Final Project

POLITICS

Eugene Delacroix – “Liberty Leading the People”, 1830

                Politics in the Romantic era in France played a heavy role in influencing the art that was painted. Times were changing across Europe since the American Revolutionary War in the 1700’s. The political world was being turned upside down by populist movements driven by nationalism. This was seen as a direct threat to the monarchies of European world. This particular Romantic artist is well known for this painting. In the past, such a provocative display of rebellion may have earned an artist the death penalty or imprisonment. However, the Enlightenment and Secularism caused a new wave of thought in the intellectuals and artists of the time.

                As France continued down a nationalistic path, there was a competition between two very distinct power bases: the haves and have not. This competition for authority and autonomy led to bloody clashes within the country for decades as monarchic and republic forms of government replaced one another¹. This competition and social turbulence of this period was captured by artists, poets, and theater directors of the time and I believe “Liberty Leading the People” encapsulates that struggle.

                When you analyze the art from Delacroix, it becomes prevalent that he was a Romantic era painter. Within Romanticism, horrendous tragedies or egregious injustices were popular subject matter for Romantic artists. This piece represents the people’s reaction to egregious injustice. Within the painting there are mounds of bodies, most likely killed by opposing gunfire. These men and woman dead are the martyrs of the revolution. There is a woman that symbolizes liberty carrying a flag and carrying a weapon, she is waving the people forward². In the background there is a divergence of people and classes present: you have the bourgeois represented by the man in the top hat to the left of the image, the urban worker being the young boy right of Liberty, and lastly the a student ergo from the academic environment³. Source material aside, this is a Romantic piece, but within the image there is the vivid detail of emotion conveyed in the persons; look at their eyes and you can see how dedicated they are to the cause.

                Politics and art in the 19^th century in some cases went hand in hand. A significant and well known example “Liberty Leading the People” proves this. Delacroix captured the essence of not only Romantic painting style but also the subject matter perfectly with his artwork. The vivid detail on the persons in the piece, the symbolism of the flag and classes represented, and the overall tone of the piece make it a fantastic example of politically themed and influenced art!

Works Cited

Claston, Maurice. “The French Revolution: Ideas and Ideologies.” History Today. HistoryToday Ltd., May 1989. Web. 22 Apr. 2014. <http://www.historytoday.com/maurice-cranston/french-revolution-ideas-and-ideologies&gt;.

“Liberty Leading the People.” Wikipedia. Wikimedia Foundation, 21 Apr. 2014. Web. 22 Apr. 2014. <http://en.wikipedia.org/wiki/Liberty_Leading_the_People&gt;.

 

SCIENCE/TECHNOLOGY

Michael Nichols – “Earth to Sky” (Africa / Fall 2013)

                Within art, there is so much that can be discussed about the technology that drove the innovation of human imagination. From cave paintings with dyes made from berries to immensely complex paint in the modern day innovation has helped drive the tools we use to create art. One of the coolest ways of creating art in my opinion is the humble camera; also, CGI is a really cool visual tool for artists as well! Yes, we take it for granted nowadays because everyone’s phone, tablet, laptop, and etcetera has this incredible piece of technology. Go back in time a few centuries ago and the only way we had to capture the vivid detail of the world around was the expert interpretations of artists.

                As I mentioned before, technology has driven the way we interact with art in various forms. Being a skilled photographer is just as difficult in my opinion as a skilled artist. The one form of photographic art I really enjoy is nature photography. Advanced cameras nowadays allow hyper realism for whatever light the lens captures. This really changes the ball game when it comes to creating art in my opinion! Photos are a way to capture an event in time and it is something and I have yet to find someone who cannot partake in the awe, power and wonder of nature photography.

                One style of art that I really like that can come close to capturing the majesty of nature was from the Hudson River School. These expert artists utilized their craft to put brush to canvas and really strived to capture the splendor of nature. However, I will be honest, I will never in my life be as talented as the prominent artists from that time period who are now long deceased. To caveat that though, I can use a camera, and with that camera I can capture some really cool images. I know some of my friends can be elitist because they are so naturally gifted with pattern recognition and tensile control, but I can create some pretty cool visual effects with cameras and editing software.

                That is another factor when it comes to art as well is code. Anyone who has been to a movie recently or plays video games has benefitted from their movie experience from talented coding professionals. I will add just one more example on modern day art and that is CGI. The movie “Avatar” by James Cameron is one of the most beautiful movies I have ever seen. Here is a link to the trailer for you to check out: https://www.youtube.com/watch?v=cRdxXPV9GNQ. The talented CGI-artists captured the hyper realism of an alien environment and it was so good you could believe it!

                I harkened to you in this essay about the innovation of art through the development of new tools. To me, the greatest tools we have developed as of late are cameras and advanced CGI technology. These relatively new forms of displaying art have yet to hit their full potential. For nature photography, I suggest looking at some National Geographic images and it is impressive to me as art. For CGI, if you have not seen Avatar, I highly recommend it so you can see what I am talking about with the visual effects and CGI. Some people may not see these two forms as art, but I see it as art in the modern day and I am excited to see what newer technology will allow artists to create or capture!

RELIGION

                One of the most iconic events that to me show the influence of religion in art was the iconoclasm a few centuries ago. The schism that occurred within the Catholic world was known as the Protestant Reformation. This was a pivotal event in human history as well as in art. The best way I can describe the iconoclasm was an orgy of destruction and rejection of Catholic symbols of decadence. In areas where the authority of the church was overextended, populist power won out and led to spiritual wars that would last over a century.

                Fortunately for art, the Catholic Church was a massive purveyor, purchaser, and commissioner of art and architecture. Unfortunately when the Protestant Reformation went down, iconoclastic men and women destroyed beautiful, priceless works of art¹. In the south, near Italy where the power base of the Catholic Church was at its strongest, it was able to control the high tide of Protestant Reformation and protect their primary power base. From that power base, at the Council of Trent that convened twenty five times from 1545 to 1563 it prepared the Counter-Reformation². At stake was the integrity and power of the Catholic Church as religious upstarts sought to bleed away the spiritual authority of the church!

