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Week 10: Chapters 29 & 30

In Chapter 29 and 30, Adams covers new eras of artwork including minimalism, pop art, and abstract. According to Adams on page 518, abstract artwork emerged from a combination of Regionalism, Social Realism, and a large quantity of talented European artists moving to New York (Adams 518). I noticed that a lot of abstract artwork is defined with nameless shapes and seemingly “unfinished work.” I saw this most clearly in Ablers’s series of paintings called “Homage to the Square.” As described by Adams, Ablers uses texture and medium to create his work, rather than detail and characters (519). Despite the simplicity of his piece, “Study for Homage to the Square,” Albers contrasts lines with different textures in the red square he painted. It should also be noted that his main goal for this project was to investigate light and color perception. As quoted by the artist himself, “Art should not represent, but present” (519). I think Albers speaks for many of the abstract artists of this time with the belief that there artwork was not created to mirror items and describe their thoughts, but rather to explore simplicities and leave details ominous.

The second painting that caught my eye in this chapter was Willem de Kooning’s “Woman and Bicycle.” Kooning’s painting showed a crazed woman in the midst of rough and violent brushstrokes. Adams described the painting as, “an attack on the idealized Classical image of female beauty,” and comments that the woman’s body is massive and overtaking before it melts into uninformed brushstrokes (525). I think Adams is trying to tell readers that the artwork not only provokes viewers through it’s physical appearance, but it also dismantles the idealized woman in previous techniques seen in the Renaissance period. I like this piece because of it’s demand to be looked at, and it’s ability to normalize imperfection. It left a vague disturbance and interested from the expression of the woman depicted. To me, this painting has so much character and emotion that it draws the viewer to it even if it is frightening.

Moving in to the late 1950s and 60s, many artists began to reject abstract artwork using real objects and items found in everyday life. I found this interesting because of how quickly the techniques changed from drastic downplay to American objects. My favorite Pop-Art piece was created by Wayne Thiebaud entitled, “Thirteen Books.” In this oil on panel painting, Thiebaud painted a stack thirteen colorful books with blurred title names. I liked this painting because the meaning behind it was really interesting, and I would not have noticed it at first glance. According to Adams, the books are closed and blurred because they are meant to suggest “hidden, secret content.” She also describes the books as floating on a white plane, and his use of shadow to create sources of light and absorption (Adams 539). At first glance, the books look inviting due to their colors, but I can now also see the mystery incorporated into the painting and it connects me to the feeling of reading a book. I really enjoy reading, and I think Thiebaud captured how reading can be an adventure for anyone, but one must first open the book or it will forever hold it’s mysteries.

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Kalei, I very much enjoyed reading your write-up. I especially liked that you chose to focus on “Woman and Bicycle,” which I have to say was a very conflicting piece for me. I enjoyed the colors, the contrast, and the immense sense of movement that I got while viewing the painting; like you, however, there was certainly something about it that made me somewhat uncomfortable. I am unsure of exactly how to describe it; perhaps it is because of the violent brushstrokes you describe, or the woman’s bizarre expression that give me such a sense of unease. Either way, you are correct that it demands attention.

American Abstraction, Pop Art, Minimalism, and More

American abstraction was a product of Regionalism and Social Realism, as well as the arrival of artists and others from Europe. Two German emigrants, Hans Hofmann, and Josef Albers, had a massive impact on American painters. Abstract Expressionism put the US on the international art map and included artists such as Arshile Gorky. His work seemed to be an amalgamation of many different styles, including Cubism, Fauvism, and Expressionism. Action painting came about during this same time frame, made most famous by Jackson Pollock and his drip technique. Franz Kline, Willem de Kooning, and Mark Rothko were other notable action and abstract expressionist artists.

“Color Field painting,” also called “Chromatic Abstraction,” was a more traditional method of painting. I really enjoy this style of painting, and actually, have come to utilize some of it in my own home without realizing it. Frank Stella is by far my favorite artist from this style, with his angular and vividly colorful works that, while flat and bordered, somehow still seem dynamic and are an absolute joy to look at. Ellsworth Kelly produced some similar works, and his “Red, Yellow, Blue” is the most similar to what I’ve done in my own home: Large canvases of a single solid color arranged on a wall to give brightness and dimension to space.

Pop Art and its counterparts are, for me, a very fun style. It was the culmination of placing everyday objects on a pedestal and making them eternal, majestic, and “great” even if nobody else thought them deserving or important. Andy Warhol’s “Campbell’s Soup” is perhaps the most famous Pop Art piece I’m aware of, and its simplicity always makes me smile regardless of Warhol’s intentions. For him, such works were a culmination of his obsession with wastefulness, consumption, and the repetition of consumerism; for me, they are fun and almost relaxing in their simplicity. Other painters of Pop Art included Jasper Johns, Robert Rauschenberg, and Roy Lichtenstein. Pop Art was also present in sculpture, created by individuals such as George Segal and Niki de Saint-Phalle.

