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.