                Between the north and south, art became a weapon wielded by religious and political leaders to sway the populace to one belief or another. In the south, the leadership of the Church felt that the art they had been commissioning was too complex for the common man; it lacked the ability to inspire the masses³. A solid example of how religion can influence the development of art was the commissioning and development of the sculpture of David. In two different times, and two different art styles the Catholic Church commissioned this biblical character.      

            “Michelangelo” – Bernini, 1623 (when/where) 

              

   “Michelangelo” – Michelangelo, 1501 (when/where)

                Between the Renaissance and the Baroque Era there are notable differences between the two styles. One of the biggest reasons was because of the purveyors, the church in this instance wanted to change the way people interface with art. This led to new production requirements for artists and in turn new art was created. The style in the Renaissance was very much classical. A good example of that style is David by Michelangelo. David is larger than life, his muscles brawn, and most notably he is calm and distant. Gian Bernini’s David is incredibly different. It had to be to meet the criteria for the new wave of biblical art and sculpture. Instead of complex allegory that few people could understand really, and there was a push for emphatic art⁴. When you look at Bernini’s David it is easy to see the energy and exertion. This rawness, this understanding by the viewer would help to solidify the institutionalization they were used to being raised in a Catholic sphere of influence.

                So when we look at what occurred in history, it is important to see the connection between art and religious influence. Before the schism of religious thought, the Renaissance loved the thematic elements of the classics from Greece. However, it did feed an appetite for art that was rather selective. That selectiveness made it difficult to appeal to a massive audience. The Catholic Church needed to appeal as much as they could to the wider audience. That need became reality when they began to help influence the world of art and help spur the creation of dynamically charged and emotionally impactful art!

                Regardless of where someone studies art, it becomes apparent that sometimes it is used for propaganda. During the Protestant Reformation, art was an incredibly important tool that both sides used to define the moral and spiritual superiority. This competition between two competing ideologies saw the creation of beautiful masterpieces that we all can still behold. However, upon further analysis, a great deal of the baroque era in my opinion was a religiously fueled one-upping match between the Protestant denominations and the Catholic Church!

Works Cited

Beale, Stephen. “Lessons from the Council of Trent.” Catholic Exchange. Sophie Institute Press, 4 Dec. 2013. Web. 22 Apr. 2014. <http://catholicexchange.com/lessons-trent&gt;.

“THE COUNCIL OF TRENT ON RELIGIOUS ART AND PAOLO VERONESE BEFORE THE INQUISITION TRIBUNAL.” N/A. Northeastern Illinois University Chicago, n.d. Web. 22 Apr. 2014. <http://www.neiu.edu/~wbsieger/Art316/316Read/Council%20of%20Trent.pdf&gt;.

“Reformation and Iconoclasm.” WGA. Web Gallery of Art, n.d. Web. 22 Apr. 2014. <http://www.wga.hu/tours/german/iconocla.html&gt;.

FINAL PARAGRAPH

                In my day-to-day life, I like to read and learn about the histories of foreign cultures and antiquity. The stories of our past collected and codified paint a picture of the future and I really enjoy that part about history. I will be honest, when I took this course; I thought this would be my least favorite period. I was wrong, I liked the course content and the way we built on the history of art and how the history of the time influenced it or vice versa. That interests me a lot because it is commensurate with my core curiosity on why history is so important! I never really looked at the art aspect before and how important it was to our history.

                I mean yes I have read about some of the great works, but I never ever scaled my analysis on what drove art and theater to become popular in its respective timelines. Because of the way per module we explored not only artists, themes, styles, but also important historical events in a new light. That is awesome because it allows me to synthesize new aspects of culture and history. That is what I got out of the course was not fancy styles like Romanticism or Modernism, but why they came about in the first place! That to me was the most fundamentally important nugget of knowledge I came out with from the course. 

The Warrior Philosopher and Their Impact on Art – The Samurai

The Warrior Philosopher and Their Impact on Art – The Samurai

Outside of western culture, there is one society that has intrigued me ever since I was very young. The Japanese warrior society has had a unique interaction with their people in every aspect of life. Particularly, I want to focus on a unique period in medieval Japanese history, the Sengoku “Warring States” Period and its impact on art and architecture. However, before we can delve into the significant cultural, societal, and artistic implications of this turbulent time period, I want to give a quick background on the aristocratic warriors that were the Samurai of Japan.

For the most part, I will be sparing on detail on the origins and history of the Samurai. I will provide enough general knowledge to let the reader understand the significance of certain historical concepts and events. To begin, the origins of the preeminence of the warrior elite can be traced back to a war fought in the 12th century. This conflict is known as the Gempei War and its resolution would see the establishment of not only the military government administration but also the Samurai class as a tool of political power1. From the 12th century all the way up to the end of the 19th century the Samurai influenced the Japanese culture directly and then indirectly to the present day.

Samurai’s after the Gempei war had a whole new level of prestige lumped upon them for being the harbingers of militaristic power and justice. The victor of the Gempei War, Minamoto Yoritomo, utilized Samurai extensively in the conflict. After the war, the landscape of political power changed forever in Japan, as Samurai became the predominant class in society. Yoritomo, after the war created laws that protected the status and prestige of the Samurai, thus garnering their support for his regime and protecting his power base in times of rebellion or conflict2. Alas, his regime did in fact fall but the precedent he set with his pro-Samurai policies continued unabated for centuries.

However, the frame of reference I want to focus on is the Warring States Period. This was a devastating conflict that bridged not only generations but a century and a half of time! The start of the conflict was 1467 and it officially ended with the establishment of a new Shogunate under Ieyasu Tokugawa in 16153. Now the one thing that is interesting is how conflict, strife and war impact a society. Look back to our blogs on art and its style after The Great War and you can understand the reference. This destructive conflict had a massive impact on art, theater, and architecture.

The oriental style of art, literature, prose and theater is unique and something I immensely enjoy. The philosophical principles of Bushido and the iconic image of the Samurai helped lend plenty of material for all manners of art in medieval Japanese society. The sequence of art pieces I will show you are from an artist I really like who paints in the Ukiyo-e style, his name is Torii Kiyomasu I.

