Today we discussed Rococo Eighteenth-century art. We began by discussing the Hotel particulier. The nobility goes to the city, and we notice that things are beginning to change in the way they look. More particularly the interior is seeking much more attention. We notice that wood panels are being decorated in an elegant fashion and there is specific detail with the placement of furniture. We then discussed the difference between the Poussinistes and the Rubenistes. There is a difference in line vs color and intellect vs emotions. The first artist we discussed today was Jean-Antoine Watteau, specifically A Pilgrimage to Cythera. Its important to note that artists are now beginning to choose their own titles. Specifically, the use of “A” in this title symbolizes the fact that this pilgrimage happens regularly. Also, they are all couples and interacting differently. We notice a woman in particular looking back. This could be a sign that she is reluctant to leave, almost reminiscing on her time on the island of Venus as depicted by the statue. This is an escapist painting; it is not about reality. It is sort of a magical island. Another work by Jean- Antoine that I particularly enjoyed was Gersaints Signboard. In this work there are many other works displayed in a store. Specifically, we see works by Titian. There is also a dog biting his flees, signaling streets to the store. Furthermore, we see Louis XIV being boxed, a symbol that his era is over. We also saw some works by Jean-Honore and Jean-Baptiste. Jean-Honores’ The Swing is a boudoir painting and the woman in the middle is almost emitting the light. Jean-Baptiste’s Back from the Market was a work made for the bourgeois. I find this work very interesting because it is a different side to art we don’t normally see. This is like Vermeer’s The Milkmaid. We concluded by discussing the Encyclodpedie and the desire to embrace knowledge.
Author: Christos Tzoumakas (Page 2 of 3)
Today we began class by discussing Dutch Landscape. When looking at the horizon line, the ratio of sky to land is generally 1/3 to 2/3. Elements such as nature, people, and human adaptations determine the scale of the landscape. This was a period when scientists started to conceive the universe as infinite, and this made its way into the arts. Tiny people also allows for a bigger landscape. Many of these elements can be seen in Jan van Goyens Pelkus’s bate Near Utrecht. We then discussed Jacob Van Ruisdael and his Bleaching ground near Haarlem. This is a type of Baroque with contrast of light. There are also patches of light from the clouds depicting motion. It’s like a snapshot, painting is a moment in time. Next, we discussed the Church in Haarlem. This is very much like and architectural rendering, it is very plain and bland as compared to Italian churches filled with art. The church’s interior can also be referred to as a type of landscape or maybe a portrait. We then began the topic of still life from the Dutch Stilleven. Said to be at the bottom of the prestige hierarchy. We looked at Willem Claesz’s Heda, still life with oysters, a Roemer, a lemon, and a silver bowl. The color scheme is very simple and there is a sense of space seen through the window reflected in the glass. Caravaggio also inspires fundamental lighting.
In the next part of the class, we talked about Baroque Art in France and the Palace of Versailles. This was for Louis XIV, the ruler of divine right. It shows absolute monarchy. Versailles starts small, but Louis decides to enlarge a hunting pavilion. He decided to move prior to ruling as result of a revolt, La Fronde which was a series of Civil Wars. The sheer scale is very Baroque as kings and queens were anxious to display their might. The French gardens were massive and almost designed like rooms. The ground plan reveals strong access metaphor as the sun. Louis XIV is referred to as the Sun King. Also, Versailles Hall of Mirrors multiplies the sun’s light, making it infinite. We concluded class by looking at some works from Claude Lorrain and Nicolas Poussin.
I was sick during this class period but looking at the class notes it appears we started class by discussing Baroque art in the Netherlands. The first artist covered was Peter Paul Rubens who was a Flemish artist and Catholic convert after moving back to Antwerp. He traveled throughout Rome inspired by popular artists Titian and Caravaggio. He was very successful during his time and ran a good workshop that produced a lot of talent. One of his pieces the Elevation of the Cross, 1610-1611 was the first major public commission, a triptych in a classic Flemish sense but on a bigger scale. This was also one scene split across three panels. Bulky figures are straining their muscles to hoist the cross in an instantaneous action. The left side depicts the friends of Christ in mourning, while the right shows the adversaries of Christ. The cross makes a strong diagonal line in the composition, allowing for a strong contrast between the light and dark scene. The next piece discussed was Marie de Mecici, Queen of France, Landing in Marseilles. This was a commission from Marie de Medici, a cycle celebrating her life and the life of her late husband. It is greeted by a personification of France with open arms. Neptune and Nerieds shepherd the ship into the dock as if the seas demsleves were deliberately carrying the Queen safely to her landing. We also see Marie de Medici towering over all the figures on the dock, emphasizing her authority and majesty. Rubens had a whole bunch of students many of whom became famous in their own right. This includes Anthony van Dyck who we have spent some time discussing.
