A little Old, a little New...Non-Western Art

Life exists for the love of music or beautiful things.

-G.K. Chesterton

Art takes on so many forms. It morphs onto surfaces which become a backdrop for everyday life. It can be hard to imagine walking past such beauty and detail and effort and paying no notice, but after the third, tenth, hundredth, three hundredth time, people do. Though to every newcomer, every tourist, and every person seeing such works for the first time, it is astounding. Especially when juxtaposed with the very people who walk by, seemingly indifferent.
In the photo below, there is an interesting contrast between the inviting dancer, and the modest Muslim woman walking past.

"Street Art of India" Photo by Shanavas Bangalore, India

"Street Art of India" Photo by Shanavas Bangalore, India

Above, a lady passes the artful portrayal of a similar female, sitting on the floor in what was a traditional style kitchen with a grain sifter and clay water pots. Adorned in the painted woman's hair is a garland of fragrant jasmine flowers called a 'Gajra' (a typical gift from a husband to a wife). The mural woman picks each impurity out of her grain, just as the live woman chooses her next steps with care. We can imagine the modern woman going home to her own kitchen to prepare the next meal for her family with upgraded appliances, but the same ingredients.

"Street Art of India" Photo by Shanavas Bangalore, India

Here we see a young girl who, at a very quick glance appears to be fearless in the face of a giant snarling tiger. She nonchalantly removes something from her eye as she passes the mural for the who-knows-how-many-ith time, perhaps on her way to or from school. I like this mural particularly because it reminds us of the connection we have to the natural world, and our effect on it. Especially for those of us dwelling in (most) cities, it is easy to be consumed by urban culture and forget that frogs and tigers and monkeys share the land with us.
I am happy to have discovered Shanavas and his work, and it certainly opens up an entire other perspective on the world that I hadn't seen before.
 His bio states, "My photography is about exploring life. And it is indeed difficult to classify one’s style into silos when it is all about life. When I travel, walk about, read a book or watch a movie, compositions and frames flash before me. I believe that our everyday life is a series of frames stitched together by the thread of time; some mundane, some interesting and some rather extraordinary.

I am passionate about people photography – everyone has a story that is untold and submerged by the daily struggle for existence. Tradition, culture and communities fascinate me. My travel to unexplored corners of the earth captures the pure intensity of nature and how it influences the life of the local people. Out there on the streets and in public places, it is about capturing those instant possibilities thrown up by a combination of chance, an inquisitive mind and a camera at hand.

Chance, mind, and camera – well, that defines my take on photography."(2)

I fell in love with the photographs of Ladakh that Shanavas has taken. I find them to be simply exquisite, a real reflection of the power of the photograph as a medium of art. 
These are taken directly from his Facebook page, which I encourage you to visit : https://www.facebook.com/ShanavasPhotography/photos_stream?ref=page_internal

"Where the Ponies Roam" By Shanavas Ladakh, India

"Where the Ponies Roam" By Shanavas Ladakh, India

In a completely different style, now we see the work of Arvind Kolapkar, a contemporary Indian artist. I was quite stricken by his works, and what stands out to me is the repetitive use of the same colors. He seems to choose a color on which to base a 'theme' in each of his paintings, and so several paintings will feature bright blue, or vermillion or both. If I were to purchase any art, it would definitely be one of Kolapkar's pieces. I find them astoundingly beautiful both in forms and values- the subject subtly sensual and serene.

Arvind Kolapkar, India

Arvind Kolapkar, India

Arvind Kolapkar, India

Arvind Kolapkar, India

I was unable to find the titles or dates of completion for any of these works, but all of the websites I looked at featuring his work lacked the same, so I am inclined to think that perhaps he did not tend to title.

"Born in 1975 in Ahmednagar, Maharashtra, Arvind Kolapkar’s works are bright, happy expressions of joyous unions. In most of his paintings, one observes an amorous couple or groups of friends enjoying each other’s company, giving his work the appearance of a tribute to the relationships that people share. A flute is a constant motif, appearing in almost all of his canvases, provoking one to make references to the mythical Krishna and his idyllic world of joy. Not experimenting greatly with the medium or the form, Kolapkar’s acrylics on canvas can be easily identified by the bright use of a single background colour; slender, elongated women in black with coloured foreheads and noses; and the presence of a flute."(1)

Despite the fact that he 'doesn't experiment greatly with the medium or form', Kolapkar's paintings have an irresistible pull. The transparent layers, contrast of shapes, contrast of color and light all combine to give the works a luminous warm glow. I just love them!

Lastly, a sample of the work from Thota Vaikuntam:

"Untitled" Thota Vaikuntam, Andhra Pradesh, India

I was quite drawn to Thota Vaikuntam's vivid colors and contemporary style. There is an obvious Indian overtone, but the representation of his subjects is very different from traditional Indian art.