Uesugi Kenshin and Takeda Shingen at the Battle of Kawanakajimi, Torii Kiyomasu I, est. 1700

Shohei, Torii Kiyomasu I, 1716

Kintoki and a Bear, Torii Kiyomasu I, 1716

Three Notable Scenes of Segawa, Torii Kiyomasu I, 1700

Warriors in Combat, Torii Kiyomasu I, 1711

For a great deal of the art I look at when it comes to oriental styles from medieval Japan, there is a warrior’s influence in the art. The Samurai and conflict during this time period were hot topics for artists to create. This artist was born in 1690 and died in 1720. He was trained in the Torii school of art and the genre of art specifically was the Torii style. This is the style I am most familiar with when it comes to Japanese art. The style was known for incorporating increased dynamic movement in the painting4. Color was incredibly important and in most paintings Japanese words are used to describe the major persons as well as a neutral background.

Now what is important to understand here is why the Torii style became so popular and that was happened after the Sengoku Jidai period. The establishment of the new Shogunate helped enrich the land and its people after decades and decades of conflict5. This stability brought centralization and standardization back to the people and this allowed renewed growth and interest in artistic expression. The style I described, Ukiyo-e became very popular with the merchant class who were profiting off of the regimes stability for trade6. I like the style because of the contrast of simplicity and complexity that are hiding in the style. Each image is full of metaphoric dichotomy, a contrast between competing themes. The plain, calming nature of a samurai posing for the artist belying the killing power and prowess of a warrior dressed as a statesman.

The power of the Samurai in just this briefest of example showcases the power of their influence. The Torii style of art was famously used to depict battles, persons of interests, erotica, and philosophical topics. Extensively throughout the Warring States period, art was used to capture the moment of extreme action, emotions, and significant events. Besides that, it was also used to depict normal life in a variety of colors and patterns. I felt blending my absolute love of Japanese history and specifically analyzing the impact its history, and culture has on its art was an interesting way to further understand this complex culture.

Works Cited
“Samurai Influence in Japanese Art.” N/A. N.p., n.d. Web. 20 Apr. 2014. .
“Sengoku Period 平安時代 (1467-1568).” Japanese History: Sengoku Period 戦国時代. Japan Reference, n.d. Web. 20 Apr. 2014. .
“Sengoku Period.” Sengoku Period. JCastle: Guide To Japanese Castles, 2013. Web. 20 Apr. 2014. .
Takamitsu, Haira. “Samurai Influence On Japanese Art.” ArticleSnatch Article Directory. ArticleSnatch, n.d. Web. 20 Apr. 2014. .
“Samurai and Bushido.” History.com. A&E Television Networks, n.d. Web. 19 Apr. 2014. .
“Torii School.” Wikipedia. Wikimedia Foundation, 14 Mar. 2014. Web. 20 Apr. 2014. .

Neo-Expressionism – A Modern Day Interpretation

Neo-Expressionism – A Modern Day Interpretation

Historical events and eras of art come and go as we have learned. Expressionism began its decline in the early 20th century as newer forms of art excited populations attuned to enjoying the arts. Since expressionist decline in art, various artists had tried to revive the movement with their art. It wasn’t until the 1970’s that one man by the name of Georg Baselitz led a revival of the style. It eventually became known as Neo-Expressionism by the mass media.

As we will see later, neo-expressionism is a wonderful form of art that has a broad range of colors, patterns and styles. Supporters of this style from Mr. Baselitz and other neo-expressionist painters felt that conceptual art, minimalism, and pop neglected art’s ability to activate imagination, to invent myth, and to give vent to human emotion1. Georg Baselitz is the proverbial father of the movement2. This style returned to painting recognizable objects, like the human body, landscapes, and etcetera in a way that was violently emotional3. Artists of this style would achieve this by using vivid colors and banal color harmonies, flamboyant brush strokes and distorted figures.

Mr. Baselitz is a profoundly popular German painter who was born 1938 in Deutschbaselitz in East Germany. As a boy, his father was a school teacher and that is where he first discovered art in the form of pencil drawings from the 19th century. As he grew, art fascinated him and he strived to be accepted into various art academies. He was expelled from one for sociopolitical immaturity and went to another one. Decades later he is an immensely successful artist with a legacy he has created through his art. We will now take a look at six of his art pieces ranging from 1975 up to present day.

Female Nude on a Kitchen Chair, Georg Baselitz, 1977

The first work here shows an earlier piece for Mr. Baselitz. As I highlighted earlier, the style could involve distorted figures. Mr. Baselitz was also known for his upside paintings and enjoyed trying to suck the viewer in by making them think. I agree with his assessment because without rotating the image, it is hard for me to figure out what he painted at all. That is in accordance with the styles prominence by trying to foster deep thought and analysis from the viewer in a new and exciting way.

Drinker, Georg Baselitz, 1981

I harken to you to look at the color scheme and brush strokes utilized. To me, I can vaguely make out the man and the cup. The face is distinguishable by the predominant nose. It is interesting how these pieces can force you to think a little bit. The short and choppy lines across the canvas make a distorted image but at the same times some details are present. Another great example of Mr. Baselitz’s work and the way he believed art should invite a viewer to look deeper at art and from different angles.

Man on the Beach, Georg Baselitz, 1982

From the Front, Georg Baselitz, 1985

I think we are starting to see a pattern with how he paints his images. The last four examples have shown a consistency with a predominant background color, short and choppy brush strokes, and a vague distortion of the human form. All of this is consistent with the neo-expressionist style. Lastly, we will take a quick look at two pieces from the modern day and see how they compare to his style from the 70’s and 80’s. Like I have stated before, these images are interesting to view. There is a lack of detail that contrasts the very few areas that do. I can make out a man, but is that really a beach or something else? It is all about invoking the imagination via art with this style.

Gut Grau, Georg Basilitz, 2009

Familienbild Ancora, George Basilitz, 2009

Not exactly very shocking to me to see his consistency remains after decades of painting. A strong background is prevalent in both paintings as well as the abstract nature of the human form. Another tell-tale of his artistic expression is the upside down paintings which is shown in Familienbild Ancora. From the 60’s to now, Mr. Basilitz has shown himself to be steadfast in the neo-expressionist style! The other artist I want to highlight and display is Julian Schnabel, another well-known neo-expressionist artist.

