes would perform. We can see the difficulty of the work as the young man strains to lift the crushed rocks while the old man kneels as he breaks the stones. The men are depicted in ragged clothes that are torn to shreds by their daily labor. One can tell that the paint was roughly applied and that there is somewhat of a disinterest in perspective and depth.

The Stonebreakers was quite controversial at the time due to the political, social, and artistic issues of mid-century France. We are seeing political radicalism within the painting because Courbet is glorifying the working class. He chose to put the two lower class men in the foreground of the painting, filling the canvas. He is showing the inequality between the classes by depicting the oppression of the poor. The two men are also facing away from the viewer. Rather than making them individuals these two men are representing all of the oppressed. We can also see political radicalism because Courbet is creating empathy for their oppressed state. He is showing the men performing their strenuous job and exerting enormous physical effort. Artistically this painting goes against the ideal of the academy. Courbet roughly applied the paint, the figures are turned away from the viewer, there is a disinterest in perspective and depth, and he used this very large canvas to show peasants working rather than showing a historical, biblical, or mythological scene. This painting greatly offended the bourgeoisie because not only did it go against the artistic standards of the academy but Courbet was showing the tension and turmoil between the classes.

In A Burial at Ornans Courbet depicts a burial in life size. This is a scene that could actually be witnessed in modern life, which is why it is considered to be a realist painting. Looking through the crowd of people we can see a mix of emotions, which are all commonly seen at an actual funeral. Several people appear to be bored, some are weeping, and others seem to be distracted. This painting was denounced by the Salon due to Courbet’s disregard to the academy style and lack or creating a traditional history painting. The Salon was also displeased by Courbet’s lack of suggestion to the afterlife.

In both The Stonebreakers and A Burial at Ornans we can see the use of realism. Courbet is showing scenes that were actually happening in modern life. While Courbet’s paintings were denounced by the Salon due to their political and artistic radicalism they are now considered to be both innovative and revolutionary. 

237 - Post #1

            Avant-garde, to me, in regards to artwork means going against the norm or doing the unexpected. It means being innovative and creating something that hasn’t been seen or done before. There are both positive and negative associations that I make with the word avant-garde. I think it is very interesting, thought provoking, and allow us to look at artwork in a new way. Yet, at the same time avant-garde can be hard to comprehend, strange, and challenging.

            Manet’s painting, Luncheon on the Grass, is a great example of using the avant-garde idea in artwork. This artwork challenges the viewer because the scene that is depicted isn’t something that is easily understandable. People generally like narratives, and artwork that clearly has a message. Manet’s painting however is not clear-cut like one would prefer. This challenges the viewer the think about what is happening in the painting and why it was created rather than having the story spoon fed to them. This also challenges the viewers because it is artistically like nothing they have ever seen before. During this time period precision within the artwork was greatly prized, however in Luncheon on the Grass we are seeing very visible brushstrokes making it look as if it is unfinished. This was the first time people were seeing art about art and this challenged them to view and think about art differently. The viewers at the time were used to seeing perfection within artwork and here they are seeing a scene that doesn’t add up. The woman in the background is out of proportion for where she is positioned in the scene, the fruit that was brought for the lunch wouldn’t all be in season at the same time, and none of the figures in the foreground are making eye contact or interacting with one another. This painting includes the viewer and challenges them to understand.

            In Luncheon on the Grass Manet did several things that can be considered avant-garde. For the time this painting was shocking. It was very in your face and was like nothing anyone had ever seen before. The scene of the painting was confusing and lacked understanding by the viewers. Due to the paintings confusing layout and subject matter people viewed this as a very strange and outrageous painting. It went against all the rules of art that people of the time were following. For example, Manet’s painting has thick blocks of color clearly showing the viewer how he went about applying the paint. While what was valued at the time was having invisible brushstrokes making it hard to trace the work of the artist. This painting was not only revolutionary for its time but it was innovative, thought provoking, and hard to comprehend. All of which are characteristics of an avant-garde artwork. Not only did Luncheon on the Grass challenge the viewers of the time to think and view art differently but it changed the rules of art forever.

Final Post

            Looking back at the artwork we have studied during this quarter I have a hard time determining what types are my favorite. I thoroughly enjoyed learning about all the different time periods and gaining a greater appreciation for the artwork produced. However, two types of art that I would have to say are my favorite from this quarter would be art from the Northern Renaissance and Romanticism art from the 18th and 19th centuries.

