Chalk drawings – ephemeral but not entirely new

Street art, specifically, chalk drawings, a new dimension on public art, or is it?

Chalk drawings on street sides can be connected to Italian Madonnari of the 16th century. These artists would travel between festivals just like minstrels performing artwork for patrons. Given the times and political/religious climate of Italy it is easy to understand why the subject matter employed by this artist was of Madonna (St. Mary) hence their name. Passing patrons would toss coins to the artists either for their skill or in respect to the subject matter. Their utensils used were chalk, brick, charcoal and colored stones.

Street art in the form of chalk drawings survived the many wars throughout the centuries and is still alive today. Kurt Wenner was the first American artist to join the Italian madonnari in the early 1980s. Wenner traveled to Rome, Italy in 1982 and worked with Manfred Stader on madonnari drawings. Wenner returned to the US the same year to introduce America to Italian street painting. Wenner is a graduate of the Rhode Island School of Design and Art Center College of Design and had previously worked for NASA as a scientific space illustrator. He left NASA in order to pursue his love of classical art, and ended up in Rome, Italy. Wenner felt that classical artists from the Renaissance had skills that were far beyond what 20th century artists display today. His goal has been to bring classical traditions to the contemporary artist. He created an art form all on his own. With inspiration from Baroque style ceilings, Wenner wanted to bring the same illusion to viewers on the street, thus he created 3d illusion street art.

The Muses by Kurt Wenner – Lucerne Switzerland (1986). This painting is strongly reminiscent of the Renaissance era art. Each of the muses in this piece of art is cherubic and of course, naked. The detail here is amazing, there is so much color and Wenner utilizes chiaroscuro amazingly. There is definite attentive detail employed on the bodies of each of the muses, giving them the Renaissance look, detail in the skin, musculature and detail in the limbs. And as with early Renaissance none of the subjects eyes are open or looking at the viewer or visible. Here we see how much Wenner wanted to return Renaissance quality art to contemporary artists.

Tower of Babel Festa Italiana, Pioneer Square, Portland, Oregon (no date found). Here again Wenner displays his fascination with the Renaissance era. This piece has a lot of the same elements as the one before, however this one has less in the way of color, however it still seems realistic. A little of this appears to be influence by Baroque era fascination with realism, we see this in the bodies which are not altogether as idealistic as the Renaissance depictions, also they are clothed. Even as a photo, this drawing depicts depth and it is hard to remember that this is done on a flat surface when your eye continues down the Tower at the bottom.

Spiderman Universal Studios, Japan (no date). Probably one of Wenner most contemporary pieces. After Wenner’s intensive study of Renaissance art helped him to develop his own style, he researched more on art techniques. He spent a lot of time in libraries looking for specific texts on the subject. He became fascinated with Artistic geometry and linear perspective. We see this here in this piece. Wenner uses linear perspective in all of his 3d drawings but it is never more present than in this piece where we are viewing the subject almost from the top looking down. Wenner’s style reminds me of the Baroque era artists which focused a lot of minute detail and realism. The buildings have extensive detail rendering them realistic while the body of Spiderman is at once idealistic but realistic at the same time.

Another 3D pavement artist is Julian Beever. Beever is probably the most well known 3d pavement artist given that there is always that one email about amazing street art circulating emails. I know I’ve received it a few times and a lot of what I found in the forward was work done by Mr. Beever. Beever attended Leeds Met. University in UK ’79-’83. His introduction to street art was as a busker, first doing 2D pieces in order to help fund his travels. Beever had always been drawn to the 3d style but didn’t start until his time in Brussels when an old garden had been removed leaving a rectangle of paving slab empty. Beever decided to draw a swimming pool in the middle of the high street. Since then he has been dubbed”the Pavement Picasso.”

Still There in the Morning by Julian Beever (place and date unknown). This is a very interesting piece in that it appears to be a work in progress, with the supposed film over the top and the tape (or boards) around the edges. However, it is a complete piece showing how street artists may seek to preserve their work. There is even the message “PLEASE DON’T TOUCH” at the top of it. This is a very realistic piece given the “tears” in the plastic, the large one allowing a peek at the “finished” product, the box underneath holding the plastic away from the canvas. All in all, a very impressive and realistic piece.

Beever seems prone to doing inset pieces. Here is Batman and Robin place and date unknown. This is an impressive piece as well, Beever not only uses the street but the wall in his work as well, transforming the small separating wall into the top of a building where Batman and Robin are rescuing him from a fire. There is a lot of detail in this piece even though it appears to be a part of a comic strip. There are vehicles coming out of the “tunnel” to the top left, there are people watching from the building across the “street” and the crowd as well as the police cars are proportionate to the scene. The flames and smoke rising are almost realistic.

Taking the Plunge by Julian Beever no date or place found. As noted before Mr. Beever does a lot of his work as inset pieces giving the illusion that there is not a sidewalk there. Here in this piece he even uses the stairs on the top right, with the water running down almost as though it is part of the waterfall. Just as with the Tower of Babel it is hard to remember that this is art done on a flat surface, the eye follows the water and the dock piling down to the water. Beever even makes the water appear to move with the way he depicts the frothing of the water as well as the reflection and ripples present.