Mr. Schnabel is an American filmmaker and artist. He was born quite a while ago in 1951 in Brooklyn, New York City. At a young age though he moved to Brownsville, Texas and that is where it is credited he decided to become an artist4. His first art gallery in 1979 is the primary driving force that made him an iconic figure of the art movement. We will look at a piece or two from that gallery as well some other of his “plate paintings”. A quote from Mr. Schnabel sums up why creates art, “Aiming at an emotional state, a state that people can literally walk into and be engulfed.”5. This want combined with the style of art he is known for makes for some very original pieces to look at!

Portrait of a Girl, Julian Schnabel, 1980

Even though this is a different painter, there is life in this art. The unique blend of plates, oil and canvas encapsulates the neo-expressionist style with unorthodox delivery vehicles for art. When I look at this piece, I immediately see and think about the contrast between the woman and the white plates that surround her. When I look more closely I see that she herself has the outlines of plates and that makes this unique to sit and just look at for a bit in my opinion.

St. Francis in Ecstasy, Julian Schnabel, 1980

To be honest, I am not sure how the title relates to the painting. What is evident though is that unorthodox medium for art. I like the 70/30 blend between the plates with the texture and substance it provides versus the traditional painting for the face. I really like how abrupt and sudden the transition is between the plates and the smooth brush strokes near the face. Such abruptness forces me to analyze both sides almost as if they are not a part of the same image. That is also a hallmark of the style with such brutal abruptness of color, detail and pattern in a painting! I believe it was that contrast that Mr. Schnabel was looking for! I found that to be very unique and I felt it would be a good way to capture the neo-expressionist style for abstraction.

Death, Julian Schnabel, 1981

Hope, Julian Schnabel, 1982

I chose these two paintings in series for two reasons. First, it is quite a contrast in the message between death and despair versus hope and life. The second is because this was painted on velvet. I think that is crazy cool to get that much detail painted onto velvet. Another thing to note is the abstraction and brutality of not per say a style difference like in St. Francis but of the color choice. When I look at these two painting I experience an immediate color overload in Hope and Death. Another cool thing about these paintings is how that brutal departure in consistent color hides details in the painting. In Hope, you see the outline of a male frame and then at the neck up it is a face that can be recognized while his body is not. Other areas of the painting are really up to the interpretation of the viewer to see what the other combinations of color and shape are. I think that is cool and another good example of neo-expressionism.

Fore get Nothing, Julian Schnabel, 2005

Rabbi Logic, Julian Schnabel, 2003

These last two paintings are recent works by Mr. Schnabel in which neo-expressionism can evolve beyond just what we have seen thus far. I like the first one because of the immense contrast with an image flipped sideways with an ominous message. The teardrops of white are a nice touch and it combines a lot of themes in a simple way. The other painting is what I will describe as artistic layering. You have the background with the crown and then a blue background and then a lighter blue with words and the two white lines. That is fairly consistent with what we saw in the other painting Fore get Nothing.
As I have highlighted through 12 works through 2 different artists neo-expressionist style is unique and influential. What started as an outcry against minimalism and other contemporary styles has grown into a major genre of art. The abruptness of color, style, technique, and pattern makes each of these works special in their own right. My personal favorite was the first artist, Mr. Baselitz with his unique perspectives and brush stroke patterns. However, both of them are two very well-known artists of the style and I encourage you to look more into their works if you like.

Works Cited
“Julian Schnabel.” ArtKabinett. ArtKabinett, n.d. Web. 5 Apr. 2014. .
“Julian Schnabel.” Wikipedia. Wikimedia Foundation, 19 Mar. 14. Web. 05 Apr. 2014. .
“Movements Neo-Expressionism.” Collection Online. The Solomon R. Guggenheim Foundation (SRGF), 2014. Web. 05 Apr. 2014. .
Wolf, Justin. “The Art Story: Neo-Expressionism Movement.” The Art Story: Neo-Expressionism Movement. The Art Story Foundation, 2012. Web. 05 Apr. 2014. .

Impressionism – My Preference for the Practical

After studying this week’s lecture material it was quite interesting to note the evolution of art. The 19^th century was aflame with change in all aspects of life. Art took a center piece in Europe and America and this new style of art started to come about. It was dashing, invigorating, and a divergence from the accepted mainstream art of its time. Yes, this is impressionism and its art style and subsequent influences can be felt to this very day. Some of the most iconic artists we have ever heard of come from around this time and utilized the impressionist style and post-impressionist style. Personally, after looking at examples from prominent artists I must say I largely prefer post-impressionist art pieces.

            I am not saying that impressionism and its myriad of styles is bad or anything, it is just not my forte. I found the general lack of structure to be a game ender for me. I did not realize how much I liked structure until I started to look at some impressionist pieces. The abstract, heavy paint schemes and emphasis on brush strokes made it hard for me to interpret the meaning of an art piece. Without detail I got lost in the translation for art pieces of this style.  The primary piece I will utilize to show case the style will be Impression, Sunrise by Claude Monet. This piece is considered to be the most iconic of the style¹. Take a look and visualize what the style represents with the lack of detail that is supplemented instead with those long brush strokes and the color palette.

 

                     Impression, Sunrise (1872) – Claude Monet

            Starting to make a whole lot more sense now isn’t? You can’t really make out a whole lot of detail; this is not what the style emphasized. Look at the color differences though between the sky and the river and man in the canoe. It is quite striking actually and the long brush strokes for the trees and the water are fascinating. Impressionism leveraged the talents of their artists in abstract ways that did not emphasize order or pattern but rather capture a portrait with bold color patterns². This royally irked mainstream critics, academics and artistic masters of the period³. Claude Monet (1840-1926) and his Impression, Sunrise is considered by art critics to be the quintessential symbol of the impressionist movement⁴. A confluence of factors helped lead to the post-impression art style but the biggest lynchpin was the need to balance out left-leaning impressionism with right-leaning contemporary.