"T. Vaikuntam draws a lot of inspiration for his work from the rural areas of the state of Andhra Pradesh. The men and women of his village have often been depicted particularly the Telangana women. He uses only primary colors usually in tempera and watercolor, on paper. The love for this subject can be traced back to his childhood, when he was fascinated by the impersonations of women characters by male artists of the theater groups that performed in his village." (3)

"Carpet" by Thota Vaikuntam, Andhra Pradesh, India

"Untitled" by Thota Vaikuntam, Andhra Pradesh, India

 Many of Thota Vaikuntam's pieces remain untitled, perhaps for cultural reasons. I love the use of bold primary colors and fluid lines as well as the representation of traditional clothes and patterns. I also noticed that all of the women are shown with the red-dyed fingers of mendhi, or henna. The ornateness of the everyday dress is well shown here, and many of his paintings sell for hundreds of U.S. dollars apiece. Born in 1942, Vaikuntam studied at the College of Fine Arts in Hyderabad, India. He later went on to study painting and printmaking at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda in India. 

He was an avid observer of his fellow humans, and said, "I love a woman’s form and beauty. Their rustic simplicity holds enormous charm for me.
I feel immense joy and happiness when I am with them”.(4)

 Though uniquely his own, Vaikuntam's art well represents his country and its rich culture and heritage. 

"Thota Vaikuntam, senior Indian artist of international acclaim, is famed for his acrylic and mixed media portraits of the Telangana man and woman of South India.

Vaikuntam has exhibited in numerous solo and group shows, both nationally and internationally, including important group exhibitions at Salarjung Museum in 1989, the 7th Triennale, New Delhi in 1991, Art Encounter at Kassal, Germany in 1992.

He is the recipient of numerous awards including notably at the Bharat Bhavan Biennale, Bhopal in 1988, the National Award for Art Director, Film “Dasi” in 1989, and the National Award for Painting in 1993. Vaikuntam works and lives in Hyderabad now."

(1) Web. 4 Dec. 2014. <(1) http://artodyssey1.blogspot.com/2012/11/arvind-kolapkar.html>.

(2) "Shanavas Photography." Facebook. Web. 4 Dec. 2014.

(3) "Thota Vaikuntam." , Limited Edition Prints, Art from India. Web. 18 Nov. 2014. <http://www.deccanfootprints.com/collections/thota-vaikuntam>.

(4) "Thota Vaikuntam ← Back to Artists." Indigo Blue Art Modern Indian Contemporary. Web. 18 Nov. 2014. <http://www.indigoblueart.com/site/portfolio/thota-vaikuntam/#!prettyPhoto/0/>.

Virtual Exhibit Post Modern Art

We are all products so to speak of the post modern era, and our artwork reflects it. Gone are the days of the Sistine Chapel frescoes, and the divine sculptures of David. In this period of time, we as humans push art to its very limits, stretching it, distorting it, turning it inside out and backwards, and creating something out of nothing, and nothing out of something. This is the age of art in which we live.

"Starry Night" Lego reproduction by Nathan Sawaya  C. 2001 New York, NY

 Art has become the most accessible it has ever been, and people like Nathan Sawaya are pioneers of this movement. Self dubbed 'the Brick Artist', an artist whose sole medium is Legos the children's toy bricks, Nathan Sawaya creates amazing 2 and 3 dimensional art pieces from these play things. His creativity and vision are incredible, and his artwork literally has great appeal to all ages.
His work is on display in various countries around the world, including the U.S., Australia, the United Kingdom, and the Netherlands. He even has an upcoming exhibition in Anchorage, Alaska for those of you who live or would like to drive there. Click on this link to view his exhibition schedule http://brickartist.com/exhibitions/.

In an interview, Sawaya states, "The museum exhibition is accessible because it engages the child in all of us while simultaneously illuminating sophisticated and complex concepts. Everyone can relate to the medium since it is a toy that many children have at home. But my goal with this exhibition when it first debuted in 2007 was to elevate this simple plaything to a place it has never been before."(1) 

In addition to reproducing works of antiquity, he creates pieces of his own that reflect his own journey of creativity and our modern times. He also collaborates with other contemporary artists of other fields and together they rock our art world.

"Lego Gaga" Nathan Sawaya, C. 2014, New York, NY

  Here we move to another niche of today's art world- art of the internet. Art that seems to be exclusively available online, which may never have touched an actual piece of paper. 

"Postmodern Love" by Gunberk

Here is an interesting piece that I stumbled across online. I couldn't really track down much information about the artist (#postmodernartdilemmas) aside from his page on a website called Soceity6, where he sells his art in print form, on mugs, t-shirts, baby onesies and more. I found this particular print to be a great commentary on today's society and how so many people "connect" with each other. He plays with the notion of connection, both socially and emotionally, and I love how the USB cords have receptacles in the hearts of these two people and they are both physically separated and connected by Facebook on the computer. It says a lot. And I find the "loading" message hilarious as well. That is such a normal part of our everyday lives now- if we are waiting for something, it seems that 9 times out of 10 it's "loading".

 

"Giraffe" By Gunberk

More of Gunberk's work can be seen and purchased here: http://society6.com/gunberk/tank-tops.