Both of these artists not only show off their 3d skills in public places but also perform their art in public spaces allowing the viewer to see their techniques and skills in action. Both these types of art remind me of the Renaissance sculptures. Each street drawing is meant to be scene from one angle where you can fully appreciate the efforts that go into 3d painting, sculptors of the Renaissance period did their sculptures with this in mind, the whole of the art work was meant to be seen and interpreted from one focal point.

Given that chalk drawings on the street are ephemeral it is a little hard at first to see the economical sense in it. However, this art is meant to be in the public eye so both artists are commissioned by large companies to advertise their products outside instead of on tv and on the ground where everyone can see them rather than on a billboard which not everyone sees. It’s all in all a very interesting and fascinating form of art which is still employed today.

Works Cited

“Julian Beever.” Julian Beever. N.p., n.d. Web. 6 Aug. 2014. <http://www.julianbeever.net/&gt;.

“Kurt Wenner – Master Artist and Master Architect.” Kurt Wenner – Master Artist and Master Architect. N.p., n.d. Web. 4 Aug. 2014. <http://kurtwenner.com/&gt;.

“Street art.” Wikipedia. Wikimedia Foundation, 8 Mar. 2014. Web. 6 Aug. 2014. <http://en.wikipedia.org/wiki/Street_art&gt;.

 

Dada – art or not art?

L.H.O.O.Q. by Marcel Duchamp 1919 Musee National d’Art Moderne

“Dada, as for it, it smells of nothing, it is nothing, nothing, nothing.” – Francis Picabia 1920

La Source, The Spring by Francis Picabia 1912 – Museum of Modern Art New York

Dada – debated to be related to a child’s first words. More widely excepted – German for “yes, yes.” Yes to life, yes to art. Dada was a movement in art started in part to World War one. Artists and intellectuals of this time were exhausted and a little fed up with the “senseless war” that was World War I. Already, the world had Einstein’s ground breaking theories, Freud’s outlandish theories and Marx’s communism. Schoenberg was spouting atonal music, Mal-larme scrambled syntax and scattered words and of course Picasso brought cubism. Marcel Duchamp, one of the founders of Dada, decided that painting was for the eye and not the mind, thus he rejected it. In 1913 he strapped a bicycle seat to a stool and spun it….and called it art. Hugo Ball in 1916 noted “The image of the human form is gradually disappearing from the painting of these times and all objects appear only in fragments…The next step is for poetry to decide to do away with language” (Trachtman 2006). Ball shocked all writing “all this civilized carnage as a triumph of European intelligence” (Trachtman 2006). In all these drastic actions is the call to end a “senseless war.” Thus dada was born. The term came from Richard Huelsenbeck and Hugo Ball, when meeting and perusing the French-German dictionary. It’s meaning was “yes, yes” in Rumanian, “rocking horse” and Hobby horse” in French. “For germans it is a sign of foolish naivete, joy in procreation, and preoccupation with the baby carriage” (Trachtman 2006).

Despite the absurdity (the focal point of this movement), Dada spread, from Berlin to Paris, New York to Tokyo. Dada was the foreshadow of abstact and conceptual art, performance art, op, pop and installation art.

L.H.O.O.Q. by Marcel Duchamp 1919 Musee National d’Art Moderne

Duchamp’s best known work – L.H.O.O.Q. In French, meant to read the letters – “Elle a chaud au cul” a phrase meant to indicate the sitter’s sexual availability. In English, meant to read the letters as a word “Look.” Duchamp took the one of the most famous western art portraits and defiled it with his graffiti like additions. Beyond that, he made this portrait the subject of an off-color joke. The message here is the breaking with tradition. The very foundation for the dada movement was that tradition led to the World War. Thus, artists drastically moved their ideas outside of the artistic norms of previous decades. While, to me, this is a very vulgar defilement of a great work of art, I can see the message that artists of this time were trying to convey to the world. In keeping with the breaking with traditional motif, Duchamp is recreating a classic piece of traditional art and mocking it at the same time (Dada).

The Gift by Man Ray 1921 Vienna

Here, we see The Gift by Man Ray in 1921 made on the day of his first solo gallery in Paris. Ray claimed that it was an inspirational piece. He purchased the readymade flat iron with 14 brass tacks and glued them together. The ironic name of this sculpture is that this makes a very poor gift, considering the purpose of an iron is to flatten whereas the addition of the tacks would shred (Man Ray’s The Gift). The message here is that ordinary objects can become weapons. Here, little issues can lead to deadly consequences when allowing them to blow out of proportion. Thus a hit on the issues surround World War I (Dada).

Cut With the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural by Hannah Hoch 1920 Berlin Neue Nationalgalerie

Here we see Cut With the Kitchen Knife Dada Through the Las Weimar Beer-Belly Cultural Epoch of Germany by Hannah Hoch of German shortly after the end of World War I. This is a collage of clippings from modern journals and magazines. Other than the overriding clippings of dada in the piece, we see the dada movement in the breaking of tradition. This is a message piece delivered through pasting together a bunch of clippings rather than using traditional methods. Through the fact that this is a massing of clippings we see the fragmentation of the world at this time. The long war had broke down many societal norms and thus society was fragmented. The fact that these are clippings depicts how society and people are cut up after the long standing war. This defines the present day culture of this time. People were picking themselves back up but yet separated, unable to trust again. Thus another piece which shows the effects of war. Here though, we see the end results of war, how people, families, communities and society is broken up and individual but still overlapping in confrontational ways. The trust has been broken and people are unable to coalesce back into a working community (Hanna’s Cut With the Kitchen Knife).