            That is the area that the post-impressionists fit into. It is not exactly impressionism but at the same time it is not its antithesis either. It is a blend of two styles from artists that believed in the artistic expression but not the way to necessarily go about it⁵. Like impressionism, post-impressionism has a myriad of forms that are within the umbrella. My absolute favorite of this style is Pointillism. When I was google searching around for post-impressionist styles and art I located Maximilien Luce and was hooked on his style. My favorite piece he did was Morning, Interior.

 

                   Morning, Interior (1890) – Maximilien Luce

            Pointillism to me was the most unique style of art I encountered for the Romantic era. Post-impressionism in general had the structure I desire when I peruse through art apparently. I like a background, I like geometric shape, function and form, and I like a unique blend of color. When that is fused together, post-impressionism was my general fit. When I discovered pointillism and this specific artist I was taken aback by the extraordinary detail conveyed by dots. What I absolutely find incredible is the shading effects on this portrait. You get a sense of three dimensions and I have a deep respect for how hard that must have been to paint. Also, note the massive contrast in color due to the dots and see what colors you can pick out. This style specifically and post-impressionism in general intrigued me greatly.

            When comparing post-impressionism to romantic art pieces there are some key differences to note. Romanticism was a beautiful style of art that conjured up images of the power of nature in its dark splendor. Denis Diderot, a French Philosopher of the 19^th century stated, “All that stuns the soul, all that imprints a feeling of terror, leads to the sublime”⁶. Romanticism art pieces were known for exquisite detail and I truly love looking at the art during this time period. It is surreal and raw, capturing a moment in time that emphasizes power, loss, majesty, splendor, wonder and struggle. I love that it has structure and beautiful detail which we will see in a moment.

      Notch of the White Mountains  (1839) – Crawford Notch 

            When we compare the detail from Mr. Luce to Mr. Notch it is almost incomparable. I want to highlight the blended colors we see in this painting. The brush strokes serve a purpose to create the landscape and the colors are balanced to create the likeness of nature from the trees, to the water, to the mountain. Compare this landscape with Mr. Monet’s and you really get to see the difference between Romanticism and Impressionism. What I really like is the majesty involved with the mountain with its high peaks and the clouds brushing it from it all sides. This kind of art just really speaks to someone if they are an outdoorsy individual like myself. This painting made me stop and look at it and it helped serve as an example between these two different styles of art! To note, this is just a microcosm example in what are two very distinct multiple styles of art.

            Let’s wrap this up with a summary. When we look at the two styles, the biggest thing I see is impressionist art had an almost “unfinished feel” in my opinion. They were always just about there but not quite. The detail and variances in usage of paint, canvas space, and structure created a unique style that differed from Romantic style art with its chaotic organization. All in all, both styles are unique, beautiful and have form and function and I find myself liking post-impressionist art a lot after looking through some various pieces.

 

Works Cited

Galitz, Kathryn. “Romanticism.” Heilbrunn Timeline of Art History. Metropolitan Museum of Art, n.d. Web. 23 Mar. 2014. <http://www.metmuseum.org/toah/hd/roma/hd_roma.htm>. Utilized for hyperlink 6.

Khan, Annie, Kasey Allen, and Jessica Conte. Cs.ucf.edu. University of Central Florida, n.d. Web. 25 Mar. 2014. <http%3A%2F%2Fwww.cs.ucf.edu%2F~MidLink%2FImpress.html>. Utilized for hyperlink 2

“Post-Impressionism.” Post-Impressionism Movement, Artists and Major Works. ArtStory.org, 2014. Web. 25 Mar. 2014. <http://www.theartstory.org/movement-post-impressionism.htm>. Utilized for hyperlink 5.

Yurasits, Jamie. “Analysis of Claude Monet’s Impression, Sunrise.” Longwood.edu. Longwood University – Cook-Cole College of Arts and Sciences, 2011. Web. 25 Mar. 2014.<http%3A%2F%2Fblogs.longwood.edu%2Fincite%2F2012%2F01%2F30%2Fanalysis-of-claude-monet%25E2%2580%2599s-impression-sunrise%2F>. Utilized for hyperlinks 1, 3, 4

 

The Great Depression – Strife Influenced Art

The economic turbulence and laissez-faire practices of the United States of America in the 20’s set up the country for fiscal disaster. The roaring twenties were supplanted at the end of the decade with the worst economic disaster to rock the United States. Across the country, millions of people saw the American dream dry up as they lost some if not all of what they owned. The system that had propelled America to prominence had failed and the burgeoning middle class buckled. The arts suffered as well during this time with such the main power broker of their livelihoods now too poor to contribute to entertainment and artists.

I remember asking my grandmother and grandfather what it was like to live during the Great Depression. My grandmother looked at me said, “Kevin, we didn’t live we endured.” That struck me to the core of my being as she recollects in anguished detail the shanties, bread lines, and a hungry stomach. The population of America had become demoralized and disenfranchised. I asked my grandma what art meant to her at that time, “Well, I remember lots of paintings and newspaper comics, but we didn’t have much time to appreciate what we saw.” Artists across the nation felt this too and began to use their talents to speak out against what they saw.

What I find fascinating about this time in art is how artists retooled their techniques. Already people had been breaking from the traditional molds after the First World War, and now with another damning social calamity, artists were using their art to make statements. The Federal Government under the New Deal funded the arts through: Federal Art Project, Federal Writer’s Project, Federal Theatre Project, and the Federal Music Project. This is a historic event because this was the first time that Art was considered something so important to our society that it needed to be publicly instead of solely privately funded1. These programs were designed to prevent artists from losing their tradecraft because of losing the means to support themselves through it.

As the Great Depression continued with no end in sight, some artists championed social realism. With so many people out of work, out of food, and out of luck some artists cried foul against the system and created art pieces that blames the system, and highlights the suffering of those who did no wrong. It also placed these individuals as strong, hard-working people bravely fighting for a better future2. Other artists focused heavily with painting and depicting the common man’s struggle as they subsisted day to day. I want to concentrate on these two forms of expression through the Great Depression. We will take a brief look into two Artists and how they used their art to showcase what they saw.