 Another postmodern artist that caught my eye was Peter Bourgon, namely because his gigantic balloon animal looks so exactly like a real balloon. Unfortunately, his website is too postmodern for the likes of me, and I couldn't figure out how to get past the homepage, though you are welcome to try: http://peter.bourgon.org/postmodernism/#/step-1

 "Balloon Dog" Peter Bourgon

"Prometheus and God" By Dejano23, Serbia

Compare to:

"God Breathed Life into Adam" Michelangelo C. 1512, Italy

 Here I found something very interesting, some very spectacular art with incredible detail and style, though a bit dark for my own personal preference. Nonetheless I found it very intriguing and interesting. Further still, I liked what the artist had to say about it. 

"I did this image over the famous Michelangelo fresque ''God breathed life into Adam'' left side : mainly I wanted to show you who not create man.
Man was created from idea, idea is something that no one has proved, but it is obvious to everyone, Prometheus is knowledge and snake is a metaphor for danger of creativity.
Creativity and technology is not good or bad, it is not action,man must choose his way.
on right side : I tried to do a completely different world of giger,right side is a man and his first divine side, (big fish girl body with the baby at the end of the antenna) :0
man must choose to which side to tie umbilical coard."(2)

 Though not well edited, I liked the idea of taking a work, such as "God breathed like into Adam", and playing with it in such a contemporary sense.

 * * * * *

 How do we talk about art these days? How to we judge it? How to we describe it? How do we classify and catalog it? All of these elements have become much more difficult with the introduction of postmodern art, and I would say especially digital art. No longer is it easy to cite the date and place of creation, or even the name of the artist. Art can be anonymously submitted online, and just continue to float through cyberspace without any attachment to its originator.

 We of course, will always talk about art, whether it be our own, or that of someone else. There is always the good review, and the bad review. I think our good ole' boys Calvin and Hobbes sum it up pretty well:

"On postmodern art" from Bill Watterson's Calvin and Hobbes Sunday, June 21, 1992

Let's take a quick trip around the world and have a look at postmodern art in India. Just for fun.

"Untitled" Thota Vaikuntam, Andhra Pradesh, India

I was quite drawn to Thota Vaikuntam's vivid colors and contemporary style. There is an obvious Indian overtone, but the representation of his subjects is very different from traditional Indian art.

"T. Vaikuntam draws a lot of inspiration for his work from the rural areas of the state of Andhra Pradesh. The men and women of his village have often been depicted particularly the Telangana women. He uses only primary colors usually in tempera and watercolor, on paper. The love for this subject can be traced back to his childhood, when he was fascinated by the impersonations of women characters by male artists of the theater groups that performed in his village." (3)

"Carpet" by Thota Vaikuntam, Andhra Pradesh, India

 

"Untitled" by Thota Vaikuntam, Andhra Pradesh, India

 Many of Thota Vaikuntam's pieces remain untitled, perhaps for cultural reasons. I love the use of bold primary colors and fluid lines as well as the representation of traditional clothes and patterns. I also noticed that all of the women are shown with the red-dyed fingers of mendhi, or henna. The ornateness of the everyday dress is well shown here, and many of his paintings sell for hundreds of U.S. dollars apiece. Born in 1942, Vaikuntam studied at the College of Fine Arts in Hyderabad, India. He later went on to study painting and printmaking at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda in India. 

He was an avid observer of his fellow humans, and said, "I love a woman’s form and beauty. Their rustic simplicity holds enormous charm for me.
I feel immense joy and happiness when I am with them”.(4)

 Though uniquely his own, Vaikuntam's art well represents his country and its rich culture and heritage. 

"Thota Vaikuntam, senior Indian artist of international acclaim, is famed for his acrylic and mixed media portraits of the Telangana man and woman of South India.

Vaikuntam has exhibited in numerous solo and group shows, both nationally and internationally, including important group exhibitions at Salarjung Museum in 1989, the 7th Triennale, New Delhi in 1991, Art Encounter at Kassal, Germany in 1992.

He is the recipient of numerous awards including notably at the Bharat Bhavan Biennale, Bhopal in 1988, the National Award for Art Director, Film “Dasi” in 1989, and the National Award for Painting in 1993. Vaikuntam works and lives in Hyderabad now."

 Whether in the United States, Serbia, or India, postmodern art has dominated the world. It is the reflection of our innermost selves, and expression of every joy, every detail, every pain, and every thought our collective human organism has. It is truly the window to the consciousness of humanity.

 (1) "Nathan Sawaya." Exhibitions — — The Art of the Brick. Web. 18 Nov. 2014. <http://brickartist.com/exhibitions/>.

 (2) "Prometheus and God by Dejano23 on DeviantART." Prometheus and God by Dejano23 on DeviantART. Web. 18 Nov. 2014. <http://dejano23.deviantart.com/art/prometheus-and-god-313679402>.

(3) "Thota Vaikuntam." , Limited Edition Prints, Art from India. Web. 18 Nov. 2014. <http://www.deccanfootprints.com/collections/thota-vaikuntam>.

(4) "Thota Vaikuntam ← Back to Artists." Indigo Blue Art Modern Indian Contemporary. Web. 18 Nov. 2014. <http://www.indigoblueart.com/site/portfolio/thota-vaikuntam/#!prettyPhoto/0/>.