            My favorite artist from the Northern Renaissance would have to be Jan van Eyck. I think what attracts me to his style and the style of the Northern Renaissance would have to be the extreme attention to detail, interest in naturalism, use of symbols and luminous colors. In all of Jan van Eyck’s artwork we can see the use of extreme detail, but I feel that The Arnolfini Portrait is the perfect example of Jan van Eyck’s talents. The reason I feel so drawn to this piece of art is because there are a number of symbols with hidden meanings, which is very intriguing to me. For example, the chandelier with only one lit candle, the dog, the fruit, and the figure of St. Margaret carved into the back of the chair by the bed. The use of naturalism is also something that draws me to the Northern Renaissance because the people being depicted seem to be identifiable rather than idealized figures that one would never see in real life. I also like that oil paint during this time period is the preferred medium. The oil paint allows for luminous colors and a beautiful depiction of all different types of textures.

            I also am very drawn to the Romanticism style. I am in particular a fan of Francisco Goya. I find the sublime idea in artwork really fascinating. Goya’s artwork does a great job at evoking both the feeling of being terrified and the feeling of being in awe. I’m really drawn to The Third of May in particular because I love the emotion that is depicted. I love the Romanticism period because when looking at the artwork produced during this time I find that I have an emotional response to the work and it really intrigues and engages me. In the Third of May I really like the intense lighting that highlights the main figure that is in his last moments of life. I think it was smart to paint him in a white shirt showing his innocence. He is also in a Christ like pose with his arms out adding to the man’s innocence. The way the soldiers with the guns are turned away from the viewer gives us the sense that they aren’t individuals but rather these nameless monsters that are killing innocent people because they are told to.

            Overall I enjoyed all the time periods that we covered and I have learned to have a great appreciation for all the artists and artwork we have discussed. Though I am drawn to artwork that has a large amount of emotion and an attention to detail I like learning about all different types. 

Early 18th Century Art - The Meeting

The Meeting by Jean-Honore Fragonard created in 1773 is a product of the Rococo period. We are seeing a lighthearted scene of a young man and woman in a very serene garden. We can see that this is from the Rococo period due to several distinct stylistic characteristics. We can see that loose brushstrokes were used in order to create the trees, bushes, and flowers in the painting. The colors in the background are somewhat muted and more on the pastel side in comparison to the red of the young man’s jacket and the bright white and yellow of the woman’s dress. The majority of this painting is based around organic forms showing an extreme interest in nature and the outdoors. A large amount of interest is put on the trees and flowers, seeing that the setting of this painting is a garden. Emphasis on nature and organic forms is something that we see over and over again in artwork being produced during the Rococo period. We can see that there is a sculpture placed in the center of the garden of Venus and cupid. Showing these mythological figures adds to the theme of love between the woman and man in the painting. Depicting mythological figures is again something that we see quite frequently in artwork from the Rococo time period.

The scene being depicted is that of an affair. We are seeing the young man cautiously climbing over the wall and starting to enter a private garden. The young woman is putting her arm out towards him as if telling him to stay still while she checks to see no one is around to catch them together. Both the garden and mythological figures give off a sense of sexuality and fertility. It is interesting because this painting was specifically commissioned by a woman to be created by Jean-Honore Fragonard. Fragonard didn’t finish this painting until the end of the Rococo period causing this painting to be rejected by the woman who commissioned it because she felt that the style was old and now out of date. However, it has been discussed that the reason she truly did reject the painting was because the young man and the young woman looked a little too familiar. To me the man and woman seem to be quite ambiguous and hard to identify as one particular individual however the woman who commissioned this said the woman looked a little too much like her and the man looked a little too much like Louis XV. They in real life were having an affair so it makes sense that the woman rejected the painting and didn’t want it to be seen and bring her affair to light.

            Jean-Honore Fragonard created some absolutely amazing artwork during the Rococo period that displayed themes of love while incorporating organic forms, aristocracy, and mythological figures, all created with loose brushstrokes. The Meeting fulfills all the ideals of the Rococo period and depicts quite an obvious affair.