The class concluded on Frans Hals and Rembrandt van Rijn. Frans spent his career in Haarlem/Amsterdam, specialized in portraits, and worked mainly for the wealthy middle class. Hals was famous for his group portraits, including the Banquet of the St. George Civic Guard Officers. Every person is visible around the table allowing it to appear lively as if it is a snapshot. Rembrandt came from the city of Leiden and was educated and apprenticed as a painter. He painted many self-portraits in his lifetime. One of his works, The Night Watch, depicts a militia about to march in a parade, and the captain and lieutenant at the center of the composition and fully lit. There is a strong contrast between light and shadow.
Today, we visited the art museum and talked and learned about the different forms of printmaking. These include relief, which is woodcutting; intaglio, which includes etching, dry points, and engravings. We were able to look closer at the works with magnifying glasses to determine which form was used. It was interesting to see the differences between the forms up close. The instrument that is used for carving is called the gouge.
Today, we discussed Baroque Art in Italy and Spain Part II. We began by discussing Gianlorenzo Bernini, one of the best sculptors ever. He worked for many kings and nobilities. His father was from Florence, and in 1605, they moved to Rome. He was considered a child prodigy and started sculpting as young as 10. We then talked about one of his remarkable sculptures, David. This sculpture was remarkable because it was completed in just 7 months. We have seen him before in Florentine art, and he appeared much smaller. This sculpture gives us the illusion that David is about to release the slingshot and kill the giant. However, the work is incorrectly displayed because you should not be able to walk around it. Instead, David should be placed against a wall, further contributing to the illusion that he is about to release his shot. We then discussed another one of his pieces, The Ecstasy of St. Teresa. This work catches your attention as soon as you walk into the chapel. It truly creates a complete scene as there are even theatrical boxes with 4 figures inside experiencing the viewer’s vision. However, this vision does not capture its true effect due to modern-day lighting since it is supposed to be candle-lit. With the candles, you get the illusion that St. Teresa is heavingly lit and it appears supernatural/divine. The natural light from the ceiling casts against the background of the work. This work uses the coextensive space which connects the space of the depiction with the space of the viewer. The next fresco we discussed was the Triumph of the Name of Jesus by Giovanni Battista. This is my favorite work we have covered thus far in class. The fresco is truly incredible and it feels as if the work is coming to life. It is considered a mixed media work and surrounding the work we see sculpted plastar. In the very center, we see an emblem of the company of Jesus.
We then transitioned to Spain where we talked about Juan Sanchez Cotan, Jusepe de Ribera, Francisco de Zurbarahn and Diego Velazquez. Diego Velazquez’ Las Meninas or the Maides of Honor is a very interesting work. Us as the viewer see Velazquez painting the portrait that we see. In the back we see a mirror, inside is the king and queen. Everyone in the work is able to be identified including even the paintings on the wall in the background. This work is very lifelike.
Today, we began by discussing Peter Bruegel the Elder’s The Blind Leading the Blind. I particularly enjoyed this work because I feel it is a great philosophy or saying to have in life. It is based on the bible from Matthew 15: 12-19. This work is set in a contemporary setting in the countryside. We see very elongated forms and a swooping diagonal into the scene. The church is also a dominant building in the background. It is important to note that ambiguity is part of mannerism. We then began to discuss Bruegel’s Harvesters/ Return of the Hunters. The scenes take place in expansive landscapes and have no story. We see scenes of the peasant life and some harmonious interactions of humans with nature. There is great attention to detail and it is cleverly put together. These were painted for the open market.