Let the Good Times Roll...

As we follow the progress of Art throughout the centuries, we have mainly been ensconced in Europe and its heavily white influences. Now, with the dawn of a new era in the early 1900s to 1930s, we finally see a splash of color and culture added to the Early Modern palate. The heavy influence here, comes from the African Americans, and their cultural hotspot in New York, which came to be known as the Harlem Renaissance. Such artists as Jacob Lawrence, Aaron Douglas, and Archibald Motley emerged into an artistic scene previously dominated by white people. Daring and bold color combinations and striking patterns confronted the eyes of 'conventional art', and also paid tribute to pioneers of the modernization of art such as Picasso, and VanGogh.

"Spanning the 1920s to the mid-1930s, the Harlem Renaissance [...] kindled a new black cultural identity. Its essence was summed up by critic and teacher Alain Locke in 1926 when he declared that through art, “Negro life is seizing its first chances for group expression and self determination.” Harlem became the center of a “spiritual coming of age” in which Locke’s “New Negro” transformed “social disillusionment to race pride.” Chiefly literary, the Renaissance included the visual arts but excluded jazz, despite its parallel emergence as a black art form." (1)

"The Ironers" Jacob Lawrence C. 1943

The use of color in Lawrence's "The Ironers" is a breath of fresh air after the hundreds of years of stiff portraits of aristocrats and their feathered and bejeweled cohorts. This painting depicts people in the most basic and casual manner- just doing their work and putting their full effort into it. Pretty much everything in the piece is flat, however the irons are made three dimensional, presumably to accentuate the weight of the objects, both physically and metaphorically. I enjoy it mostly due to the bright values and the sense of movement I get from the posture of the ironing women.

"The Creation" Aaron Douglas C. 1935

In a very different category of style, we have Aaron Douglas, whose works are very defined, with sharp lines separating the shapes, yet areas of translucent overlaps. I would have to say that Douglas's work is certainly up there in my book as far as fine art. I especially love the subject of "The Creation", as it has what is evidently god's hand either reaching down or drawing back from the sole man as he watches. There are many layers to the piece that give it not only depth but a sense of mystique.  His style jumped out at me right away. I enjoy the play between simplicity and complexity that it presents to the viewer. "Douglas was heavily influenced by the African culture he painted for. His natural talent plus his newly acquired inspiration allowed Douglas to be considered the "Father of African American arts." That title led him to say," Do not call me the Father of African American Arts, for I am just a son of Africa, and paint for what inspires me.""(2)

"The Picnic" Archibald Motley C. 1936

More different still, the works of Archibald Motley are a testament to the social scene of the Harlem Renaissance during that time. His pieces ooze chaos, commotion, pleasure, hustle& bustle, and charisma. His style reflected not only the physical environment, but the social environment as well. 

"Motley was incredibly interested in skin tone, and did numerous portraits documenting women of varying blood quantities ("octoroon," "quadroon," "mulatto"). These portraits celebrate skin tone as something diverse, inclusive, and pluralistic. The also demonstrate an understanding that these categorizations become synonymous with public identity and influence one's opportunities in life. It is often difficult if not impossible to tell what kind of racial mixture the subject has without referring to the title. These physical markers of blackness, then, are unstable and unreliable, and Motley exposed that difference."(3)

I personally like the forms that Motley creates. They are loose, relaxed, and seem to be at ease. His use of a different perspective also appeals to me, for example in "The Picnic" (above) he oriented everything diagonally, and it gives the painting a feeling of a real party, which is loud, slightly disorganized, free from inhibitions and lively.

"Embracing literary, musical, theatrical, and visual arts, participants sought to reconceptualize “the Negro” apart from the white stereotypes that had influenced black peoples’ relationship to their heritage and to each other. They also sought to break free of Victorian moral values and bourgeois shame about aspects of their lives that might, as seen by whites, reinforce racist beliefs." (4) 

Without the influence of African Americans and their Nubian cultural ties, as well as their penchant for fun, fine art, and self expression, art would be in a rather boring state today. 

(1) "Harlem Renaissance." History.com. A&E Television Networks. Web. 10 Nov. 2014.

(2) "Aaron Douglas." Wikipedia. Wikimedia Foundation, 11 June 2014. Web. 10 Nov. 2014.

(3) "Archibald J. Motley Jr. | American Icons | Area of Design." Archibald J. Motley Jr. | American Icons | Area of Design. Web. 10 Nov. 2014.

(4) Hutchinson, George. "Harlem Renaissance (American Literature and Art)." Encyclopedia Britannica Online. Encyclopedia Britannica. Web. 10 Nov. 2014.

Let the Games Begin

Until now, art has been relatively easy to classify and conceptualize. Each era has specific attributes, and one (who is familiar enough with the arts) can tell from a glance approximately when a work was produced and label it according to its respective time period. Enter the Romantic Era. This period of time is host to the diversification of styles and the development of many new techniques. There is not one sole face from which to judge the Romantic Era, and one is invited to delve deeper into the slew of art during the early Industrial Age. This movement peaked widely from the start of the 1800s to the 1850s and was largely a reaction against the Age of Enlightenment and the scientific compartmentalization and rationalization of nature.  It would seem that despite the great advancements made in the comprehension and perspective of interpreting our natural world, people much preferred the air of mystery and abstruseness of nature. 