The above pieces are some of the defining pieces of the dada movement. While this movement was short lived, only ten years, it had a profound effect on future art and artists. Here we see how art, and artists were able to effect society by allowing their art to touch the minds, rather than the eye and senses, of the viewers.

Works Cited

Kreinik, Juliana, Beth Harris, and Steven Zucker. “Hoch’s Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany.” Hannah Hoch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany. Khan Academy, n.d. Web. 17 July 2014. <http://smarthistory.khanacademy.org/hoch-kitchen-knife.html&gt;.

“NGA-DADA – Cities – Paris.” NGA-DADA – Cities – Paris. National Galley of Art, Washington DC, n.d. Web. 17 July 2014. <http://www.nga.gov/exhibitions/2006/dada/cities/paris.shtm&gt;.

Trachtman, Paul. “Dada.” Smithsonian. Smithsonian Magazine, 1 May 2006. Web. 17 July 2014. <http://www.smithsonianmag.com/arts-culture/dada-115169154&gt;.

Impressions on Impressionism – Manet and Monet

Edouard Manet is considered to be the father of impressionism. During his time however he considered himself a Realist artist. Due to his radical painting style, including using modern subject matter and rejecting traditional morality, lighting and composition in his works impressionists took his style and used it in their paintings. The first and most famous of his paintings which inflamed the impressionist movement later was Le de’jeuner sur l’herbe (Luncheon on the Grass) painted in 1863.

Le dejeuner sur l’herbe by Edouard Manet 1863, now at Musee d’Orsay, Paris

While this painting does not appear to be in impressionist style that we recognize now, it was the precursor to the Impressionism movement. Manet had studied under Thomas Couture. After opening up his own studio he abandoned many of Couture’s styles and techniques such as layering paint, however keeping the thick lines and dark colors. This, along with the alla prima style Manet used became the foundation of the Impressionists (Edouard Manet). This painting, along with thousands of others in 1863 had been rejected by the Salon jury. Napoleon III then opened in “Salon des Refuses” in response for all the rejected artwork; this is where this painting was a principal exhibit. At this time however, it was ridiculed by contemporary critics. The fact that there was a nude female sitting with a pair of clothed men was obscene because she was not an allegorical figure such as Venus or a nymph. Also, she is looking at the viewer and not averting her eyes in embarrassment. Instead, true to his Realist ideals, Manet painted a real woman, his favorite model, Victorine Meurend, as well as his brother-in-law Ferdinand Leenhoff, and his own younger brother, Eugene all in a real setting. Not only were they real people of present day but the setting was contemporary, as though Manet was present with these people at a picnic and decided to paint this moment (MacDonald, 1999).

In Le dejeuner sur l’herbe we see Manet’s penchant for using thick lines and dark colors in the shrubbery, trees, contemporary clothing. In viewing the nude female at the forefront of the painting we see the effect of Manet using only one layer of paint. The female almost looks one dimensional in how she almost appears to be outlined due to how pale she is in comparison to her surroundings. We see more of the impressionistic style in the background of the painting, behind the bather, the fields and mountains are not defined, more blurry, leaving it up to the viewer to see what it is behind her. This is defined by the loose brushstrokes and lightly blended colors (Manet’s Le dejeuner sur l’herbe). Here also we see how Manet liked to use frontal lighting and eliminated mid tones. Manet was also said to have preferred using many colors in order to create one tone and actuality. He used contrasting tones that appear to be one-dimensional, thus the forward female appears flat. This style also inspired later Impressionists, in that instead of mixing a color on their palette, they used many colors to create one color in the viewers eye (Edouard Manet).

Edouard Manet was considered the father of Impressionism and participated in conversations with his peers of this avant guard movement.  Manet’s first meeting with Claude Monet was awkward due to him believing Monet was copying his style in “despicable pastiches” and then signing them with a name similar to his own. After the initial misunderstanding they became close friends. Manet went on to meet with peers such as Monet, Renoir, Sisley, Degas and Pissaro at The Cafe Guerbois for discussions and debates over contemporary art. These meetings sparked the first Impressionist exhibition of the Societe Anonyme des Artistes Peintres, Sculpteurs, Graveurs (the founders of impressionism). Manet did not participate, but this is where we see the name Impressionism come to life in Monet’s Impression, soleil levant (Impression, Sunrise).