Source: 

http://smarthistory.khanacademy.org/fragonard-the-meeting

Baroque Art - Option #2

            It is well known that Caravaggio had great influence over many other artists during the Baroque period. His stylistic characteristics are like nothing people had ever seen before. Caravaggio’s light and dark contrast, strong diagonals, and intense naturalism were what made his artwork so intriguing. In both artworks Martyrdom of St. Bartholomew and Mary Magdalen with the Smoking Flame we can without a doubt see Caravaggio’s stylistic influence.

            When looking at Martyrdom of St. Bartholomew created by Jusepe de Ribera there are several distinct characteristics that are similar to Caravaggio’s stylistics characteristics. For example, we see the two men being pushed to the foreground because of the monochromatic background. There is an intense light hitting the face and arms of St. Bartholomew that is contrasting violently with the extremely dark shadows on his back and the very dark background. An intense contrast between light and dark is something commonly seen in the work of Caravoggio, as well as light coming from an unknown source. Looking at this painting we can see no light source that would make this light contrast possible. There is also an intense naturalism to this painting. We can see the muscles tensing up underneath the skin of St. Bartholomew, the wrinkling of his forehead due the expression he is making, and veins running through his arms and neck. We can also see naturalism in the man looking back at him. He has a wrinkled brow, thinning hair, and what appears to be dirty hands and finger nails. Similar to Caravaggio, Jusepe de Ribera did not idealize this painting at all. These figures are very true to life and very individualized. The arms of St. Bartholomew create a strong diagonal in the foreground adding drama to the painting. We can also get a sense of drama from the facial expressions of both men, the lighting, and in the way St. Bartholomew’s body is positioned.

            In the painting Mary Magdalen with the Smoking Flame created by Georges de La Tour we can also see a “Caravaggesque” style. She too is placed against a monochromatic background with intense contrasts between light and dark. In this painting we can see that the flame of the candle is the light source. The flame is casting a very bright light on Mary Magdalen’s face, which creates a large amount of drama because that bright light is contrasting so violently with the dark walls and nearly black room around her. This depiction of Mary Magdalen is very naturalistic and true to life. Due to the use of tenebrism this is very similar to work done by Caravaggio. While this is dramatic because of the lighting the subject matter is not very dramatic. We are in fact seeing a very reflective and peaceful Mary Magdalen.

            Caravaggio influenced a large number of artists to start creating more drama filled artwork similar to his own during the Baroque period. His influence was widespread and he was greatly respected for his innovative stylistic characteristics. Due to his great influence a large amount of “caravaggesque” artwork was produced during the Baroque period all throughout Europe. 

Century Art in Northern Europe - Option #1

            Albrecht Dürer is the most widely known and respected artist from the German Renaissance who created a variety of different works that are still highly revered today. Being from Nuremberg Dürer had the freedom to create an array of different works seeing as there was no guild system. When looking at the artwork produced by Dürer, such as his self-portrait from 1500, it is apparent that he was greatly influenced by Italian and early northern European art.

            Due to Dürer’s travels he gained a large amount of knowledge on different stylistic characteristics that were popular in areas such as Italy at the time. In his Self Portrait we can see several Italian influences. When first looking at the portrait we can see that it has a triangular composition, which is often seen in art works from the High Renaissance. The portrait’s triangular composition gives a sense of balance and harmony within in the artwork. Again, we often see balance, harmony, as well as perfection from the Italian’s in the High Renaissance.

            However, Albrecht Dürer’s Self Portrait has a large number of stylistic characteristics from early northern European art. When looking at Dürer’s Self Portrait it can be said that he draws a great amount of influence from early northern European traditions. For example, we can see a great interest in rich textures, small details, naturalism, and luminous colors. The interest in textures can be seen in the realistic depiction of hair, the luminous quality of his skin, the softness in his jacket, as well as the fur collar of his jacket. Dürer’s interest in small details can be seen in the individual hairs growing off his chin, the depiction of veins in his hand, and the fur that is lining the collar of his jacket. When looking at this self-portrait of Dürer it is obvious that there is an extreme naturalism to the painting. When looking closely at the painting one can see that Albrecht’s right eye has a slight downward sag to it with a hint of discoloration underneath it. Rather than making himself look idealized and as perfect as possible he made himself look very naturalistic and as true to life as possible. Naturalism is something that is seen over and over in early northern European art. Something that can’t go unnoticed in this painting is the use of oil paints that create a luminous quality. We can see in his skin that it has a healthy glow to it, and his eyes appear to also have a gloss or wetness to them created by the oil paints. The luminous quality of the paint gives the painting a resplendent and naturalistic appearance. All of these qualities are characteristics that are often found in early northern European art.