During the early part of the Romantic movement, we see the emergence of Romanticism- I guess because it was the first stage, its label won the title of the era. This was a time, not necessarily filled with romance, but with idealism, majesty, and a high value of aesthetics. Such works as William Turner's "The Fighting Temeraire tugged to her last berth to be broken up" (below) and  Caspar David Friedrich's "Wanderer above the Sea of Fog" (below below) are exemplary of the idealistic and reverent view of nature during that time. 

"The Fighting Temeraire tugged to her last berth to be broken up" William Turner, England, 1838

"Wanderer above the Sea of Fog" Caspar David Friedrich, Germany, 1818

What especially appeals to me are the uses of color which accurately reflect the beauty of nature, and also the air of movement that each piece has. Many of the pieces we have seen so far on this blog have a bit of a static feeling to them, but these incline one to feel as if one is standing on the shore, or on the rocks, feeling the world swirl by. I think that is one element that brought so much success to these paintings, the fact that they transport the onlooker into the subject material so well.

The Romantic style gradually gave way to the Hudson River School of art- exemplary of the emerging style of Realism that was a reaction to the Romantic style. For those who just couldn't see through the rose colored lenses I suppose, this style strove to depict nature as accurately as possible (plus a little supernatural lighting) and inspire in the public the awe of God's creation. My favorite example is Bierstadt's "Among the Sierra Nevada Mountains, California". I literally gaped when I saw it. If I could, I would jump into this painting and go make my homestead, to live forever after in paradise with the majestic elk and the luminous mountains of glory!

"Among the Sierra Nevada Mountains, California" Albert Bierstadt, 1868

Now, hold on to your seats- it's about to get crazy. Or at least as crazy as it gets in the 1800's. Along comes Impressionism. At first it seemed to be the bastard child of the Romantic Era- it was disliked and unappreciated, however over time that changed, and people began to grok the value it held.  

Enter Monet- one of my all time favorite artists. He perfected this radical new style of painting and did so with exceptional flair. The vision it must have taken to create the effects of a face from afar when up close all one can see are blurred strokes is pure genius.

"Woman with a Parasol and her Son" (Enlarged) Claude Monet, France,1875

"Woman with a Parasol and her Son" Claude Monet, France,1875

With the passage of time, Monet began to draw more and more inspiration from his garden at his home- Giverny. "The last 30 years of Monet's life were dominated by his water lilies of which he painted about 250 oil paintings. Some of the Water Lilies paintings were small, while some were large enough to take up an entire wall." (1)

He found the beauty of his lily pond so captivating, that he no longer searched for any other subjects- he just painted the lilies in his pond, for each day they were different, lit differently, blooming differently, reflected differently, fading as summer turned to autumn. he found his true passion in capturing those transient moments of nature. He painted outdoors mainly, which was a very new development in the art world. For many years, the paints themselves were of an unstable and difficult to preserve nature, thus making outdoor painting very hard. With the development of better paints and new ways to store them (i.e. tubes), the freedom of the artist grew.

"The paint tube was invented in 1841 by portrait painter  John Goffe Rand, superseding pig bladders and glass syringes as the primary tool of paint transport. Artists, or their assistants, previously ground each pigment by hand, carefully mixing the binding oil in the proper proportions. Paints could now be produced in bulk and sold in tin tubes with a cap. The cap could be screwed back on and the paints preserved for future use, providing flexibility and efficiency to painting outdoors. The manufactured paints had a balanced consistency that the artist could thin with oil, turpentine, or other mediums.

Paint in tubes also changed the way some artists approached painting. The artist Pierre-Auguste Renoir said, “Without tubes of paint, there would have been no Impressionism.” For the Impressionists, tubed paints offered an easily accessible variety of colors for their plein air palettes, motivating them to make spontaneous color choices. With greater quantities of preserved paint, they were able to apply paint more thickly."(2)

"Water Lilies" Claude Monet, Giverny, France,1916

 So, having seen only examples of Monet, one cannot yet decide if one likes or dislikes Impressionism. Let us turn to Renoir to help round out the style. 

"Mlle Irene Cahen D'Anvers" Pierre Auguste Renoir, France, 1880

In keeping with the Impressionist style, Renoir uses many halting brushstrokes to create his magnificent visages. One can see the fluidity of the image, even in the above portrait. His use of light is exquisite, and the subtle movement that he suggests in these selections is wondrous. So determined was he, that even as he ailed, he continued to paint. "Around 1892, Renoir developed rheumatoid arthritis. In 1907, he moved to the warmer climate of "Les Collettes," a farm at Cagnes-sur-Mer, close to the Mediterranean coast. Renoir painted during the last twenty years of his life, even when arthritis severely limited his movement, and he was wheelchair-bound. He developed progressive deformities in his hands and ankylosis of his right shoulder, requiring him to adapt his painting technique. In the advanced stages of his arthritis, he painted by having a brush strapped to his paralyzed fingers."(3)

"Girls at the Piano 1" Renoir, France, 1892

Lastly, in order to form a moderately educated opinion of Impressionism, we shall examine the work of Berthe Morisot, the first female to join the circle of French Impressionist painters. It was not easy for her, and despite protest from her family and friends, she strove to achieve recognition both for herself and her art form.