Claude Monet’s Impression, soleil levant (Impression, Sunrise) painted in 1872

Thus, the term Impressionism is born. There was a total of 30 artists who participated in this exhibit. Art critic Louis Leroy disparagingly titled the exhibit in his review “L’Exposition des Impressionnistes” meaning “The Exhibition of the Impressionists.” Despite the implied insult, these painters embraced the name. Monet’s Impression, Sunrise became the focal point of this exhibit and Leroy complained that it was a sketch and not to be considered a finished painting (Samu, 2000). This is a painting of sunrise over the port of Le Havre. Here we see the favored short, broken brush strokes, unblended colors, and the effects of light in nature. Shadow and light are rendered in high and low lights of color rather than neutral colors. The ships disappearing into the mist in the background speak to linear structures while the boats in the front create the impression of spatial distance. The aim of Impressionistic painting was the impression and mood of a natural setting, marginalizing an objects actual shape. While this painting appears to be casual and spontaneous, it is actually a carefully composed painting meant to depict the movement of light seen in the subtle brightening of the sky and in how Monet uses short brush strokes for the sun reflecting off the water (Impression Sunrise by Claude Monet). As a viewer, you can almost see the shimmering water and the reflection of the sun off the bay, thus the impression of a sunrise. Impression, soleil levant is now located at Musee Marmottan Monet, Paris.

Morning at the Port by Claude Lorrain in 1640 now at The Hermitage – St. Petersburg

Sea Port at Sunset by Claude Lorrain in 1639 now at Musee De Louvre Paris, France

These two paintings were done by Claude Lorrain, a landscape painter from the Baroque era. The one on the left is of a sunrise at a port. Lorrain provides such exquisite detail and color in this painting in comparison to Monet’s Impression, Sunrise. Lorrain’s Morning at the Port, has the play of light over the water, as well as the brightening of the sky. The difference between the two paintings is Lorrain’s may depict movement in ripples of the water and the hustle and bustle of the port, but it does not entirely impress upon the viewer that it is moving. Lorrain’s is meant to be a still life landscape painting showing a moment captured in time, whereas Monet’s Impression, Sunrise is meant to give the viewer the impression that the painting is moving. On the right is Sea Port at Sunset by Claude Lorrain as well.  Here still is movement showcased in the ripples of the water, the play of light over the sun’s reflection and the people in the foreground. Just like Monet’s piece being painted in mainly blue and purple tones, Lorrain shows sunset in the pervasive yellow and orange flooding every aspect of the painting.

In looking at the posts above, my impression of Impressionism is that the artists are trying to have the viewer finish the painting in their own minds. The use of singular colors next to other colors in order to have the viewer’s eye mix them together and give them the perfect color they were searching for along with the indistinct shapes and figures make the mind finish the image. It is also trying to impress upon the viewer actual movement within the painting, allowing the viewer either to see it happening there and then or make a connection in their memory with these movement occurring in nature. Just like in Manet’s painting above, the small little view into the field beyond seems to be moving, as though it is windy outside of the forest of this setting. In Monet’s the sun’s reflection off the sun depicted in short brush strokes invoke a rippling effect in the mind of the viewer seeing the shimmering of the sun.

Works Cited
Harris, Beth, and Steven Zucker. “Manet’s Le dejeuner sur l’herbe.” – Smarthistory. Khan Academy, n.d. Web. 8 July 2014. <http://smarthistory.khanacademy.org/edouard-manet-le-dejeuner-sur-lherbe.html&gt;.

Impression Sunrise by Claude Monet. http://www.claude-monet.com, n.d. Web. 5 July 2014. <http://www.claude-monet.com/impression-sunrise.jsp&gt;.
MacDonald, Lisa. “Edouard Manet.” Edouard Manet. the Artchive, 1999. Web. 8 July 2014. <http://www.artchive.com/artchive/M/manet.html&gt;.
Rainbow, Rebecca. Edouard Manet (1832-1883). Heilbrunn Timeline of Art History.  Metropolitan Museum of Art, 2004. Web. 8 July 2014. <http://www.metmuseum.org/toah/hd/mane/hd_mane.htm&gt;.
Samu, Margaret. “Heilbrunn Timeline of Art History.” Impressionism: Art and Modernity. The Metropolitan Museum of Art, 2004. Web. 6 July 2014. <http://www.metmuseum.org/toah/hd/imml/hd_imml.htm&gt;.
“Edouard Manet.” Artble: The Home of Passionate Art Lovers. N.p., n.d. Web. 8 July 2014. <http://www.artble.com/artists/edouard_manet#article_title&gt;.

Old style, new style?

The classical era for the visual arts was split between two different styles of painting. One was Rococo which focused mainly on sensuality, opulence, frivolity and the aristocracy.  The other was Neoclassic which began in part in protest against such painting styles. Neoclassicism was more than anything affected by the archeological recovery of the ancient cities Pompeii and Herculaneum. Excavations began in 1738, following which widely influential publications by Bernard de Montfaucon, Giovanni Battista Piranesi, the Comte de Caylus and Robert Wood provided insider views on Roman monuments and antiquities (Neoclassicism and Romanticism). These publications describing the arts wonders of this town light a fire for the neoclassical artists, giving them new subject matters and focus in their works. Both towns, Pompeii and Herculaneum were buried after the eruption of Vesuvius in 79 AD. Pompeii had been a commercial town based on the river trade of the river Samo between the interior and coastal communities. Herculaneum on the other hand was a holiday resort for rich Romans due to the views and easy access to the sea. One of the most important discoveries in the town of Pompeii was the Villa dei Misteri (The House of the Mysteries). The villa is named such due to the wall paintings in the triclinium which record the initiation rites of the cult of Dionysus. Although less of Herculaneum has been unearthed than Pompeii it has been better preserved and the public buildings, a basilica, shrine to Hercules, a theatre and public baths have been uncovered and all were found to be monumental in scale and vividly and extensively decorated. Both towns are important in the revelation of the artistic styles displayed in the sculptures, mosaics and wall paintings of this time period (Archaeological Areas of Pompeii, Herculaneum and Torre Annunziata).