Op Art was about “geometric abstraction,” removing the main subject entirely. Minimalism was the desire to leave only a viewable medium, leaving no trace of the artist’s involvement in the final piece, resulting in an “impersonal character.” There were a number of notable artists for Minimalism, including Donald Judd, Dan Flavin, and Eva Hesse. I particularly like Agnes Martin’s work, as it can be viewed in a very nuanced way despite its outward simplicity. Conceptualism, the last style mentioned in these chapters, came about in the 1960s, and was the desire to not just make art “impersonal,” but to remove even the materials from a piece. I was not familiar with this style at all prior to this chapter, and greatly enjoyed reading about it; I especially liked Sol LeWitt’s piece “Wall Drawing No. 681.” Even the title is as basic as can be, but the combinations of colors and the texture of the ink washes all surrounded by a thick black framework appeals to me very much. I want to paint one of my walls to mimic it!

Week Nine; A Whole Lot Happened

The main focus of my blog post will be our video assignment. “I Could Do That” provided some good insight that I hadn’t really thought about before. I don’t believe that I’ve ever had a moment where I looked at a piece of art and said to myself “I could do that.” I understand that creating masterful art takes skill and creativity far superior to my own, despite my talents, and that I’d likely never be able to create something as appreciated as the work displayed in the video. I can see how the topic of may come across as a bit pretentious or “preachy,” and it is true that beauty is in the eye of the beholder: What one person may see as an absolute masterpiece may be seen as “scribbles of crayon on construction paper” to another. I appreciate that the video suggests individuals who think they can do the same or better to give art a try, in some way, to explore new outlets and learn new skills. The video mentions the “de-skill” of art, a removal of technicality and even the development of photography as a questionable form of art, and goes on to say that art should be more about the execution of a good idea, rather than what skills were or were not utilized or included, and how sometimes the importance of a piece lies in the story or motive behind it that isn’t always evident. This is how I have always viewed art, personally, especially considering that my favorite form is indeed photography: Taking a photograph isn’t necessarily about creating an entire scene, but having the idea and capability to capture it perfectly and make it timeless. I very much enjoyed this video and even managed to convince my husband to watch it.

Our text for the week covered a pretty remarkable amount of information. Per the text, Cubism was developed in Paris and became the most influential style of the twentieth century. Cubism was a “spatial revolution,” as subjects became angular and lacking in detail but still full of contrasting color while expanding views across all three dimensions and displaying multiple points of view at once. Synthetic Cubism utilized flat, colorful shapes to create objects within a scene. Surrealism contained elements of Cubism, while also including aspects of the ethereal, psychological, and political. Picasso is the poster child of both Cubism and Surrealism. As these styles developed, so too did Futurism, defined by its modern inspiration and “the machine age.” Works of this style focused on the mechanical nature of objects, textures, and shapes. Everything from paintings to architecture to sculpture was becoming more minimalistic, clean, and angular. In the United States, Social Realism and American Regionalism were also becoming more widespread. Photography was becoming more commonplace, capturing moments of the Great Depression and poverty with truly stunning results. In Mexico, a similar focus on the struggles of the people influenced artists, and artists like Diego Rivera combined modern political issues with historical depictions.

Georgia O’Keeffe is mentioned in this chapter, and she is an artist I am quite familiar with. I am a considerable fan of her work and have been for many years. The book states that her abstract works were influenced greatly by photography, which is evident in how she portrays color. Her work “Cow’s Skull with Calico Roses” is one of my personal favorites due to its simple and clean representation of both life and death, which is mentioned in the text as well as pointing out the religious elements that I hadn’t given thought to previously.

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chapters 25&26

Chapter 25 talks about the age of post-impressionism. During this time artists were drawn to bright colors and distinctive brushstrokes. One of the most famous artists discussed in this chapter who emulate the post-impressionism style is Vincent Van Gogh. Van Gogh’s painting ’ Bedroom of Aries’ shows an empty room with two portraits on the wall and some furniture. It is said that this painting was meant to represent Van Gogh’s efforts to have a relationship with another person which he ultimately failed at doing. In this painting the bold colors are meant to represent this desire that he did not achieve. The lines are sharp and the brushstrokes are prominent which is an excellent representation of the post-impressionist style. His uber famous ‘Starry Night’ and self portrait also emulate this style. The 'Starry Night’ was said to have been a “reflection of a disturbed mind” because of the fact that he painted it while he was in a mental asylum. This is a tid bit of information that I was unaware of. I did not know that he spent time in an institution, nor that his most famous piece was created while he was there.

This chapter also touched on Symbolism. Artists in the symbolist movement were drawn to mythical and imaginative material. This style is said to be poetic, disturbed and perverse.