"Berthe Marisot with a Bouquet of Violets" Portrait by fellow impressionist Edouard Manet,1872

 Shown above is a portrait of Marisot as painted by Edouard Manet, her brother-in-law. "She was acquainted with Edouard Manet from 1868, and in 1874 she married Eugene Manet, Edouard's younger brother." After his passing, "...Morisot became acquainted with Édouard Manet. He took a special interest in Morisot, as is evident from his warm portrayal of her in several paintings. One includes a striking portrait study of Morisot in a black veil, while in mourning for her father's death.Correspondence between them bespeaks affection. He once gave her an easel as a Christmas present. He also interfered in one of her Salon submissions when he was engaged to transport it. Manet mistook one of Morisot's simple self-criticisms, as an invitation to add his corrections, which he did, much to Morisot's dismay." (4) 

I'd be pissed too if someone took liberties with my art. 

Her paintings show the classic Impressionist brushstrokes, but with perhaps a little more refinement. The portrait of her daughter, Julie, seems to be a bit more detailed than other Impressionist portraits, imparting a defined sense of melancholy and listlessness. 

"On the Grass" Berthe Morisot, France,1874

One of her favorite subjects was of course, her daughter, Julie. Her love and admiration for her daughter is well represented in the paintings- a testament to their bond.

"Julie Daydreaming" Berthe Morisot, France,1894

Morisot's efforts, along with Monet, and Renoir's to name a couple, paid off in gaining the Impressionist style recognition and appreciation, even if it was not immediate.

I for one, am an avid fan of Impressionism. Its fluidity, deftness, and transient beauty capture my sense of artistic admiration and undoubtedly that of many others. It paved the way for so many new ways of thinking about art, that had it not come to be, we would most likely still be stuck with Neoclassical art!

(1) "Monet Gallery." Water Lilies, Monet's Water Lilies Painting, Nympheas. Web. 26 Oct. 2014.

(2) Wikipedia. Wikimedia Foundation. Web. 26 Oct. 2014.

(3) "Pierre Auguste Renoir Biography." Pierre Auguste Renoir Biography. Web. 26 Oct. 2014.

(4) "Berthe Morisot - French Impressionist Painter - Biography, Quotations & Art - The Art History Archive." Berthe Morisot - French Impressionist Painter - Biography, Quotations & Art - The Art History Archive. Web. 26 Oct. 2014.

Morality in the arts during the Classical period

Art has always been a medium for the reflection of the human condition. It shows us through varying degrees of distortion and a myriad of angles what life must have been like throughout time. As long as there has been a pictorial representation, there has been record of emotions, values, physical surroundings, ideals, tragedies, mischief and every emotion and circumstance known and unknown to human kind.

The visual art of the Classical Era, depicted a great shift in the established patterns that people had been accustomed to functioning with. We will see the opulence of the Rococo style which flourished in the beginning of the Classical Era, fade into the more sober and down to earth "swagger" style of the late classical period. Influenced by revolution, a shift in the societal status quo, the growing wealth of the middle class, and changing values of a new age of Enlightenment, the visual arts embark us upon a journey of discovery of the foundations for our modern age.

We begin with a piece which exemplifies the opulence of Rococo style and thus its implicit values of the period. Painted in Antoine Watteau's "L'Embarquement pour Cythère". we see the classical version of 'the good life'. Ladies and gentlemen confabulating, promenading, flirting, dallying and enjoying live music amongst joyful cavorting cherubs. Ah, those were the days! "Watteau’s distinct style forged the creation of an entirely new genre of paintings termed fête galante. These works are admired for the subtlety of expression in the characters’ faces and gestures, as well as the simultaneous inclusion of both contemporary dress and costume attire, complicating notions of time and place."(1)

L'Embarquement pour Cythère C. 1717 Brussels, France

This piece was submitted to the Royal Academy of Painting and Sculpture, but apparently Watteau was known to dally. "His friend, the Comte de Caylus, blamed him greatly for indolence and uncertainty. The delay was due in some measure to the frequency with which he altered the composition of his painting, going so far as to rub it entirely off on more than one occasion. Many times the authorities at the Academy made inquiries and addressed cautions. At last Watteau received a notice that the picture must be delivered within one month.With feverish haste this was accomplished, and the canvas was examined by the official inspectors." (2)

As the Classical Era progressed, the shift in emotions became apparent through the works of artists such as William Hogarth. His 6 piece series, "Marriage A la Mode" was meant as a poignant social commentary exposing the rich upper class for their corruption and declension. His paintings represent the opposite of what we saw from the Rococo style where everything was roses and rainbows so to speak. Hogarth was an English painter who was born in England on November 10th, 1697 and died on October 26th, 1764. He was the first great English-born artist to attract attention from abroad.