Johann Joachim Winkelmann was a German scholar who had the opportunity to view both Pompeii and Herculaneum. He wrote Greek sculpture had “a noble simplicity and quiet grandeur” and called upon artists of his day to emulate their works upon this style. He postulated that in doing so artists would showcase idealized depictions of natural forms thus their art would be universal and archetypal. One early painting that we can see this type of work in is Joseph-Marie Vien’s Young Greek Maidens Decking the Sleeping Cupid with Flowers seen below

Joseph – Marie Vien Young Greek Maidens Decking the Sleeping Cupid with Flowers

This painting was commissioned by Countess du Barry as a companion piece to The Lover Crowning his Beloved. They were confiscated during the Revolution in 1793 and are both in the Louvre. In this painting, we can seen Vien applying the return to antiquity ideals. The painting depicts young Greek women in bright summer clothes. The fall and bunching of the cloth is reminiscent of Greek sculpture. The clothing itself speaks of ancient Greek origins as well. The shape of the women’s bodies are soft and smooth. The movement portrayed in the painting speaks to an idealistic grace or Greek art which young maidens should aspire to. The composition in this piece is amazing, especially in how those in the forefront are bathed in sunlight while those viewing from the trees behind are in shadow yet still detailed. The linear perspective in this painting draws the eye to Cupid. The commission of this work was in correlation with four other panels with the message of “Love progressing in the hearts of young maidens.” The message in this particular piece we see how young maidens lavish a lot on an otherworldly being who is sleeping and basically unaware of their attentions (Vincent, nd).

Not only did the discovery of Pompeii and Herculaneum bring the focus of art to ancient Greek and Roman styles, it also brought about their ideals. These ideals included simplicity, austerity, heroism, moral virtue, patriotic self-sacrifice, and goodly deeds. The discovery also brought about the focus on history paintings with messages and narratives. In my opinion, the greatest example of this focus in art is Oath of the Horatii by Jaqcues-Louis David seen below

The Oath of Horatii by Jacques Louis David

In this painting we see a sharp shift from Rococo to neo-classicism. David had failed several times in the Prix de Rome competition. The winners often noted antiquity and high renaissance in their works but focused attention on the styles of Baroque era masters. David reversed the focus to antiquity, renaissance and classicizing baroque artist Poussin. In this painting gone are the soft amorphous organic compositions and in their place are sharp lines and vivid colors. The detail here is astounding, the linear perspective reflected in the three brothers and the three arches in the back, in the drape of the clothing, the light which highlights the musculature of the three brothers and father, the motion and message are easily understood. Here too is the difference from Rococo style, there is a definite message in the painting, it is not just to look at and feel or experience the scene, here David is stressing the importance of self-sacrifice, heroism and Patriotism. This painting was commissioned by the King at the end of David’s five year study of art following his win of the Prix de Rome (David’s Oath of the Horatii).

Another painting following the lines of a historical story is The Envoys of Agamemnon by Jean Auguste-Dominique Ingres seen below

The Envoys of Agamemnon by Ingres

This painting is based on Homer’s Illiad the moment when Agamemnon’s envoys approach Achilles, entreating him to join the fighting. Greek ideals included heroism and the need to immortalize oneself through history. In the story Achilles is singing of famous heroes deeds. In this painting we can see that Achilles has been interrupted by the arrival of the envoys. He is the only subject in motion, in the act of getting up and setting aside his lyre. Here also we see the lack of softness and ethereal highlights. The bodies of the envoys are visually stressed, showcasing their recent struggles, while in turn Achilles and Patroclus both appear strong but in good health. While there is nudity in the painting, it is not meant to be sensual more, to idealize the human form and ephebic grace as was commonplace in Ancient Greek art. Like David’s Oath of Horatii this painting has a message or narrative, but in this case it is only the entreaty of Achilles rather than a specific message (Ambassadors to Achilles).

With each piece I have discussed we see the affect of Pompeii and Herculaneum’s discovery on the artists of this time. This discovery effectively ousted the popularity of Rococo and brought about the more meaningful pieces of neo-classical artists. Each painting conveys Ancient Greek or Roman ideals of nobility, grace, heroism, and morality. The difference is astounding when comparing with Jean-Honore Fragonard’s The Swing.

The Swing – by Jean-Honore Fragonard

While this is a very impressive piece of work, excellently portraying all the traits of Rococo art, it is in sharp contrast to the neo-classical work seen above. The whole painting conveys softness, in the lines or lack thereof, the color and the light in the background. This painting really is meant to touch the senses, pull the viewer in and have them experience the almost happy care-free attitude of the wife, the almost gleeful playfulness she directs to her lover, the racy secrecy of it all.

Works Cited

“Ambassadors to Achilles.” University of Michigan. N.p., n.d. Web. 1 July 2014. <http://www.umich.edu/~homeros/Representations%20of%20Homer%27s%20Ideas/Margo%20-%20Ambassadors%20to%20Achilles.htm&gt;.