            After viewing Albrecht Dürer’s self  portrait and other works of art produced by Dürer it is easy to see that he was greatly influenced by both Italian and early northern European artistic traditions. He pulls stylistic characteristics from both and creates absolutely unforgettable pieces of art. 

Late Renaissance - Option #2

            When looking at The Origin of the Cornucopia by Abraham Janssens and Leda and the Swan and Her Children by Vincent Sellaer one can see several distinct stylistic characteristics of mannerism and the Late Renaissance. While both are very different subject matters they both have a distinctiveness about them that can help determine them to be Mannerist paintings.

            All the figures in The Origin of the Cornucopia are twisting and turning as if they are all reaching for something. When looking at each figure it appears that they are all in somewhat awkward and uncomfortable positions. For example, the figure on our right with the blue cloth draped across their body is leaning back at a strange angle that one most likely wouldn’t be comfortable sitting in. The position is one that is neither natural nor comfortable for one to be in for a long period of time. The figures of The Origin of the Cornucopia also have some strange proportions. Again looking at the figure with the blue cloth we see very odd body proportions. Having little to no neck makes the figure look as if their very small head is placed on these very large muscular shoulders. Then when looking at the arm one can see the length between the elbow and the hand is extremely long. The thigh also appears to be very long on the same figure. Though we are only seeing a portion of it, if the cloth were to be removed the thigh would be greatly elongated in order for it to attach to the rest of the body. Twisting figures, elongation, and unstable positions are all characteristics that we not only see in The Origin of the Cornucopia but other Late Renaissance artwork such as the Entombment. In this painting we see figures twisting and turning in all directions with outreached arms and elongated limbs. Due to these characteristics we can tell that both these paintings are Mannerist paintings from the Late Renaissance.

            In Leda and the Swan and Her Children we also see several characteristics that can be traced back to mannerism and the Late Renaissance. Looking at the main woman figure we see that the distance between her shoulders and breasts is very short in comparison to the length of her torso. Her arms also appear to be extremely elongated especially her left arm that is reaching down to the child. The length between her shoulder and elbow on her left arm is out of proportion with the length between her elbow and wrist. Giving her upper arm an elongated appearance. Her thigh that is covered up by the cloth seems to also be very elongated. Due to the positioning of her thighs it looks like she is in a very unstable position. The way she is positioned makes it hard for the viewer to tell where exactly her weight is being supported. Her left leg looks like it is bent and that she is propped up on her knee, however her right leg is also bent but looks like she is sitting on her feet. Both these positions can’t be happening at once, making the position seem unstable and very uncomfortable. Leda and the Swan and Her Children is similar to the painting Allegory With Venus and Cupid that also comes from the Late Renaissance with mannerist characteristics. In the Allegory With Venus and Cupid painting we also see elongation, similar looking children, and odd body proportions. Seeing that these two paintings share these same mannerist characteristics helps categorize Leda and the Swan and Her Children as a Late Renaissance painting. 

High Italian Renaissance Art

            When looking at artwork from both the Early and High Italian Renaissance we can see an immense amount of similarities shared between the two periods. However, there are several distinct differences that help us visually differentiate the Early and High Italian Renaissance. For example, when looking at the portrait Battista Sforza and Federico Da Montefeltro from the Early Italian Renaissance and the Mona Lisa from the High Renaissance we can see both similarities and differences in their stylistic characteristics.

            When looking at the Mona Lisa and the Battista Sforza and Federico Da Montefeltro it is easy to immediately point out some obvious differences between the two. First off we can see that the Mona Lisa is depicted in a three-quarter view while the Battista Sforza and Federico Da Montefeltro is shown in profile. Three-quarter view being the preferred way to depict a person in a portrait during the High Renaissance while the profile view was the preferred way to depict a person during the Early Renaissance. The profile view prohibits the viewers to become engaged with the person being depicted in the portrait, while the three-quarter view allows us to get a much better idea of what exactly the person looks like, allowing the viewer to become far more engaged. The Battista Sforza and Federico Da Montefeltro portrait has a much more geometric appearance. This geometric feel makes the painting appear far less naturalistic than the Mona Lisa portrait. The Mona Lisa is very naturalistic and true to life. This is showing the High Renaissance’s emphasis on realism. The figure of Mona Lisa creates a pyramidal form that is often seen in the High Renaissance while the Battista Sforza and Federico Da Montefeltro has a much more rigid appearance lacking a pyramidal form. The background of the Battista Sforza and Federico Da Montefeltro is very clear and easy to make out. The Mona Lisa’s background uses sfumato giving a slight suggestion of a haze. Sfumato is a stylistic characteristic often used in the High Italian Renaissance. While there are a lot of differences between the two portraits we see several similarities that help us relate the Early and High Italian Renaissance periods.