 

William Hogarth's Marriage A la Mode 1 C.1743-45

The first in the series "...shows the conclusion of negotiations between the Earl of Squander (seated on the right) and the alderman (seated in the centre) for the marriage of their children. The alderman, a rich merchant, desires a higher social position for his family and thus is buying his way into the aristocracy, while Squander needs money to fund his overly extravagant lifestyle.

Meanwhile, their children are displaying either supreme indifference or misery at the proceedings. The son, Viscount Squanderfield is dressed in the latest Paris fashions, after his recent return from the continent. The black spot on his neck indicates that he has syphilis. The alderman’s daughter is inconsolable, but is being comforted by the lawyer Silvertongue. The fact that the couple will be bound together in an ill-matched, loveless marriage is made clear by the chained dogs."(3)

William Hogarth's Marriage A la Mode 2 C.1743-45

William Hogarth's Marriage A la Mode 4 C.1743-45

 From these select pieces we can see that Hogarth was determined to bring to light the reality of the life of the affluent of his time. I personally enjoy the second picture, with the viscount slumped into a drunken state on the chair on the right, and his wife stretching next to him, presumably after quite a night herself- perhaps some amorous dalliance on the side all too quickly interrupted by her husband.

Unfortunately for Hogarth, his social commentaries on canvas were ill received, and he did not prosper financially from them. He was best known for his satirical moralities, and his engraving- which he did in an unusual manner. He would actually paint his work in reverse so that the engraver (often himself) could carve it straight on rather than looking into a mirror to copy it.

During the later part of the Classical Era, Neoclassicism came into vogue. Its bold colors, unfrilly subject matter and references to ancient (then classical) times gained quickly in popularity. Some key characteristics of the style include references to Ancient Roman and or Greek architecture or subject material, exquisite attention to detail and realistic representation as well as creating a completely polished appearance without visible brush strokes.

 "Neoclassicism in painting gained a new sense of direction with the sensational success of Jaques Louis David's Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, which David insisted on painting in Rome. David managed to combine an idealist style with drama and forcefulness..."(4)

Jaques Louis David's "The Oath of Horatii" C.1784 Rome

What particularly appeals to me about this painting is the stark use of contrast in the light and dark. It gives it a tangible drama that draws you into the moment's intensity. I marvel at the detail present even on the legs of the soldiers, the way their veins bulge reminds me of watching people work out at the gym. This piece represents the fierce and heroic morals of the ancient times where brave warriors sacrificed themselves for their people. For a full description of this painting's subject material, please visit: http://en.wikipedia.org/wiki/Oath_of_the_Horatii 

As we have seen, the Classical Era witnessed a robust change in techniques, themes, representations, and morals. Big worldly changes bore huge changes in art and the way artist portrayed the world.

(1) "Jean-Antoine Watteau | L'Embarquement Pour Cythère (The Embarkation for Cythera) (1717) | Artsy." Jean-Antoine Watteau | L'Embarquement Pour Cythère (The Embarkation for Cythera) (1717) | Artsy. Web. 19 Oct. 2014.

(2)  "Full Text of "Watteau and His School"" Full Text of "Watteau and His School" Web. 19 Oct. 2014.

(3) "Hogarth: Hogarth's Modern Moral Series, Marriage A-la Mode." Tate. Web. 19 Oct. 2014.

 

(4) "Neoclassicism." Wikipedia. Wikimedia Foundation, 16 Oct. 2014. Web. 17 Oct. 2014.

Winter

From the time I was a very young girl I have loved the works of Antonio Vivaldi. I grew up listening to The Four Seasons and many of his other pieces. I used to pretend to be a symphony conductor from my car seat and wave my pointer fingers in the air with the crescendos and diminuendos of Vivaldi's concertos. His work has had a great influence on how my musical taste has developed in life. Now a mother myself, I find myself playing these very concertos for my own daughter in the car. In these philistine days I hope for her to attain some shred of culture. 

Antonio Lucio Vivaldi (March 4, 1678- July 28, 1741)

 Admittedly, this was the most handsome portrayal of him, so I had to go with it. Most of the others give him a very effeminate flair. Not that I am one to say what he looked like, but this is a little closer to my own imagining.

In Venice, the place of his birth, Antonio Vivaldi trained to become a priest. However, his career in the church did not last long. He was likely forced into priesthood as the only way for a poor child to become educated was to study to be ordained.

It was a good "foot-in-the-door" for his later position at an orphanage called Ospedale della Pietà, which was widely considered to be the best of the four Ospedali in the region. 

 "However, while often referred to as "orphanages", these Ospedali were in fact homes for the female offspring of noblemen and their numerous dalliances with their mistresses. They were thus well endowed by the "anonymous" fathers, their furnishings bordered on the opulent, the young ladies were well looked-after, and the musical standards among the highest in Venice." (1)

Vivaldi became widely known both through his work teaching at the orphanage, and also through private patronage. He wrote many a beautiful piece for the young children he taught, and this tenderness and compassion creates a good amount of appeal to his character and music.

