We went to the museum and were able to see the in-person art in Landay. In some of the art, I could notice the details we notice in class more efficiently. I could see the brushstrokes in some of the paintings and could also see the smaller details that add to the art. I took notes on some of the artworks that display the Baroque style. I also focused on how each painting portrayed something different but how they all fit under the same art style.
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In today’s class, we visited the Landay room in the art museum to choose a Baroque work to write on for our second take-home exam. It was incredible to have the ability to witness these works of art firsthand, and it was really cool to be able to notice the Baroque influence in each. The work of art that I ended up choosing was Bourguignon’s Battle Scene (With Riderless Horse), a very detailed and incredibly interesting painting.
On the 8th, we watched a recorded lecture on the beginning of the Romantic period. At this point, the border between styles has blurred, and so paintings may have both Romantic and Neoclassic influences. In Grande Odalisque by Ingres, there are neoclassic values of balance and restraint. This painting deliberately goes against the painterly style of Rubens, and the application of the paint is subtle and smooth. Despite these neoclassical elements, however, the subject of the painting speaks to a fascination with the exotic that dominated the time and defined the Romantic period. Additionally, the composition and anatomy of the sitter call to the Mannerism style. This speaks to the obscuring of boundaries between art styles and intentional innovations from artists.
Depictions of current events begins to take hold of the public at the beginning of the Romantic period. Napoleon at Jaffa by Baron Antoine Jean Gros is a propaganda piece that glorifies the ongoing conquest by Napoleon by staging him as a savior to locals with the plague. This image calls to the mythology of the french king holding the power to heal a specific illness just by touching the sufferer. Compositionally, the painting references David’s Horatii, while framing the scene in death and agony. It is the latter focus on dramatic, gut-wrenching emotion that roots the painting in the Romantic movement.
For this class we went to the Landay room in the museum to look at a selection of Baroque pieces from Colby’s collection that we could use in our take home exam. The painting that stood out to me the most, and that I selected for my exam, was Viviano Codazzi and Michelangelo Cerquozzi’s Ruined Triumphal Arch, with Belisarius Recieving Alms. Codazzi and Cerquozzi’s use of light to draw the viewer’s eyes across the canvas towards the beggar is extremely reflective of the Baroque period. Additionally, by portraying the figures in the painting in motion, Codazzi and Cerquozzi create a scene that appears as a snapshot.
Today we went into the Landay room to look at some of Colby’s collection of works from the Baroque period. My personal favorites were Viviano Codazzi and Michelangelo Cerquozzi’s Ruined Triumphal Arch, with Belisarius Recieving Alms and Jacques Courtois Bourguignon’s Battle Scene (With Castle in Background). Codazzi and Cerquozzi’s depiction of the damaged triumphal arch provides a large, imposing background that evokes a feeling of monumentality. The characters in the picture, notably Belisarius taking charity, are shown with a strong feeling of passion and movement. The interplay of light and shadow produces a chiaroscuro effect, which heightens the work’s drama and intensity. Bourguignon’s Battle Scene exemplifies the Baroque period’s emphasis on movement, action, and the representation of violent, dramatic subjects. The canvas is covered in a wild variety of individuals fighting in the midst of combat, their bodies deformed and their emotions furious. The use of bright, contrasting hues, as well as the dramatic interplay of light and shadow, enhances the feeling of visual energy and emotional impact.
After watching the lecture on Romanticism, I was impressed with the periods dedication to emotional power and expressive depth. Starting with Ingres’ “Grande Odalisque,” a work that captivates with its clear nods to the artistic mastery of the past. The influence of Raphael’s “Madonna of the Chair” and Titian’s “Venus of Urbino” was noticable, yet Ingres imbues the piece with a distinctly Romantic sensuality. The idealized features and the sumptuous fabrics all combined to create a work that was both visually stunning and emotionally evocative. Further, the political charge of works like Baron Antoine Jean Gros’ “Napoleon at Jaffa” and Théodore Géricault’s “Charging Chasseur.” These paintings, with their dynamic compositions, bold brushstrokes, and vivid depictions of human drama, exemplified the Romantic artists’ desire to capture the essence of the human experience, both individual and collective. One work stood out as a personal favorite: Caspar David Friedrich’s “Abbey in the Oak Forest.” This serene, contemplative landscape painting captivated me with the interplay of light and shadow and the sense of profound solitude and introspection it evoked. The way Friedrich imbued the natural world with a sense of the sublime and the spiritual was truly awe-inspiring.