“Archaeological Areas of Pompei, Herculaneum and Torre Annunziata.” – UNESCO World Heritage Centre. UNESCO, n.d. Web. 1 July 2014. <http://whc.unesco.org/en/list/829&gt;.

“History of Art: Neoclassicism.” History of Art: Neoclassicism. A World History of Art, n.d. Web. 1 July 2014. <http://all-art.org/history356.html&gt;.

Vincent, Pomarede. “Work Young Greek Maidens Decking the Sleeping Cupid with Flowers.” Young Greek Maidens Decking the Sleeping Cupid with Flowers. N.p., n.d. Web. 1 July 2014. <http://www.louvre.fr/en/oeuvre-notices/young-greek-maidens-decking-sleeping-cupid-flowers&gt;.

Zucker, Steven, and Beth Harris. “David’s Oath of the Horatii.” – Smarthistory. Khan Academy, n.d. Web. 1 July 2014. <http://smarthistory.khanacademy.org/david-oath-of-the-horatii.html&gt;.

The next Michelangelo?

Pluto and Proserpina by Gian Lorenzo Bernini. Also known as The Rape of Proserpina or The Abduction of Proserpina. This sculpture was commissioned by Cardinal Scipione Borghese in 1621 and upon completion in 1622 given to Cardinal Ludovisi who installed it in his villa. In 1908 however, the Italian state purchased and returned the sculpture to the Borghese Collection. At the time of completion Bernini was only 23 years old (Wittkower, 1966).

In keeping with the Baroque style of drama and movement depiction, Bernini carved Pluto in the act of kidnapping (rape) Proserpina. The artists of this time period focused on bringing their viewers into their piece of work, or their piece of work into the viewer’s space. In the image below you can see movement in how Proserpina is pushing away from Pluto, Pluto has his arm wrapped around Proserpina and is lunging forward with his left foot. The visual effect of seeing muscle bulging depicts the intended movement. Pluto’s left calf muscle is bunched as he shifts weight onto it while his right calf muscle is elongated as he is taking weight off of it in preparation of another stride forward. Even the way the statue is carved in the contrapposto style, with Pluto leaning forward, Proserpina leaning away toward the right, it is almost in the shape of an X (Bernini’s Pluto and Proserpina)

 

Stride of Pluto

Bernini was able to carve stone into flesh. The most dramatic detail about this sculpture is how the flesh on Proserpina’s ribs and thigh give under the pressure of Pluto’s grasping fingers. In the image below you can see the detail, even of Pluto’s fingers in the tendon, veins, fingernails and the way they are bent in a grasping manner.

Hands pressed in flesh

 

Further details can be found in the way Bernini carved the eyes of either figure as well as the tears on Proserpina’s face. Bernini was prone to using concetto in his works. In using a white marble he would attempt to add color to the eyes. Here we see that Proserpina’s eyes seem to have a depth to them, convey pain and panic also they seem to reflect light in the way they almost shine. Here also, is another example of conveying movement in this piece, this is in the way Proserpina’s hair is swept back and slightly hanging in the air, like she’s in movement. It is really as though this one moment was captured in time and it makes the viewer wonder exactly when the sculpture is about to move (Bernini’s Pluto and Proserpina).

Close up of Proserpina’s eyes, tears and hair

Cardinal Scipione Borghese was born a Caffarelli, but when his father had money problems, his maternal uncle, Camillo Borghese stepped in and paid for his education. Upon election to papacy (Pope Paul V) in 1605 he conferred cardinalship to Scipione as well as giving him the Borghese name and coat of arms(Scipione Borghese). The House of Borghese is of noble and papal background. After the election of Pope Paul V the Borghese family rose in power and wealth (House of Borghese).

Scipione was an early patron of Bernini. This early patronage helped to establish Bernini as a leading Italian sculptor, just as the Medici family did with Michelangelo during the Italian Renaissance. Being noble and a cardinal, Scipione was able to have Bernini work exclusively for him from 1618 through 1623. Pluto and Proserpina is one of three carvings that Bernini did for Scipione Borghese based on Book V in the poem Metamorphoses by Ovid (Scipione Borghese).

Bernini’s style of sculpting was similar to Michelangelo’s in that he carved it so that you can see the whole of it from one focal point. True to the Baroque style following the Counter Reformation however this sculpture depicts movement, it is a moment captured in time conveying drama and theater as was the focal point following the Counter Reformation. Michelangelo’s and other sculptures of the Renaissance time did works that were meant to be idealistic and so were stationary. The Baroque era artists, following the demand of the church to make their art more easily understood by the layman population, began a style in which their art seemed almost alive. Using Mannerist techniques and focusing on composition and realism artist were able to create great works that anyone can interpret the message of.

This sculpture is in and of itself and amazing piece of work. There are so many elements in it that capture the viewer’s attention. Although it is said the Bernini was the next Michelangelo, it is very had to compare two artist who have different styles. Both were able to bring marble to life through their work. Michelangelo focused on the idealistic form of man/human. Bernini focused on movement and realism. The amount of work and detail that went into Pluto and Proserpina is amazing. Just viewing this sculpture brings a multitude of superlatives to mind which do not entirely define that mastery of this sculpture. The mastery in the way the bodies (muscles, bone structure, veins, eyes, tendons) are composed, the movement conveyed in how Pluto is striding forward while Proserpina is pushing away and the fall of her hair, the depth of emotion set in each subjects face and even eyes. It is difficult to imagine that such a wonderful piece of work was completed by a young man of only 23 years old.