            We can see right away when looking at the two portraits that atmospheric perspective is used in each. We see atmospheric perspective starting to be used in the Early Renaissance and is continued to be used through the High Renaissance. We can also see use of naturalism in each however we can see the advancement in naturalism from the Early to High Renaissance. Both the Mona Lisa and Battista Sforza and Federico Da Montefeltro were created with oil paint on wood panel.

            When looking at artwork from the High Renaissance it has, as pointed out in our textbook, “dynamic unity.” The dynamic unity I see from the High Renaissance is the artist’s ability to relate the person being depicted to what is happening in the background. For example, in the Mona Lisa it looks as if she fits in the setting that she is painted in. However, the Battista Sforza and Derico Da Montefeltro from the Early Renaissance seems to lack that dynamic unity. It looks like the two figures represented were randomly put in that setting and have no connection to the background. It is almost as if the foreground and background are two different paintings.

            When looking at works or art from both the Early and High Renaissance it is generally fairly easy to decipher which works of art are from which periods. Though the two periods do share many stylistic characteristics we can tell the difference because it is as if the artists from the High Renaissance perfected what the Early Italian Renaissance artists started.  

Early Italian Renaissance Art

            The well-known painting the Birth of Venus by Sandro Boticelli is an example of Early Italian Renaissance art. The painting revolves around Venus, the goddess of love and beauty, being blown to shore in a scallop shell. The overall effect given by the Birth of Venus is a strong sense of movement and energy. This strong sense of movement and energy can be found in the use of colors, lines, and overall composition.

            Sandro Boticelli created a lot of movement through his use of colors. First off, we can see a large array of greens, blues, and whites creating the sea. The contrast used between the dark greens and blues between the light greens, blues, and white give the viewer the sense that the water has ripples in it and is in fact moving Venus towards shore. The ripples in the water suggest the sea to be alive and full of energy. The garments worn by each figure all have a large amount of contrast in their colors, which help create movement within the painting. By use of darker blues and blacks on the garments there is a sense of creases and shadows that make it look like the wind is blowing the garments all about. The contrasts in the colors used on the garments appear to be very naturalistic. In reality if one were to be wearing a dress on a windy day the garment would be blowing against the person showing their form underneath the garment, giving us a sense of their body, just as Botticelli chose to do in this painting. The wind would cause the garment to overlap on top of itself creating shadows and dimension in the garment just as we see here. We also see a great amount of movement in the hair of Venus. By making it look like the hair was being hit by sun in some areas it appears that the hair is blowing in the wind.

            By use of lines in the painting we are given not only a sense of movement among the figures, but a sense of energy as well. Starting out with Venus, though she isn’t showing a large amount of movement with her actual body, her stance looks as if she possibly just shifted her weight. The lines of her body give a great suggestion of curve. With Zephyr the lines of his body suggest him to be leaning in towards Venus at an angle. As for the woman greeting Venus on land we can see a curve in her body as well as she is standing on her tip toes, readily awaiting to wrap the garment in her raised hands around Venus. The lines of the woman and man on either side of Venus are at strong diagonals facing inward. The diagonal of movement starts at their feet and leads us all the way to the serene face of Venus.

            The composition of the Birth of Venus is one that does not seem to be too complex however it appears to be well thought out. Boticelli uses atmospheric perspective in the background and a great amount of movement in the waves that lead our eye from the background to the foreground. We then see three figures on the sides of Venus that are in such dynamic postures that it appears that there is a large amount of movement and energy happening around Venus. The composition of this painting leads the viewer’s eye to the calm face of Venus, who appears to be unfazed by all the movement, energy, and chaos taking place around her. The composition of the painting makes Venus be the centralized figure making it quite obvious that she is the main figure of the painting. It can also be seen that Venus is the main figure of the painting because we can see that just about every where else in the painting there is movement and energy and then as your eyes make it to Venus we see a much more calm figure that almost appears to be in a trance or experiencing a day dream. This composition is very effective then because it leaves the viewer looking at the gaze of Venus and wondering how, with all the chaos happening around her, she is in such a serene state. 