Chapter 26 was all about the early twentieth century. One part of this time was Picasso and his “Blue Period” which featured a mood of somberness and poverty. His painting 'The Old Guitarist’ is painted in a blue huge and shows an old gentleman who is slumped forward with his guitar. His clothes are torn and tattered and his body is skinny and frail. I like the representation of Picasso’s Blue Period because it shows a different perspective than earlier pieces. It is not based around wealth or political power but the struggle and realism of a large portion of the population. Another artist featured in this chapter that caught my eye was Kathe Kollwitz. Her painting 'Whetting the Scythe’ is a dark representation of a rough looking older lady with wrinkly hands focusing on her task. The book states that Kollwitz liked to focus on the struggles, emotional and material, of the working class.

As I stated above, I enjoy the paintings and artists that focus on the everyday life and struggles of the average person. A lot of art, although beautiful and imaginative, focuses on wealth and power that most people could only dream of. For these reasons I find this type of art much more relatable.

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Jessica, I appreciate your inclusion of the nature of what is arguably van Gogh’s most famous work: “The Starry Night.” I had learned prior to taking this course that the artist himself had struggled with a number of demons, including issues with his mental health, and that he had spent some time in an institution. Like you, however, I was unaware that he had completed such an amazing piece while he was there. With this additional knowledge, it takes a piece that is already easy to appreciate for things like its stunning colors and undulating brushstrokes, and elevates it to another level: Something that can be so easily pleasing to virtually anyone is indeed a brief glimpse into the mind of an individual who was struggling in some capacity. It is easy to initially be in awe, but as I study the painting longer, I begin to feel a rather overwhelming sense of sadness. Perhaps van Gogh was painting what he missed most.

Post-Impressionism, Symbolism, Fauvism, and Expressionism

Post-Impressionism came about in the late nineteenth century, and was similar to Impressionist work in that artists utilized vivid color and the texture of their brushstrokes to portray their subjects; however, in Post-Impressionist pieces, object edges are in some manner clearly defined. With this style, a refocus on formal values and emotional content took place as portrayed by the likes of Seurat and van Gogh. Some artists of the Post-Impressionist style were also influenced by the Symbolist movement.

Paul Cezanne is, according to the text, the most influential Post-Impressionist artist for Western painting. His early paintings were typically dark and muted in color, and like his “Self-Portrait” featured short and calculated brushstrokes that could also give the appearance of movement. His thick layering of paint increased the texture of his works, and the colors and subjects of his pieces seem to be constantly in a dynamic flux. This combination of texture and clearly-defined object edges was a key component of Post-Impressionist art.

Georges Seurat defined objects and a similar sense of motion using contrasting colors, repetitive geometry, and sharp silhouettes rather than outlines. He built up his paintings by layering dots of color (which he himself called “divisionism”) and separated the different objects/materials/etc. of his paintings with their different dots of color throughout. His particular style utilized the theory that two colors placed side by side would intensify the vividness of each, and the idea that the human eye merges overlaid and continuous dots into their combined color.

Vincent Van Gogh is perhaps the most famous painter mentioned in Chapter 25, despite the fact that he only ventured into the world of paint during the last decade of his life. In his works I see a combination of the creative stylings of Cezanne and Seurat: Short, sharp brushstrokes and clearly outlined edges, as well as heavily overlapped colors that seem to blend together at a glance and portray an intense amount of movement, all in works that display vivid and highly-contrasting hues. In comparison, while utilizing undoubtedly intense color and contrast, Paul Gauguin’s paintings tended to appear rather flat with few defined brushstrokes and a lack of overall texture or movement.

Symbolism, unlike Realism and Impressionism, was focused on mythological subjects while deviating from traditional Classical style; indeed, on page 463 the text states that many works of Symbolism “contained more than a hint of perversity.” Edvard Munch is a most notable artist mentioned here due to his world-famous work “The Scream.” His paintings fall into the Symbolism category due to their portrayal of emotion and state of mind as opposed to a realistic and physical subject. It is noted, however, that his style is Post-Impressionist due to the exaggerated motion and brushstrokes, as well as the way he utilizes color.

With the turn of the century came the concept of modernism. Following World War II, Paris was no longer the artist capital of the Western world. An overall interest in African art and its geometric styling grew, and new materials and techniques were being utilized.

Pablo Picasso and Henri Matisse are notable painters of the early twentieth century who pioneered the avant-garde styles and methodologies. Matisse focused primarily on use of color, whereas Picasso tended to drift between styles while utilizing several at once. His “Blue Period” is considered an example of Symbolist work.