Bernini himself is said (in his own words as he dictated his own biography to his son, Domenico) to have started carving at the age of 8. He carved a stone head proclaimed it “was the marvel of everyone.” Shortly thereafter he was recognized by Pope Paul V who declared “We hope that this youth will become the Michelangelo of his century” (Lubow, 2008). Bernini was extremely dedicated to his work. He would carve for seven hours straight, without stopping, sometimes outlining the piece and sometimes without any lines or plan in place. He focused on movement and once told an associate “to make a successful portrait, one should choose an action and attempt to represent it well; that the best time to render the mouth is when [the subject] has just spoken or is just about to be begin speaking; that one should try to catch this moment” (Lubow, 2008).

Pluto and Proserpina is reminiscent of The Rape of the Sabine Women carved by Giambolgona in 1579-1583 of the late Renaissance period. This sculpture was originally intended to be only an example of Giambologna’s capability, but was commandeered and commissioned by Francesco I de’Medici and put on display in the Loggia dei Lanzi in Florence. The Rape of the Sabine Women was carved in the mannerist style. Unlike Michelangelo or Bernini, this sculpture was carved to be viewed from all sides (Semler, 1998).

The Rape of the Sabine Women by Giambologna (1579-1583)

 

 

Works Cited

Harris, Beth, and Steven Zucker. “Bernini’s Pluto and Proserpina.” Pluto and Proserpina. Khan Academy, n.d. Web. 23 June 2014. <http://smarthistory.khanacademy.org/pluto-and-proserpina.html&gt;.

“House of Borghese.” Wikipedia. Wikimedia Foundation, 24 June 2014. Web. 23 June 2014. <http://en.wikipedia.org/wiki/House_of_Borghese&gt;.

Lubow, Arthur. “Bernini’s Genius.” History, Travel, Arts, Science, People, Places | Smithsonian. Smithsonian Magazine, n.d. Web. 23 June 2014. <http://www.smithsonianmag.com/arts-culture/berninis-genius-11934809/&gt;.

“Scipione Borghese.” Wikipedia. Wikimedia Foundation, 18 June 2014. Web. 23 June 2014. <http://en.wikipedia.org/wiki/Scipione_Borghese&gt;.

Semler, L. E.. The English Mannerist poets and the visual arts. Madison [N.J.: Fairleigh Dickinson University Press, 1998. 34. Accessed web 23 June 2014 <http://en.wikipedia.org/wiki/The_Rape_of_the_Sabine_Women&gt;..

Wittkower, Rudolf. Gian Lorenzo Bernini: the sculptor of the Roman baroque.. 2nd ed. London: Phaidon P., 1966. 235. Accessed web 23 June 2014 http://en.wikipedia.org/wiki/The_Rape_of_Proserpina

Pieta – Lamentation

Michelangelo’s Pietà(photo courtesy rome.info[hyperlinked])

Michelangelo’s Pietà can be seen at Saint Peter’s Basilica, Vatican City, Italy. It was commissioned in 1498 for the tomb of French Cardinal, Jean de Billheres, in the original Saint Peter’s Basilica. The sculpture was completed in 1500 when Michelangelo was only 24 years old and later moved into the new Saint Peter’s Basilica. The formal agreement for the commission was that the sculpture was to be “the most beautiful work of marble in Rome, one that no living artist could better” (“Michelangelo’s Pietà“).

From this sculpture, the phrase “stone made flesh” can be truly understood. We see this in the body of Christ. This sculpture displays the humanism technique outside of painting. The detail in Christ’s ribs and abdominal muscles is so realistic and reminds the viewers of how young Christ was at the time of his death. The very lifelike details continue down through the musculature of his arms and legs to the veins in his hands and feet. The sculpture really depicts the actual dead weight of Christ’s body in the way the flesh gives around Mary’s right hand under his arm, his body draped over Mary’s legs, how broad her lap is in order to support him, the way his head is thrown back, the vulnerability of the exposed neck and how his left leg is slightly raised over her lap. The realism of Christ’s body reminds history that Michelangelo, like da Vinci, studied cadavers in order to better understand how the body worked (“The Pietà“). The YouTube review by Drs. Harris and Zucker on smarthistory.khanacademy.org speaks to these same attributes.

Other areas of this sculpture to take special note of to appreciate Michelangelo’s mastery of carving are in how deeply and detailed the robes of Mary are. It actually looks like how a robe would be draped and bunched around Mary’s body. There is astounding depth and detail especially around Mary’s head and chest area. Also of note, Mary’s face, which in prior Pietà pieces depicted an older, distraught Madonna, is now youthful and majestic, even resigned. This is another display of humanism of the Renaissance period which focused on the beauty and majesty of the human form. Michelangelo’s face for Mary also depicts her chastity and how close she is to God through these same attributes (“The Pieta”).