The first artist we will look at was definitely a proponent of social realism. His name is Richard Correll. He began his tenure painting for the Seattle Communist Party’s newspaper3. His art style used woodcutting to depict the social injustice of this time period. Remember, social realism was a form of propagandized art that placed an emphasis on the working man, and the strife people went through in the 30’s. As you will see, these images are politically charged themes of depravation, class strife, and uncertainty4. This is a popular theme in his art and other artists at the time. One last tidbit on this artist is his use of woodcuts and contrasting colors of white and dark. It definitely sets an ominous tone for reviewing the pieces he made. The last artist we will take a look at is Ronald Ginther.

Ronald Ginther provides to us a unique account of the time period. Contrasting his work from Mr. Correll is the use of bright vivid colors and action. Over the course of his life, Mr. Ginther created 80 pieces of art depicting what he saw during the Great Depression5. Another proponent of social realism, his art depicts the gritty aspects of living during the Great Depression. I want to emphasize the use of bright colors and take note of the amount of action in the painting which was indicative of his style. I will provide a link that can take you to all of his artwork here. You will see what I mean and I recommend you contrast the charged, action-packed art versus Mr. Correll’s darker more ominous pieces.

Remember, Social Realism was an important and prominent style of art that gained a lot of traction because of the Great Depression. The uniqueness of the time period through the demoralization of the population, frustration, and loss of opportunity robbed America of an innocence we once had. The American Dream could be snuffed or muffled. In the two artists and their respective pieces you can see the divergences from the art styles we have studied. The divergences of color, contrast, and style make these pieces a unique testament to the Great Depression and its influence on art.

Bibliography:

May, Ruth. Personal Interview. 9 March 2014

Xaxx, Jagg. “Art During the Depression.” EHow. Demand Media, n.d. Web. 10 Mar. 2014. .

“Communist Party and the Arts.” The Great Depression In Washington State. University Of Washington, n.d. Web. 10 Mar. 2014. .

“Culture and Arts During the Depression.” The Great Depression In Washington State. University Of Washington, n.d. Web. 10 Mar. 2014. .

“Ronald Ginther Watercolors.” The Great Depression In Washington State. University Of Washington, n.d. Web. 10 Mar. 2014. .

“The Great Depression and the Arts.” New Deal Network. N.p., n.d. Web. 10 Mar. 2014. .

Classical Era Art – A Tool of The People

Classical Era Art – A Tool of the People

 

Art in the 1700’s was an intriguing time for nations and its influence on the arts. Revolution racked the later years of the century after the American Revolution. Artists around the western world saw the nationalizing of their tradecraft. In various areas, different artists pushed they limits of their tradecrafts. Art was used to display new nationalistic fervor as well as used in satire against the ruling estate. The grass roots movements of the proletariat as it were helped influence prominent pieces of iconic art in the Classical Era.

When we look at the beginning of the Classical Era and the topic of Revolution let us look at the Boston Tea Party. Art was a powerful tool that helped empower the people against the British. Concerned patriots with a flair for artistic expression used this time of strife to create memorable uses of art. The example provided is a painting of the Boston Tea Party. Specifically let’s look at the ship and the tossed tea and then the civilians on the harbor cheering the result. This is a good example of propaganda and popular sentiment being wielded through the power of the brush.

My second example will be the Troisordres that was painted in 1789. The translation of this piece reads, “You should hope that this game will be over soon.” Besides the translation, let’s break down what this piece of art means. To start, we see a common man, a working man as evidenced by his tool. He is carrying some people on his back. At this time in history, popular dissent was brewing against the power of the clergy and the nobility. After helping to finance activities during the American Revolution and poor turnout on crops people were getting very upset. This spiraled over very soon into open violence against the Iron Triangle of French power: the King, Nobility, and the Clergy.

The reckoning came as popular opinion turned against the ruling class. The institutional values and control mechanisms eroded against the out pour of peasantry rage. In France at this time, beautiful and climatic art was created to capture the passion and strife of this revolution. The success of the French Revolution and the installation of Napoleon as Emperor of France had wide reaching connotations for the future of Europe in the 19^th century. The piece I chose for my final example in this visual exhibit is “The Storming of the Bastille”, by Henry Bastille. As I have been saying, revolutions and social strife were popular targets for art pieces. You can see in this piece the elements of the time with the uniforms of the Guard, armed conflict and a stronghold in the background.

Revolution was a very necessary tenant to help influence the art of the time. “Art of the Classical period generally is characterized by a sense of idealized perfection, the absence of excessive sensuality and flamboyance, and a deliberate attempt to recreate the ideals of beauty as held by the ancient cultures.” (Blitzbooks). Especially in the last piece you can see the evidence of simple beauty magnified by beautiful detail. As the era progressed it was really an ascendant time for art and architecture in general. The influence of nationalism and revolution helped set the stage for later pieces of art and helped create distinctive styles based on geography (Kljaich).

The Classical Era and Revolutions really helped set the tone in Europe and the world. This was a massive blow to the power of the aristocracy in Europe. Revolutions across Europe and philosophical enlightenment helped influence a new generation of artists. You can see in the pieces I provided that people were very concerned with issues such as equality, freedom, and heroic struggle as well as an emphasis on classical influences from the Greeks.

Bibliography:

 

Kljaich, Lisa. “ART/MUS/THR F200.” ARTMUSTHR F200. UAF, n.d. Web. 08 Mar. 2014. http://art-mus-thr200.community.uaf.edu/2009/04/24/03-visual-arts-2/

 

Kljaich, Lisa. “ART/MUS/THR F200.” ARTMUSTHR F200. UAF, n.d. Web. 08 Mar. 2014. http://art-mus-thr200.community.uaf.edu/2009/04/24/01-introduction-to-classical/

 

“The Classical Period: C.1750-1820.” Blitzbook. N/A, n.d. Web. 7 Mar. 2014. http://downloads.blitzbooks.com.au/General%20Knowledge/The%20Classical%20Period.pdf

Baroque Era

Council of Trent – Art as a Weapon of Faith

What an interesting time in history; the convening of the Council of Trent in attempt to combat the spiritual crisis occurring in northern Europe – The Protestant Reformation. The spiritual soul was at stake and the Catholic Church marshalled all of its weapons to combat this crisis. Wars were fought, people died, and lines were drawn but what was interesting was the battle of culture via art. A battlefield not always known was combat not via the sword but by chisel or brush and the area was not a village or capital but a hunk of granite or a canvas. The counter-reformation was in full swing and art had an important role to play for Catholic revival.