We then began our discussion on Italian Baroque Art. This consisted of a counter-reformation and the company of Jesus and the Jesuit’s order. We then dove into the drawings of Carraci and noted he focuses on people and does not base them on nature. Annibale Carracci’s, Love of the Gods, Ceiling Fresco is extraordinary. Overall, they are paintings that pretend or make the illusion that they are framed. They are within a gigantic barrel vault, so to obtain this illusion, you must have a certain perspective in which you look at it. This is called trome-l’aeil or trick of the eye. Another work we discussed that I found interesting was Caravaggio’s The Calling of Matthew. This was the first public commission and involved a scene in the gospels with Matthew and Luke. It is interesting that they are all dressed in all’antica or “stage clothes”. The setting is also contemporary, and we observe the same gesture of Christ to the Creation of Adam. Christ is the new “Adam” and reverses the original sin.
Today we began class by discussing Agnolo Bronzino and the Allegory with Venus and Cupid. Here, we see Father Time depicted as an old guy with an hourglass. He appears to be unveiling the curtain of the work. We also the ways in which Mannerist art is “weird”. For example, the mom appears to be French kissing the kid in a display of erotic dimension. We also see a very sickly-looking figure on the opposite side of the work. These could be feelings of jealousy, envy or allegory for syphilis. This is ironic because Francis I, who was gifted this work, had syphilis. We then discussed another work by Bronizno, the Portrait of Elenora de Toledo and her son Giovanni de Meci. Elenora appears to be high up in the work, with a long neck and tall posture. In a sense she is looking down at us and appears unapproachable. There is lots of gold and her dress is so elaborate you can even tell what it is made of. This is a very accurate display of wealth. We also get a sense of this “virgin-like” blue background.
We then began our discussion on the High Renaissance in Northern Europe. We started with Albrecht Durer and the Four Horseman of the Apocalypse. Albrecht is referred to as the greatest German painter of the period. Some even deem him, the German Leonardo. This work is part of a series of prints and is based on the Book of Revelations,, which is, in a sense, “crazy.” It is carved incredibly. We compare this work to Buzheim’s St Christopher who is the traveling saint and is said to be a giant. Compared to Albrecht’s work, this is much simpler as it serves the purpose of a devotional image as opposed to a detailed artwork. Furthermore, we see Albrecht Durer’s Self Portrait. We describe him as a narcissist as he looks like Jesus, chooses a frontal portrait, which is often worshipped, and appears to adopt a blessing gesture. We also see him three times in this image. His likeness, monogram and his name. I found interest particularly in Albrecht’s Adam and Eve as it was a very interesting take on the scene. This work is often referred to as one of his master prints. Adam and Eve are in a forest; Adam has broad shoulders, while Eve has wide hips. We also see many unique figures/animals with different meanings. The parrot is a reference to Eve and the Virgin Mary. The cat is a reference to chloric temperament and the bile of the liver, while the Elk is a reference to the black gull of the liver and melancholic temperament. The Ox is a reference to the phlegm in the lungs and phlegmatic temperament, and the rabbit refers to blood and sanguine temperament. We concluded a discussion on Matthias Grunewald’s Isenheim Altarpiece, which was gigantic and opened three times. We see the depiction of ergotism.
Today we started by discussing Michelangelo and the Awakening Prisoner/ Dying Slave. Here Michelangelo is embodying the ideal artist through architecture and neo-platonism. This led us into Michelangelo’s Pieta, Marble. He was called into Rome from 1496-1501 and receives commission. Compared to Roettgen’s Pieta, where Mary appears uglier as we see an expression of pain, Mary appears younger and calm. The marble is polished and waxed for the shiny finish which gives Mary this young appearance as her face is smooth. As we transitioned to Late Michelangelo and mannerism we see a particular transition from the High Renaissance. This led to what I found most intriguing of this chapter, the Sistine Chapel Ceiling. In the Sistine Chapel, the Cardinals meet to eect the new pope inside through conclave/ con chiave. As for the ceiling, there is 3 segments/layers. The first is Sub gratia which is under the grave. The second being Sub leye which is under the law and the Old Testament. And the third is the Ante leye which means before the law. One layer consists of the prophets which were people in a way that announced Christ. We also see female equivalents who were likely sybils and oracles. Furthermore, we see the Ignudi which we have no idea who they are. But it these figures are particularly unique as they are in contorted poses, and they appear effortless. We then see scenes of all sorts from the bible. And the most famous being the Creation of Adam. A unique thing is that the Sistine Chapel ceiling was very dirty and because Michaelngelo did not really know what he was doing there were cracks throughout the work. As a result a varnesh was painted over it all to secure it.