Fauvism exemplified the use of pure color to build and define subjects and their surroundings, and made use of patterns and unexpected amalgams of color to portray effects such as movement and space. This style of painting was considered by some to be uncivilized and messy due to the exclusive use of color to build a scene rather than utilizing shading, perspective, or outlining. Expressionism followed a similar vein in that its artists utilized color to portray emotion, but different from Fauvism due to its focus on the “spiritual properties” of color rather than composition. The noted artist Vassily Kandinsky was one of the first to create a purely abstract piece of art; rather than using objects, he utilized brush strokes and shapes with corresponding colors to depict emotions and even music.

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Week 7, Ch 23 &24

I find it appropriate that realism is the topic of focus when reading about the nineteenth century because that is a time where people are beginning to point out the realities of life instead of the luxuries. This is a time where artists are connecting people and art with nature and incorporating real life experiences into their own artwork.

Gustave Courbet was an artist that stood out to me when reading chapter twenty-three of A History of Western Art because he believed that realism was created best by those who made art based off their own experiences. I connected to this because my personal favorite art to create comes from my own experiences in traveling. In my free time, I enjoy painting things in relation to the ocean. Some of my most enjoyable memories come from spending time by the sea, which inspires me to paint portraits of beach scenery and creatures of the ocean. I connect with these moments so much that all the tattoos I have thus far are of ocean theme. I agree with Courbet when he says that the realest and most authentic artworks in realism come from those who have experienced it themselves (page 418).

Honore Daumier’s, Louis Philippe as Gargantua, was a great example of the mockery of artists to political figures in the nineteenth century. This print of the prince carelessly eating all the people in poverty’s goods showed what was happening in political society and how it was affecting people. Although this was an exaggeration, Daumier was sent to jail for this print and a new law was proposed so that no illustrations were allowed in the press, only words instead. I like this story because it shows the power of corrupt politicians and how artists were standing up for civilians with no voice even though there would be consequences in the end.

Chapter twenty-three also discusses the development of photography. When noticing some of the first stages of photography, it is so cool to see the monumental improvement to where we are today with capturing photos. Photography is something I have grown to enjoy as a personal hobby, and I almost always take my DSLR camera wherever I go. I am grateful for the development of photography and appreciate the process and knowledge it took to get to where cameras are today.

In chapter twenty-four, it states that unlike realism in the 19th century, impressionism rarely gave a focus to political views. This is interesting in the fact that based off different styles of artwork, the artists seemed to have very different standpoints. Before reading chapter 24, I felt I could relate to realism artists more, but afterwards I have noticed that impressionism art focused on the effects of light in nature and weather occurrences, which is what I prefer as a better viewpoint myself.

Claude Monet’s, Bassin des Nympheas, stood out to me on page 440 because it has so much detail in every brushstroke. The way the vibrant colors reflect a deep green onto the water to show the stillness of the water is not only clever, but visually appealing as well. I like that this painting was inspired by his own water garden, similar to how Gustave Courbet used his own experiences to create realism artwork in chapter 23.

Chapters 23 and 24 discussed realism and impressionism in the nineteenth century and how the development of art and photography in real world situations were affective in the portrayal of politicians versus society. Nature and lighting were also a major part in the creation of realism and impressionism artworks.

*All references to artwork and artists come from chapters 23 and 24 of Laurie Schneider Adams, A History of Western Art, 5th edition.

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Kalei, I very much enjoyed reading your blog post. I like that you included the information regarding photography and its many technological advancements over the years; this was, believe it or not, my favorite part of either chapter! Years ago, when I had much more free time, I absolutely adored taking photographs myself and loved experimenting. I’m not really able to now, but photography remains my all-time favorite art form and I have amassed a considering collection of works from around the world. If you’d ever like to share, I’d love to see some of your own pieces!

Realism and Impressionism

During the nineteenth century, considerable changes came about in many sectors. The Industrial Revolution helped shape the modern world, beginning first in Europe and then impacting lives around the globe. Factories came to fruition in mostly urban areas, causing cities to grow and new social classes to form and drift apart. Literature depicted a “new social consciousness,” and science looked into the origins of the human species as a whole. The written word became more widespread through newspapers and magazines, and the telegraph and telephone resulted in a much faster spread of information and news. Even travel saw improvements with inventions like the first passenger railroad in 1825. With these changes, a similar shift in art took place: Guilds lost their purpose, art critics became a “thing,” and both galleries and museums arose.

In France, two noted Realist painters were Jean-Francois Millet and Rosa Bonheur. Both put great emphasis on the detail and contrast of their paintings, whether it was the contrast of social classes or the contrast of humans versus nature. Gustave Courbet believed that artists were only able to correctly portray events that they’ve personally experienced, and avoided the influence of Romanticism in his paintings. Honore Daumier is, according to the text, “called both a Romantic and a Realist,” and focused heavily on social injustice and the differences between the classes. Many of his works involved satirizing notable figures.