As I stated before, not every battle was fought with armies, mercenaries and putting one side or the other to the torch. Prominent artists of the day were commissioned by the Catholic Church to revitalize the faith and proselytize the masses¹. What was interesting about the mandate from the Council of Trent was the fact it wanted go back to the basics. The Church wanted, “to have works of art that support the beliefs of the Catholic faith and not be rich with allegorical complexities that were difficult for the common man to comprehend” (Heather)². Basically the works of art had a divergent audience, simple folk were not getting the message and the Catholic Church needed to switch gears.

Let just take a second and remember how powerful art is, it is a visual expression of human ingenuity made manifest. The Catholic Church was no stranger to its power, and in ways you can compare its effects to prominent symbols you see today like a flag. Depending on who you talk to a simple piece of cloth can evoke deep emotions and forms of expression. A prescient and sagacious use of art was a weapon designed to influence the masses around them that saw commissioned pieces of Baroque style art.

This is important because this started a fascinating time which put an emphasis on vibrant expression instead of motionless statues, and art that was a tool to glorify the power, splendor, and piousness of the church³. This was absolutely powerful and the art that came from the Baroque era was simply stunning in art, in music, prose, and sculpture. A good example of the divergences of the Renaissance that were steeped in the humanistic classics of the Greeks as opposed to the Baroque Era can be seen with two different renditions of David.

David is a very well-known sculpture linked to two different eras of art. Michelangelo during the Renaissance Era sculpted David and in 1504 it was finished. If you read my last blog you will have noted the influences that predicated some of the reasons why it was believed he sculpted it in the style he used. First off, we have to remember that at the time in Florence, the Medici’s who were massively important to the Renaissance schooled him in art, science, and philosophy at an academy the Medici’s funded⁴. This school rooted him in traditions steeped in neo-Platonic thought from the Greeks.

Greek influences are why in his version of David you can see highlighted size above that of a normal man; the statue itself is 17 feet tall⁵! Other dynamic features were a motionless, thoughtful pose devoid of emotion as he stared down the Goliath. When you look at the detail he is a striking specimen of muscle that is chiseled and near perfect, tell-tale signs of Greek influences⁶. However, the David of the Baroque era was different in substantial ways.

Now let us transition to the Baroque era and focus on its rendition of David sculpted by Gian Bernini. Compared to a Greek inspired David from Michelangelo there are significant differences between the two. First off, the statue itself is much smaller clocking in at five feet-seven inches. What we have to start with our comparative analysis is a massive size difference between inhuman perfection and realism via a size difference. I want to highlight to you as well the difference in pose. This David is in motion at least that is the impression I get. He is about to launch the stone that would kill the Goliath. Another aspect is the face; there is a lot of expression. You can see the tension from someone lining up a shot against a foe that will try to kill you should you fail. Compare that to David from Michelangelo I posit that because of the emphasis in implied motion, Baroque era art is easier to understand. That is what Baroque art was about, eliciting a response from the audience from art that could move the soul.

I personally liked the Baroque version more. Michelangelo’s rendition is inhuman in the sense of size, perspective and the implied neutrality in his face regardless of danger. I felt that the Baroque era art brought a fresh sense of realism not only in sculpture but in art as well as ways to depict concepts in easier to understand ways. I would not chalk the Baroque era as the dumbing down of art but as a new and exciting way of depicting it to the masses. This beautiful and unique simplicity was a wedge that the Council of Trent wagered could help stymy the Protestant Reformation.

Bibliography:

^1,2:  Heather. “Council of Trent – Influence Upon Baroque Era Visual Arts |.” COUNCIL OF TRENT – INFLUENCE UPON BAROQUE ERA VISUAL ARTS. N/A, 07 Oct. 2012. Web. 26 Feb. 2014. http://akheather.wordpress.com/2012/10/07/council-of-trent-influence-upon-baroque-era-visual-arts/

³: Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, Gardner’s Art Through the Ages (Belmont, CA: Thomson/Wadsworth, 2005), p. 516. http://en.wikipedia.org/wiki/Baroque#cite_note-2

⁴: N/A. “Florence and the Medici’s.” SparkNotes. SparkNotes, n.d. Web. 15 Feb. 2014.http://ericwynnus.hubpages.com/hub/TheMedicisBankersthatinfluencedtheRenaissance

⁵: “David (Michelangelo).” Wikipedia. Wikimedia Foundation, 22 Feb. 2014. Web. 25 Feb. 2014. http://en.wikipedia.org/wiki/David_(Michelangelo)

⁶: “David (Bernini).” Wikipedia. Wikimedia Foundation, 15 Feb. 2014. Web. 26 Feb. 2014. http://en.wikipedia.org/wiki/David_(Bernini)

Italian and Northern Renaissance Blog

The Medici Family – Influential, Powerful, and Patrons of the Arts

 

            In the past, there are key events led by important people. In the fifteenth century, one family had the ambition to become one of the most influential in the history of the Renaissance. In fact, it is said that to understand the Renaissance, one must understand the growth of the Medici Family. Their power and growing prestige was due to careful political maneuvering and incredible success in the banking sector. By analyzing this family, an individual can really understand the magnitude, and the power this family had in shaping men like Michelangelo and other intellectuals of their day. As the family established itself in Florence and created itself as its solo power broker, leaders within the family were captivated with art and sought to expand its role in everyday life.