Northern Renaissance Documentary - Post #2

            The documentary “Northern Renaissance: The Supreme Art” made it quite obvious that during the time of the Northern Renaissance luxury items were highly valued. Much of these luxury items were in fact paintings. Kings and those of nobility generally commissioned paintings so they were not only highly regarded but something wanted and respected by all. All during this time valued the idea of naturalism immensely because this was the first time they were seeing art being produced that didn’t look man made. The paintings or illusions created were so convincing that it looked as if the figures in the paintings were capable of movement, giving the figures a very life like quality. The people of this time also valued religion, inventions, and learning. We can see in many paintings produced during this time that they contain religious aspects. Due to the fact that there are so many paintings related to religion in this time period we can conclude that they were in high demand because so many people valued their religion. Many altarpieces were also being created, and some being on a very large scale. The Ghent altarpiece is over eleven feet tall and about fifteen feet long. This altarpiece is considered to be one of the most coveted pieces of art due to its naturalistic qualities and very individualized figures. The printing press was also created during this time period allowing for large- scale production for the first time ever.

 During the Northern Renaissance we see several different types of art being produced. At first there was a large amount of sculptures and tapestries being created. However, once the highly regarded painter Jan van Eyck was commissioned by Phillip the Good many people were able to see the beautiful paintings that so closely resembled the real world. The nobility was so impressed with his ability to create such true to life paintings that they paid him a substantial amount and told him he could work for anyone outside of the court as well. This was found in historic documents dated back to this time period basically explaining he was the best of the best and there was no painter who could compare. Jan van Eyck’s growing popularity brought all different kinds of paintings into a different kind of light for the people of the Northern Renaissance. Jan van Eyck was known for painting altarpieces and portraits. The portraits created during this time, especially those by Jan van Eyck, were so true to life it was as if the person was seeing their reflection in a mirror. The people of the Northern Renaissance were very excited to have their portraits done by Jan van Eyck not only because his extreme talent and ability to create such a realistic portrait, but because Jan van Eyck was known to paint portraits of nobility. The modest family was now able to have a masterpiece portrait in their own home at a substantially lower cost than that of gold and jewels, which were once the luxury items people strived to obtain.

When looking at art produced during the Northern Renaissance there are several stylistic characteristics that seem to show up in just about every piece. We see extreme, very small details added to the work that at first glance may go unnoticed, but ultimately adds to the intense naturalism and beauty of the painting. There is a great interest in naturalism and individualization that make all these paintings appear to be exactly how we see the object, landscape, or person in real life. We also see in much of the paintings created during this time the use of very thin layers of oil paint. Due to these several stylistic characteristics the pieces of art from the Northern Renaissance are not only easily recognizable but some of the most coveted and highly regarded pieces of art in the world. 

Introduction to Renaissance Art

            The art produced in the 15th and 16th centuries has been and always will be held in very high regards by our culture. A large portion of the art produced depicts intensely naturalistic portrayals of humans, which for years prior to the 15th and 16th centuries many artists were striving to create naturalistic pieces. I feel that our culture greatly admires work form the Renaissance period because the artwork was very true to life. Nowadays it is often that we see bodies being altered to fit our society’s idea of beauty, which for women is very thin and for men very muscular. Looking at much of the artwork from the Renaissance we see bodies being depicted as they truly were rather than being altered to fit an ideal. I also believe that many are drawn to this time period and to artists such as Michelangelo, Leonardo da Vinci, and Raphael because they were creating monumental large- scale pieces that while large still maintained naturalism. A large amount of time and effort were put into these pieces and when looking at them it is quite obvious. There is great intrigue for the Sistine chapel and Michelangelo due to the positions in which Michelangelo had to be in, in order to paint the ceiling and yet it came out flawless. Artwork is constantly being produced, yet many seem to be stuck on the pieces of the 15th and 16 centuries because since then there never has been anything quite like them.