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