Photography, “drawing with light,” struggled to take hold in the nineteenth century, and there was an ongoing dispute about whether or not it could even be considered art at all. I very much enjoyed reading about da Vinci’s camera obscura, the astronomer Johannes Kepler’s portable version, and the many improvements to the methodology that quickly followed. Photography is ultimately my favorite form of art, because as wonderous and magical and inventive as paintings, sculpture, and other such works of art can be, nothing can depict the absolute wonder and awe that is our own world better than a photograph. I loved reading about and viewing some of Nadar’s work, especially his portrait of Sarah Bernhardt; her facial expression is somehow captivating to me, and I adore the way the material around her falls in such a grandiose cascade. Mathew Brady is a notable mention, with his many photographs of Lincoln, including one that I think almost anyone would recognize: “Cooper Union.”

American realist painting was obviously similar to its French counterpart. There was notable attention to every level of detail, making virtually everything as realistic as possible, and the use of stark contrast to highlight meaning and symbolism. Some French artists, such as Manet, began transitioning to an Impressionist style in the late 1800s. Architecture was slow to welcome the new materials that were iron and steel, and the first-ever Expo took place in 1851. Bridges were designed and built that deviated from the truss method to aid in better transportation. The Eiffel Tower and the first “skyscraper” was also built.

Impressionism began in Paris in the 1860s, and unlike realism, did not typically correlate with political situations or events and instead focused on “genre subjects.” It was also more focused on true lighting, be it natural or artificial, and studied how the world impacted light: Weather, location, time of day, and so on. Many Impressionist artists also studied color and utilized it diversely in their work, and many pieces weren’t as intricately detailed as Realism art.

I feel that the most notable artist mentioned in this chapter is, of course, Monet. His use of light and color are absolutely fascinating, inspiring, and surprisingly technical. I have always found his works to be very soothing and relaxing to look at, like studying a calm sea under clear skies. His compositions feature a stunning level of contrast on all fronts, and they are like looking at an everyday scene while somehow seeing a fairytale.

Japanese woodblock prints were mentioned in this chapter, and I have to say that I was so pleased to see “The Great Wave at Kanagawa” in the text, as it is one of my personal favorite pieces from the Far East.

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Chapters 19 and 20

The age of enlightenment started a spur of new ideas that had once been philosophical, shifted into being actual things that were brought in to real life. Through this time period there is a big advancement in the sciences, from these advancements there is a carry over into the training of artists and in the art itself. One example of this would be how Denis Diderot transferred his knowledge about the scientific method into his opinions that he held on art. He would push his students to leave the studio, and go out to observe people in the real world. From these new ideas artists started using scientific experiments in their artwork. This makes sense due to how this new flood of science into the mainstream, would result in artist have pieces that revolve around societal views on these sciences. Along with this new scientific movement there is also that of the once thought to be philosophical ideas, and the push from the people for independence. This area of our book is relatable to me, because of what were are talking about in another class which consists of the American revolution and the French revolution. I found it surprising that out of the two revolutions the French is known to be more important to people than that of the American. What got me even more was how the French overthrew their government only to re-establish an extremely similar one in its place.

In this time era there is a mix of different styles that become favorable among artists, one of these styles is Rococo. This style is mainly set in a dream world with beautiful parks, mythological gods, and goddesses. This style also included that of the exotic into the paintings, the influence of this style also created an interest for France and England into oriental. Inspiring different costumes, decorations, and architectural designs to take place.

One of the more well known artists of this time used the Rococo style in his artwork. Antonie Watteau his figures, and scenery of his artwork are recognized to be more along the lines of Rococo, his general art work would reveal awe inspiring parties, and gatherings of wealthy people’s enjoyment of nature.

The female artist Adelaide Labille-Guiard was a very important figure at the time for women artists. In her Self-portrait with Two Pupils she draws the viewers eyes to her skills as a painter by making the silk in the dress she’s wearing shine, and reflect the light but also uses other textures in the apparel that she’s wearing, such as feathers that are in her hat, and the lace of the dresses as well. These highlights of texture are part in thanks to the Rococo style. Not only was he art work empowering towards the women of the time, but the work she did to make it so they would have the opportunity to join the Academy of Painting and Sculptures. Overall she did more than just affect the world of art by being a female artist but solidified the position of women in art by having those spots saved for women.

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Nolan, I appreciate your inclusion of Adelaide Labille-Guiard in your blog post. Two Pupils is one of my favorite works from these chapters for exactly the details you listed: The way she managed to capture the wonderful sheen of fine silk, the intricate details of feathers and lace, and the beautiful layering of colors are all supremely well done. The text states that she made it possible for four positions within the Academy to be made available to women, and I think it’s safe to say that this detail alone had a fairly considerable impact on the world of art for women. I am looking forward to hopefully reading about more artistic women in future chapters. Great post!