Michelangelo’s Pietà is also brought to life and touches the spirit in the way Mary’s left hand is held out over Christ’s body, beseeching understanding of his sacrifice. Her son has been killed and she is reminding humanity of his sacrifice and how through this souls have been saved. Of special interest, this is the only sculpture that Michelangelo has signed. After he heard an observer saying Pieta appeared to be the work of Christoforo Solari he carved across Mary’s belt “MICHEL ANGELUS BONAROTUS FLORENT FACIBAT” (Michelangelo Buonarroti, Florentine, made this) (“Michelangelo Buonarroti“).

Sculpture has always been my favorite field of art, from the Grecian age to the Renaissance. Particularly, pagan sculptures of the Greek and Roman gods, an any sculpture that Michelangelo has done. Michelangelo’s David had always been my favorite, but after seeing this sculpture in our recent readings I think I’ve found a new one. The art of sculpture, carving stone with man-made tools, into spectacular art forms depicting the human form in such a way that it seems about to breath and speak to you is amazing. Michelangelo was known to even forge his own tools and quarry his own stone for his art (“The Pieta“). Considering how much thought, time and dedication he put into his work it is no wonder he is considered one of the greatest artists of the Renaissance, and Pieta put him on map for his lifelike sculpturing, and soul touching Christian artwork.

“It would be impossible for any craftsman or sculptor no matter how brilliant ever to surpass the grace or design of this work, or try to cut and polish the marble with the skill that Michelangelo displayed. For the Pieta was a revelation of all the potentialities and force of the art of sculpture. Among the many beautiful features (including the inspired draperies) this is notably demonstrated by the body of Christ itself. It would be impossible to find a body showing greater mastery of art and possessing more beautiful members, or a nude with more detail in the muscles, veins, and nerves stretched over their framework of bones, or a more deathly corpse. The lovely expression of the head, the harmony in the joints and attachments of the arms, legs, and trunk, and the fine tracery of the veins are all so wonderful that it is hard to believe that the hand of an artist could have executed this inspired and admirable work so perfectly and in so short a time. It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh.”

Giorgio Vasari, Lives of the Artists, first published 1550, 2nd edition 1558. (“Michelangelo Buonarroti“).

Works Cited

Bonner, Niel R. ed. “Michelangelo Buonarroti.” Michelangelo Buonarroti. michelangelo.COM, Inc., n.d. Web. 8 June 2014. <http://www.michelangelo.com/buon/bio-index2.html&gt;.

Harris, Dr. Beth, and Dr. Steven Zucker eds. “Michelangelo’s Pietà .” The Pietà” . Khan Academy, n.d. Web. 8 June 2014. <http://smarthistory.khanacademy.org/michelangelo-pieta.html&gt;.

“Michelangelo’s Pieta.” Rome.info >. Rome.info – Rome Italy Travel Guide, n.d. Web. 8 June 2014. <http://www.rome.info/michelangelo/pieta/&gt;.

I am…

In one quote I can explain my existence:

“I have lived a thousand lives and I’ve loved a thousand loves. I’ve walked on distant worlds and seen the end of time. Because I read.”

                                                        — George R.R. Martin

Or maybe, one picture

Color Sketch of cup of books, unable to find original source. Copied from now—or—never on tumblr

Especially since books, any book really, is my “cup o’ tea.”

My name is Amber Knutsen. I currently live in Dillingham, Alaska. As you can see, I’m quite the bibliophile. I’m in my third year of college, but since I work full time and have two children, I’m only able to take two classes a semester so I’m still a sophomore. I’m dual enrolled working towards an AA of Arts and a BA in English and maybe…eventually a master’s in the same. I love learning, so maybe I’ll continue onto a doctorate.

I’d like to think that I’m an artistic person. I do sketches, water color, drawing, pastels, chalk, charcoal, some poetry, photography, pottery and figurines (but not since high school), bead work and other such forms. Although I do enjoy many of these art forms and may be a little good at any one of them I haven’t had a deep connection to visual arts. When I was younger, I always thought to be an artist, but I couldn’t ever settle down in one specific area and focus on mastering it. One form can only hold my attention for so long before I think, “Maybe I’ll try painting now.” Or ” I think I’d want to go out and take pictures instead.” I think the only art that can keep me thoroughly engrossed is literature, thus I’m working towards English BA :).

Outside of what I do artistically, I enjoy paintings, sculpture, architecture, classical music, and some theater. Especially those from Renaissance era. Mostly the paintings and statues around Vatican City. I really like Titian’s Sacred and Profane Love and Michelangelo’s Bearded Slave and David as well as Da Vinci’s Virgin of the Rocks. During this time Art really changed, visually. Some of the paintings started to look more realistic rather than ethereal and two dimensional. Mostly, this was due to new techniques involving oil paints I believe, and new techniques on lighting in the work. I’ve also been interested in Shakespeare, but not in reading it. Reading was not how it was intended to be brought to the public so I can’t get past reading a play than seeing it.  I love solo classical music, mostly on violin and piano. Right now I’m listening to “The Best of Vivaldi” and “The Best of Chopin.”

I look forward to this course since I’d like to learn more about certain art forms besides what I’ve already learned, seen or experienced. History of a certain thing, concept or practice always makes it that much more important and interesting.