Towards the end of the discussion we began to talk about the different forms of Maniera. We discussed 4 different types, Maniera Vasari-mannerism, Greca-Italo Byzantine style, Vecchia-Giotto, and Moderna or Bella Maniera-Leonardo. There was emphasis on the decorative element, no general harmony, elongation of forms, angular and flowing lines, and abstraction of the drawing, the color and the form.
We began today by continuing our discussion on Sandro Botticelli and the Birth of Venus. The unique thing about this piece is that the title is misleading as Venus was already born. This is because Botticelli did not actually give the piece a title as titles were not normally given during this time. In the painting, we can see Zephry the god of the west wind blowing towards Venus and pushing her ashore. We also see that he is holding Nymph Chloris and there are gold highlights all around. It’s also important to note that the main subject is a naked women figure with no overtones, and she is the beautiful goddess of love. Neo Platonic ideals are at play here. We then began our discussion on Raphael and the School of Athens. Here we see Plato and Aristotle, two huge historical figures. Plato’s ideals of it’s in another realm and Aristotle’s ideals of it’s grounded in the “now” are accurately depicted in the image. We then dove into the High Renaissance Italy and Leonardo da Vinci. He was a painter, sculptor, engineer and architect. He dealt with the ideas of macrocosm and microcosm. He stated Nature is only a giant human being. This is the purpose of connecting what’s large with what’s small and finding patterns. We also observed his Vitruvian Man which you can notice that the script is backwards. This is because Leonardo was left-handed and it was easier to write the opposite way. For Leonardo, painting is divided into three aspects, pictorial, graphic and speculative. I found our discussion on the last supper particularly interesting as there were many symbols and meaning embellished within the work. For example, there was patterns of 3 resembling the Holy Trinity. The apostles were grouped in 3’s and there were 3 windows and in the center was Christ. There were also groupings of 4 resembling the gospels. The apostles formed 4 groups and there were 4 dark panels on each side. Additionally, 4+3=7 sorrows of the virgin, vices and virtues. 4×3=12 which is the apostles and months in a year.
We concluded the day by talking about the famous Mona Lisa and the use of sfumato and chiaroscuro. And also, Raphael and the frescoes of the stanza Della segnatura in the Vatican. This was a room likely for important documents.
Today, we discussed Fifteenth-century Italian Art Part II. We began by talking about Massaccio and the Brancacci Chapel. Massaccio was very influential, and what he completed in just his 27 years of life was remarkable. Specifically, his Tribute Money painting showed a continuous narrative where Saint Peter was seen 3 times. In the image, we see a tax collector who asks Christ and the Apostles to pay tribute. A style used in this painting was Giornata, which is a day’s worth of painting. The story is presented with Christ telling Peter to find money in a fish’s mouth. It is also important to note that Christ is in the middle of the painting, so as a result, the continuous narrative is seen on the sides of the painting instead of reading it left to right. We then discussed the importance of color, warmer colors feel closer to us, and we can clearly see all the apostles wearing warm colors. And colder colors are more distant to us, as we can see in the background with the mountains. Additionally atmospheric perspective is at play here as the presence of atmosphere is seen in the mountains as they lose contrast and sharpness. We then dove into the expulsion of Adam and Eve in a “venus pudica” type which was the Roman copy of Greek Hellenistic originals. We see Adam is ashamed and covering his face. Eve is also seen in anguish and almost appears ugly and un appealing. I specifically found the Holy Trinity with the Virgin to be an interesting discussion as we see The Father, The Son, and The Holy Spirit resembled in iconography, which is the many ways you represent a scene. I also enjoyed our discussion on David by Donatello. This sculpture shows this little guy that has defeated a galiath. It is remarkable that someone with a nonheroic figure and very little armor has defeated such a beast. It is a symbol of Florence. We concluded the day by discussing the Battle of San Romano by Paolo Uccello. This unique work of art was so massive that it is split into three museums.