Baroque and Rococo

Baroque, or “barroco” in Portuguese, means an irregular and inherently imperfect pearl. The term is applied to multiple styles, beginning first in Italy and becoming notable in Paris by the end of the period, and these styles tended to be more energetic, emotional, and “unrestrained” than previous works. These works illustrated a quickly-advancing study of nature and scientific advancement, and the imagery was more aggressive in its portrayal of drama, violence, and the emotional spectrum. There was a considerable amount of texture, contrast of both light and color, and a lack of any controlled perspective. Allegory and portraiture both expanded by incorporating “character and mood” in new ways.

In the architectural world, Gianlorenzo Bernini’s work on Saint Peter’s showed notable Baroque characteristics. The use of dark bronze for the interior columns over the high altar contrast sharply with the surrounding marble. Its exterior, a piazza divided into two parts, was designed to allow crowds to come and go with ease, “enclosed but not confined.” This involvement of the people in such a designed space, such as a processional space, was a classic Baroque preference. However, in France, architectural design took a very different route. Structures were designed in a very ordered, restrained fashion that was reminiscent of Classical aesthetics. The Louvre and the Palace of Versailles both featured styling that many would probably consider “timeless,” with a sort of grandeur and elegance that personally reminded me of ancient Greek and Roman architecture.

Bernini was also a notable sculptor, and it is clear to see via the comparison done on page 344 between Donatello, Michelangelo, and Bernini that there is much more emotion and dynamic movement incorporated into Baroque works. As the text states, it is “theatrical.” This is also true of his work Ecstasy of Saint Teresa, which perfectly portrays Bernini’s ability to draw the viewer into his depictions.

Baroque painting was characterized by the intent and ability, as with Bernini’s sculptures, to draw the viewer into the picture rather than giving the sense of looking through a window. The goal was to draw attention by means other than linear perspective. The contrast of light and dark was used in many religious works to draw attention to the Christian message within certain pieces, or to pull focus to particularly emotional or tragic depictions. There are a considerable number of painters directly mentioned in the text, from several countries, and it would be impossible for me to include them in this post so instead I have shared the traits that are consistent through all of them.

Rococo works were characterized by the appearance of depicting the aristocracy, gods, and goddesses in fantastic and exotic worlds. Their underlying tones of satire were typically overlaid with frivolous excess and wit. Colors tended to be bright around the subject and typically not as starkly contrasted, save against the background, though they remained as highly textured as Baroque style pieces. Surface elegance was a key component of Rococo paintings, with a wide variety of textures and attention to finer details such as draped materials, feathers, and lace. The architecture was lofty, light, and intended to give its viewers a “glimpse of heaven.”

Also, I now believe that Jack Black is a direct descendant of Paul Revere.

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Week 3-Chapters 15&16

Early Renaissance-1400-1500

I’m realizing that a lot of the work revolves around religion. With paintings like the “Holy Trinity”, displayed on page 250, the construction of the Florence Cathedral on page 246 and the sculpture, Medici Venus, displayed on page 253, depicting the Greek Goddess Aphordite. I’m not incredibly invested in any type of religion, so when I’m exposed to things that revolve around religion, I tend to lose interest pretty quickly. I am though, a little more interested in those types of things when there’s some morbidity involved, which I realize makes me sound crazy, but I need a little bit of excitement here, you know? For example, on page 244, under The Competition for the Florence Baptistery Doors, it talks about Genesis 22. In Genesis 22, Isaac’s father, Abraham, obeys God’s command to sacrifice his only son as an act of faith but at the last minute, an angel breaks through and instructs Abraham to substitute a ram for Issac. That little story interests me because there’s a little bit of excitement involved. There’s also a painting “Descent from the Cross” (pg.274) that interests me for the same reason, because it’s a little bit morbid-I mean, they’re taking Jesus’ dead body off the cross! I don’t get a strong sense of excitement from many religious things. I’m sure there are many other stories like this in religious readings, but I’m not invested enough to read through them.

Through the majority of the reading in chapters 15 and 16, who you read about are men, so I became very interested when I came across Isabella d’Este on page 265. I get pretty tired of reading about men, mainly because they’ve always been “in the spotlight” throughout history, while women were in the background, so getting to read about a notable woman was nice. Isabella was the marchioness of Mantua. She was able to receive a humanist education and “followed the contemporary fashion for designing intimate, private studies, which, before Isabella, had been reserved for men”. I’m proud of women like her who were/are not afraid to step up and make a difference.