"In Rome, Vivaldi found a patron in the person of Cardinal Pietro Ottoboni, a great music lover, who earlier had been the patron of Arcangelo Corelli. And if we can believe Vivaldi himself, the Pope asked him to come and play the violin for him at a private audience." (1)

 Royalty played a major role in shaping an spreading Vivaldi's music and reputation. He was spontaneously called to the Palace of Versailles on numerous occasions by Louis XV, in order to perform his concerto "Spring", one of the King's Top 40.

"Although Vivaldi negotiated sizable fees for his work, he spent prolifically and died in poverty during a 1741 trip to Vienna, where he was given a pauper's funeral.

For nearly 200 years, Vivaldi was a historical footnote, although a somewhat influential one – the twelve concerti comprising his first publication (L'estro armonico, 1711) were widely imitated. Yet, as Groves' Dictionary aptly observes, the current repertory system lay well in the future; instead there was a constant need for new output.  Thus, soon after his death his few publications were forgotten and the rest of his output remained unknown. His only lasting recognition came from the fervent admiration of Bach, who modeled his own concerto style after Vivaldi's and adapted for keyboard nine Vivaldi violin concerti (even though Bach devotees tended to disparage the source)."(2)

It wasn't until the 1920's that his music saw a revival, and it was received with fervor. 

He was truly a master of his art with peerless skill at the violin, producing music which to this day has the power to send chills down one's spine.

(1) http://www.baroquemusic.org/bqxvivaldi.html

(2) http://www.classicalnotes.net/classics/vivaldi.html 

Renaissance... the Rebirth

For those of you who parle en Français, you know the meaning of the word Renaissance. Others have most likely learned the meaning in school at some time or another, but just for fun I would like to ponder it for a bit.

Re.   Again

Naître. To be born

Naissance. Birth

Être Re Née. To be Born Again

Renaissance.

Amazing what a shift took place in the consciousness of the humans of that time to literally create the rebirth of thought. Everything was questioned, deconstructed, reconstructed, rediscovered and assimilated into new understanding thus creating the foundation for the future which is our own modern day.

I would like to examine Sandro Botticelli's Birth of Venus as a specimen indicative of its time in the Italian Renaissance. Let us first admire the work itself.

The Birth of Venus
Sandro Botticelli – Florence, Italy C. 1486

 
It is impossible to reach full appreciation of this work without enlarging the photograph of it considerably, which I encourage each of you to do. The piece is radiant, emanating glory and mystery. The perfect beauty of Venus's soft features compels one to continue observing, taking in every small detail, from the rich honey brown of her luminous eyes to the golden highlights of her whimsically flowing hair. She is the embodiment of love, come to the earth-plane by way of the violent result of a family dispute (Saturn castrating his tyrant father Caelus and throwing his father's genitals into the ocean to mix with the sea water thus fomenting this miraculous goddess). (1)

Despite her questionable heritage, Venus is described as a beautiful female with jurisdiction over love, sexuality, fertility, as well as ploughlands and gardens. It is easy to see how such a mythical woman would captivate a renaissance artist such as Boticelli into recreating her on a grand scale. His rendering of her did no injustice to the legend, and displayed key aspects of humanism which was prolific during the time- qualities of realistic depiction of the human body, and physical beauty. Turning away from medieval scholasticism, Botticelli looked to ancient Roman and Greek legend for his inspiration.
"The demand for this type of scene, of course, was humanism, which was alive and well in the court of Lorenzo d’Medici in the 1480s.  Here, Renaissance humanism was open not only to the use of a pagan sculpture as a model, but also a pagan narrative for the subject matter." (2)

According to an article in the in the Journal of the History of Art (Long, Jan 1, 2008), "Botticelli here presents an imaginative version of the ancient story, just as Poliziano himself did, in a kind of poetic inventiveness that was important in Renaissance humanist circles. The pagan narrative, its resemblance to Poliziano's poem, and the artist's poetic license strongly suggest the image was made for a humanist patron, but precisely who that patron was cannot be documented." (3)

It had been thought for many years that both the Birth of Venus and the Primavera were commissioned by the same patron, however though "...the association between the Medici and Primavera can be made fairly conclusively, Birth of Venus is not so easy to place. Indeed, in Medici inventories of the late fifteenth and early sixteenth centuries, Birth of Venus is conspicuous by its absence. (3) Moreover, it is painted on canvas rather than wood, like Primavera; it is smaller than the other painting (1.72 x 2.78m rather than 2.03 x 3.14m), although it has been cut down; it lacks the conspicuous use of Medici symbolism of Primavera; and scholars are agreed that it was painted some years later. Thus, despite the shared use of Venus as the central character, it appears unlikely that the two works were linked in their production or patronage." (3)

Either way, the Birth of Venus is an exquisite work of the Italian Renaissance and has given artists, historians, art-historians and common people much to admire and contemplate over the centuries.
 




(1) http://www.newworldencyclopedia.org/entry/venus_%28mythology%29
(2) http://www.italianrenaissance.org/botticelli-birth-of-venus/
(3) http://www.highbeam.com/doc/1G1-191476253.html