Today we looked at the Baroque in Italy and Spain. We started with Bernini’s iconic “David” sculpture, which captivates with its sense of movement and tension. The way Bernini captured the moment of David’s decisive action, his musculature, and the focus in the figure’s gaze was very impressive for a marble statue. We then looked at “Diskobolos of Myron,” allowing us to appreciate the Baroque artist’s departure from the more static, idealized forms of the past. As we dug more into the Baroque style, the notion of “coextensive space” emerged as a recurring element. Bernini’s “The Ecstasy of St. Teresa” at the Cornaro Chapel epitomized this concept, as the sculpture blended smoothly with the architectural context, producing a harmonious and immersive experience for the observer. The way the figures appeared to emerge from the marble, the interplay of light and shadow, and the palpable sensation of spiritual rapture all added to the work’s powerful emotional effect. Further, we looked at the prominent character of Ignatius of Loyola and his key book, “Spiritual Exercises.” This gave important context for understanding the theological and philosophical foundations that influenced much of the Baroque work we saw. Ignatius’ focus on personal reflection, the power of imagination, and the desire of a deeper relationship with the holy resonated strongly with artists of the time, who aspired to convey comparable spiritual experiences via their works.
Today we continued the discussion of the Quattrocento and 15th Century Art. I was impressed by the profound pieces we examined. This age of creative renewal, from Masaccio’s dramatic frescoes to Raphael and Botticelli’s renowned masterpieces, has had an enduring impact on my knowledge of the visual arts. We looked at Masaccio’s paintings in the Brancacci Chapel, namely his brilliant portrayals of “The Tribute Money” and “The Expulsion of Adam and Eve from Paradise.” The continuous narrative framework of “The Tribute Money,” which is based on the Gospel of Matthew, was a revelation, demonstrating Masaccio’s ability to effortlessly weave many scenes inside a single piece. The intense passion and powerful movement conveyed in “The Expulsion of Adam and Eve” cemented Masaccio’s reputation as a Quattrocento pioneer. We next moved on to Masaccio’s “The Holy Trinity with the Virgin, St. John, and Two Donors,” which introduced us to the fascinating realm of iconography. The dense symbolism and profound epitaph inherent in the work pushed us to look further into the layers of significance and the artist’s intentions. Through comparison study, we obtained a better understanding of how Masaccio skillfully used iconographic aspects to express important religious and philosophical concepts. Finally, we were fascinated with Botticelli’s “The Birth of Venus.” The beautiful delicate color palette, and seamless fusion of classical and Christian iconography all contributed to the work’s appeal. As we learned about the iconographic importance of the various aspects, I appreciated Botticelli’s command of visual storytelling and ability to captivate the audience with his vision.
Today we dived into the 15th century in Northern Europe during the Quattrocento. The interaction between the humanistic goals of the Studia humanitatis, the revolutionary effect of the printing press, and advances in linear perspective has left an indelible impression on my perception of this dynamic age. The Quattrocento, or 15th century, saw a great revival in the arts, as the humanistic spirit of the era allowed for creative manifestations of the period. The emphasis on studying classical history, the humanities, and human experience clearly effected the generation’s artists and architects. This shift in viewpoint is represented by the beautiful buildings and churches we viewed, including the Florence Cathedral and the Dome of Santa Maria del Fiore. The significance of the printing press in this cultural revolution cannot be emphasized. The printed word altered the way knowledge and ideas were communicated and spread. This technical revolution not only eased the worldwide diffusion of ancient books, but also allowed for the quick exchange of creative skills and ideas. To me, one of the most interesting areas of class was the discussion of orthogonals and transversals, as well as their critical significance in the evolution of linear perspective. Leon Battista Alberti’s observations, as articulated in his landmark book “On Painting,” demonstrate the tremendous influence of these linear constructions on the portrayal of space and depth in art. The mastery of these methods by Quattrocento painters ushered in a new period of illusionistic depth and spatial awareness, changing the nature of visual expression.
Lecture today was on the style of art known as Romanticism. Stepping away from the morals and stiffer ideals of Neoclassicism, Romanticism encapsulated the emotional, exotic, picturesque, and contemporary aspects of art. Baron Antoine Jean Gros’ Napoleon at Jaffa depicted the contemporary military figure and event of Napoleon conquering a middle eastern city. His location at the center of the composition glorifies Napoleon and works as French propaganda. The darkness around Napoleon appeals to the emotions, depicting his emergence from the death and suffering of the plague. Likening himself to a King with the powers of healing, it is a positive display of Napoleon’s military campaigns. The Raft of Medusa is another dramatic painting with dark colors and twisted dead bodies, meant to evoke powerful emotions. The depiction of the tragic contemporary event is dynamic with the bodies creating an x across the composition and the desperation felt through the paint.
Landscapes were also important during Romanticism, especially as society moved towards industrialism and left the countryside behind. Constable’s The Haywain has a nostalgic feel as people live and work in harmony with nature. It’s a picturesque representation of the simple joys of life and is calm, peaceful, and feels like a pause in a world of constant movement. Small white highlights in the painting, a technique that came to be known as “Constable snow,” give the scene a lightheartedness.