High Renaissance-1480-1570

One thing I really enjoy about the High Renaissance are the pen and ink drawings by Leonardo da Vinci. I really appreciate these works because they’re so delicate, raw and beautiful, especially because they’re only made from ink. One of da Vinci’s works “Vitruvian Man”(pg. 280), is an example of, what I consider. a powerful work of art. I also love his “Embryo in the Womb”(pg. 283). I appreciate both of those works because they have to do with the human body, which is something that really intrigues me. Something else about the High Renaissance that I’m really enjoying is the color used in art from the Netherlands. It’s very warm and really catches my eye. Someone from this time that stands out to me is Raphael because he, at age 24, went to Rome and painted portraits and other works. He stands out to me because I’m 24, and not doing half the things he’s already done in his life. The kind of message I get from him, even though it isn’t really explained, is to do what you enjoy and follow that path.

oakesa-blog

Amy, I enjoyed reading your take on the Renaissance. I am in the same boat as you: I also tend to lose interest when a considerable amount of religious influence is evident. I can appreciate the styling, color choice, use of space, etc. but enjoying the actual content or context of such art can sometimes be a struggle for me. I agree that some morbidity definitely spices things up – I appreciated Chapter 15’s mention of the Medieval Ages’ memento mori that was a continued trend throughout the Renaissance. Nothing like a little reminder of death to improve some artwork, I suppose!

The Renaissance

As we begin to explore the Renaissance proper, we begin to learn more about some of the most well-known artists in history, and how greatly they were influenced by the humanist movement. More and more artists, as well as individuals of all kinds, were becoming famous thanks to this humanism, and the courts of Italy competed for the most notable individuals. Libraries, teaching standards, and subjects of study were all impacted by the humanist movement, and association with others who lived with the same respect of Classical culture was encouraged as patronage expanded. There are quite a few pieces discussed and/or directly referenced in this chapter; I will be sharing those that I feel were most influential.

Filippo Brunelleschi was at one time a sculptor but became a formative individual of Renaissance architecture in the early 1400s. After studying ancient monuments in Rome for several years, he began to draw from Classical works for his architectural concepts. His study of the Pantheon was utilized when designing the dome of Florence Cathedral, and he drew inspiration from Early Christian basilicas when designing Santo Spirito. In addition, he is credited with inventing one-point perspective and the use of orthogonals and vanishing points. This styling method was expanded upon by others, like Leon Battista Alberti, who established relativity between objects using a grid.

Masaccio is an excellent example of what can be produced when combining Giotto’s style and methods with those of Brunelleschi. His works utilized the architectural influences and linear perspective developed by Brunelleschi while showcasing the simple and growing realism that Giotto became so well-known for. In addition, Masaccio included in some of his works the memento mori that was popularized during the Middle Ages. To me, his works are dynamic and seem to cover a broad range of influences; others may disagree, but I especially appreciate the way that Masaccio drew from these other artists to create his own masterpieces that so clearly portray emotion, movement, weight, and realism. It seems that he was a very talented individual, especially in regards to his ability to include so many others’ methods and styles in the creation of his own.

The early fifteenth century’s most important sculptor in Florence was Donatello. With his sculpture of David, an important symbol to the people of Florence, Donatello manages an impressive revival of antiquity while conveying an important message: the triumph of good over evil, and the success of the underdog. The sculpture’s style also depicts some narcissistic and homosexual traits of Plato’s “ideal warrior.” I had never noticed how truly feminine Donatello’s depiction of David was prior to reading this chapter. Andrea del Verrocchio, however, cast a different vision of David: more angular, bony, and without any erotic aspects, his sculpture was more straightforward than Donatello’s.

Equestrian portraits and state portraits were both direct results of the humanist quest for fame that was gaining such popularity during the pre- and early Renaissance and became very popular in Italy. Both were often commissioned works and were expressed in paintings as well as sculpture. A wide variety of artists completed these works, and while the subject matter of each portrait was the same, each had their own individual style that drew from humanist influences and Classical styling.

Sandro Botticelli has always been my favorite artist of the Renaissance period. His style is very fluid and showcases a considerable amount of dynamic movement, which is something that even modern artists can sometimes struggle with. It is said that other artists sought out his draft drawings because he took such careful consideration of each and every aspect of his pieces.

To the North, Jan van Eyck produced one of the most staggering and elaborate Renaissance paintings I personally have ever seen. The Ghent Altarpiece is a stunning, colorful depiction of Christian symbolism, with a great deal of natural detail and incorporated realism. Unlike painters to the south, he worked primarily with oils and was able to create new levels of detail. There is a considerable amount of story-telling throughout the Altarpiece that is simply amazing to behold. The Netherlandish painter Rogier van der Weyden followed a similar style to van Eyck, though his figures tended to be oversized.

Overall, the Renaissance truly was an impressive display of innovation and humanist inclusion. Some of the greatest artists of the time are now practically household names, and for good reason. I look forward to reading in the following chapters how other artists expanded upon the groundwork laid during the Renaissance.

Chapter 14

In terms of art history, the Renaissance is largely regarded as one of the single most influential periods of humanity. It is important to remember those that came before them and recognize their talent. In early thirteenth century Italy, the first signs of an artistic revival became evident; with influences from Greek and Roman history, artists of all kinds were beginning to approach their craft in “new” ways.