To begin, the patriarch Giovanni de Medici grew to prominence from his connection as the Papal Court’s private banker. The leader chose correctly when he bet on the Papacy returning to Rome and prominence¹, he was rewarded with sole monopoly of the Church’s finances. To capitalize and solidify the family’s success,

Medici leaders went on to sponsor great architects like Filippo Brunelleschi and Michelangelo Simoni. The patriarch settled in Florence and participated in public life as a consequence of his affluence. By the time of his death, Giovanni had left an incredible fortune, a patronage for the arts, and an heir to his ambitions. His son was named Cosimo de Medici and would be continue his father’s legacy, especially in the arts.

After his father’s death, Cosimo was ready to take control of the family business. He was educated in humanism, had access to an impressive fortune, and the will to lead. His vision throughout his life would influence the Renaissance and begin one of the most powerful familial dynasties in history.

What is interesting to note is the stiff competition for intellectuals and the affluent. Rich citizens would use intellectuals (painters, architects, poets, and etcetera) to improve their status. Cosimo was no different. Over the course of his life, before dying in 1464, Cosimo had spent over 600,000 gold florins for art, architecture and the sciences². His accomplishments in life would help the family gain firm control of the Renaissance and Florence.

After Cosimo, the Medici family continued consolidating their power and fostered a connection with one of the most well-known artists/architects – Michelangelo.

Michelangelo’s encounter with the Medici family can be traced back to his teenage years. His tutor, Ghirlandio believing in Michelangelo’s success, sent him to train with the Medici family at their palace. While there he was introduced to elements within the family that he would interact if for most of his adult life. Another very important thing to note was that the school he went to was Medici funded, Medici staffed, and taught Neo Platonic education that was Medici directed³. Michelangelo, one of the greatest and most well-known artists and architects of the Renaissance received his education in his formative years from a Medici institution which is attribute to influencing his later art.

In essence, the Medici family’s pursuit for excellence in the arts molded one of its most important contributors. We will focus on one relief done by Michelangelo and that was the Battle of the Centaurs, created around 1492.

This sculpture is remarkable in many ways. First off, it is considered to be an important early piece of art that influenced Michelangelo’s later pieces⁴. Before we delve deeper into the piece of art, let’s us discuss what influenced this piece.

The relief was directly inspired by Bertoldo di Giovanni’s work. What is interesting to note is that this man later in life ended up working for the Medici family. He was employed at an art school funded by the Medici’s. Coincidentally this same school was the very one that Michelangelo would attend. Transitioning back to the Battle of the Centaurs, the relief has a few significant facts.

Firstly, the piece was a breakaway from traditional sculpting of the time. Instead of working on a discrete plane, he decided to do a multidimensional approach. Another interesting quality is the absence of a bow drill, which was a common sculpting tool at the time⁵. Lastly, it is in a marvelous state, even though Michelangelo never finished it. This piece showed the potential of the later architect after being so grounded in intellectual and philosophical principles he learned at Medici funded institutions. Michelangelo’s early relief is a beautiful piece of art and caught my attention as soon as I saw it.

I am personally in awe over what I saw as I analyzed the art. The detail is staggering in the piece. When you look at the three-dimensional qualities it is obvious Michelangelo was very talented. When you zoom in on the detail in the piece, you can make out abdominals, lateral muscle groups, even facial emotions! Not only was he talented but young, he was not even a man by today’s standards at the age of 17. The prowess he exhibited with an “early” piece shows truly the skill behind this man. Besides his age at the time of sculpting the relief, I also have to analyze his influences for the piece.

As I have stated before, the Medici’s were influential. It can be asked by just how much they influenced the world around them. Well, when you control the money and spend it on higher learning institutions, commissioning art pieces, and literally influencing the intellectuals of your day you possess a ton of influence. The example I provided was an easy one most people will recognize, but do not forget around this timeframe the Medici’s taught these following men: Baccio da Montelupo, Giovanni Francesco Rustici, Jacopo Sansovino⁶. Each of these men is ranked as some of the most influential artists and painters of their time.

When you look at the Medici’s history, it is entwined with the Renaissance. They were in the trenches with their fellow intellectuals; spending money, pushing the bounds of science, and influencing the greatest thinkers of their day. Their legacy and subtle influence can be seen with the great works of art they helped shape. They did this through loaning money, commissioning great works, or teaching the artists that would create masterpieces in the years to come. Without a doubt, the Medici’s played a heavy role in influencing the Renaissance and art.

Bibliography

N/A “Brief Biography Bertoldo di Giovanni”. Retrieved 2010-02-05.

N/A. “Florence and the Medici’s.” SparkNotes. SparkNotes, n.d. Web. 15 Feb. 2014. http://ericwynnus.hubpages.com/hub/TheMedicisBankersthatinfluencedtheRenaissance

Pernis, Maria Grazia and Adams, Laurie (2006). Lucrezia Tornabuoni de’ Medici and the   Medici family in the fifteenth century. Peter Lang Publishing, Inc, New York.

Scigliano, Eric (2005). Michelangelo’s mountain: the quest for perfection in the marble                   quarries of Carrara. Simon and Schuster. p. 45. ISBN 978-0-7432-5477-9.      Retrieved 25 April 2010.

Stone, Irving (1961). The Agony and the Ecstasy. Doubleday.

Deviant Art

After years of searching the internet for websites that have art I can appreciate, Deviant Art has fit the bill time and time again. Until searching through the depths of the extensive archive of art I didn’t really understand the difficulty of drawing. It boggles my mind to see the innate details hidden throughout the images people submit on the website. I highly recommend anyone to go through and take a look at the website!

  

This is just a .0001% sample of the art available on the website. If you use the search utility correctly, I am sure anyone can find something that strikes their fancy!

My Link to Art

I will be honest I am stunted in nearly all aspects of art. I cannot draw, play an instrument, hold a tune, painting, sculpting and etcetera. It just wasn’t enforced in my household to learn something art-like. I do enjoy art however and usually in the form of architecture, metalworking, and woodwork both modern and old. All artist have a latent talent that should be respected, but something about seeing the creation in the form of a house, old sword, or beautiful table really invigorates my interest in art. It might be because of my sensibility ingrained by my father in me. One of the coolest feats of art wasn’t in the museums but it was the Hoover Dam. Seeing the smoothness of the concrete and the overall design was most definitely art to me!