The first piece directly mentioned in the book is Nicola Pisano’s marble pulpit, “Nativity,” which is especially exciting for me as I have always been extremely fascinated with sculpture. The marble carving has a distinct Roman influence, as evidenced by the draperies and shapes of the figures throughout the scene, and it is clear upon reflection of the piece that Pisano’s exposure to classical art during his time spent in the Holy Roman Emperor’s court greatly influenced his own work.

As Italy began moving into the fourteenth century, the humanist movement began to take shape. With it came the revival of ancient Latin and Greek texts, and brought about a widespread growing interest in nature. This resulted in artists incorporating more of human nature with the human form, which over time became a prominent goal of many Renaissance artists. As literacy increased, literature relating to art was also on the rise, and the concept of fame began to develop throughout Italy. Giotto di Bondone became a very popular artist via his tempera paintings and frescos that featured a new style with Byzantine influence and a clear emphasis on human nature and realism.

In Siena, many other artists shared a similar style that was also heavily influenced by the Byzantine style. Duccio di Buoninsegna painted a number of pieces reflecting this, but it was also evident that his work was impacted by Giotto’s new style and the realism that it entailed. His own works lacked the same level of Classical styling as Giotto’s, however. Ambrogio Lorenzetti painted the fresco “Effects of Good Government in the City and the Country,” which is perhaps my favorite painting mentioned in this chapter, that depicted a stunning scene of humanist influence in Siena with wonderful depth and realism. The piece is 46 feet long and displays scenes that include women dancing and singing, a number of shops, peasants tending the fields, and more. Above them all, the figure Security holds a banner stating that peace resides over Siena with her protection. This piece is my favorite not only because it seems to offer such an amazing glimpse at what Siena may have been like in the 1330s, but because it clearly states that social disruption will lead to turmoil. This is, of course, absolutely true, and though this has always been the case, I feel that it is even more obvious in the modern world of instant communication and constant news updates.

Another sculptor the book mentions is Claus Sluter, and his carvings reflect a considerable and dynamic realism. The detail of facial features and hair, draped material, and angels’ wings are all beautifully crafted and seem to follow the “logical rules” of reality.

Overall, the fourteenth century saw a number of shifts in artistic styling that would ultimately lead to the wonder of the Renaissance. There were still a number of innovations to come, but the influences were evident; I especially appreciated the advance of realism throughout the visual arts of this time period.

thelavenderllama-blog

Introduction

I think that art is very special and each artist is unique. It’s fascinating to see the different types of styles and creations made!

I personally love to write. I also enjoy playing video games and spending time with friends/family. I actually just graduated with my Associate of Arts, though I still need to take a few more classes to fulfill the degree. I will then be going for a Communications degree at UD!

There isn’t anything specific I hope to cover in this course, but I am excited to learn about art!

I don’t have a favorite art piece, but I do like Monet’s style:

oakesa-blog

Emily, I have to agree with you; I don’t have a single specific favorite piece, or even just a few, but I can name quite a few styles that I love! Monet’s style has always been very relaxing for me; each work has a fluidity that makes me feel like I’m in a dream. I enjoy video games as well! I don’t have much time for it these days... Between working full time, going to school full time, and raising a family, anyway. You should let me know what games you typically play, and on what platform!

lizfass-blog

Introduction for Art History

I am interested in Art because it is an engaging way for people to be able to express themselves. Art can also be representative of something more than just a piece of artwork. Likewise, I am interested in history too, so I believe art history will just be interesting to learn about.

Outside of school, I enjoy baking, running, hiking, and hanging out with my friends & dogs. I’m going to be a junior in the Fall at Luther College and am majoring in Nursing.

There is not anything specific that I am hoping to cover in this course. I am just excited to learn more about art history because it has been since high school that I took an art class.

Below is one of my favorite paintings. This is at the Vesterheim Museum in Decorah, Iowa. It’s painted by a Norweigan artist.

oakesa-blog

I look forward to reading more from you, Lizzi. I think our views on artwork are very similar. The painting you shared is very soothing to me; there is a wide variety of colors, but they are all relatively muted and calming. I love the very simple, serene landscape. It makes me want to go for a hike and enjoy the peace of nature, and fresh air!

Week 1

Art interests me as an expression of the self and the ever-changing world around us. It is a dynamic self-reflection, a reimagining of what surrounds us and unites or divides us, representations of the wonders, adventures, and sometimes horrors that affect us as an individual and a species.

I am currently pursuing an AAS degree in Engineering technology. This course is not required but seemed interesting; there is nothing in particular that I hope to learn/cover/acquire. I am a lover of photography and all things colorful - Photography captures some of the most amazing things about our world, and bright mixes of beautiful color always bring me joy.

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