What I enjoyed learning about

What I particularly enjoyed learning about this quarter was art created in the northern renaissance period. Particularly images created by Jan Van Eyck. Van Eyck was so interesting to me because of the realistic nature of his paintings. He was a court painter for Duke Philip and created all kinds of portraiture. Before camera’s portraiture was the only real way to tell what a person looked like at this time. We can see what these people looked like thanks to Van Eyck because of his precise detail and realistic imagery. His perfection in oil painting lead to a rumor that he was in fact, the creator of oil paints. In Van Eyck’s painting Man in a Red Turban, we can see the realism in his face. This was thought to be a self portrait of Van Eyck and is so realistically detailed it is believed we was looking at himself in a magnifying mirror when he was painting it. Or there is the question are we actually seeing his reflection in the mirror. Another aspect of mirrors that Van Eyck used was the painting of a mirror in the painting called Giovanni Arnolfini and his wife. We can clearly see a mirror in the back of the image displaying the back sides of Giovanni and his wife. This mirror was so well done we can even squint and  barely see  a possible Eyck himself . During this time patronage was also a huge factor and it reflected you as a person of society where you were ranked due to how famous of a painter you had record you. Arnolfini as a man wealthy enough to have Van Eyck paint him and his wife so tastefully. This double portrait seemed to be the turning point for many realistic paintings because no one has seen such realism in a person’s face such as Giovanni’s since ancient Rome. But what else caught my attention to this particular painting were the hidden mysteries hidden inside it. The relationship between these two people are up for debate and there is a lot of symbolism that can be found and questioned as well. Lavish objects are spread through out the room. Such as fabrics, chandelier, oriental carpet. This who painting screams propaganda. For those who are able to view it know immediately that this was to show the couple was well off. This is a precious object in itself just due to the fact that Van Eyck painted it. another neat aspect of Van Eyck was that at this time painters really did not leave their signature on things they created. But Van Eyck had an interesting way to do so. On the back wall above the mirror in the double portrait of Arnolfini we can see the words Van Eyck was here. This to me brings more mystery an hidden symbolism to his paintings which i find so interesting. Overall, Van Eyck was a great painter that set the tone for a lot of realistic northern renaissance art. He was so good at capturing the detail in the human face which gives the effect of an actual photo.

Royal Patronage

Before the french revolution artist now looked to new ways to distribute their work. The Art market made it easier for artists to get their work known without any patronage. More women artists were taking in the art world as well.  Although the art market made it easier to be an artist without patronage there were still many paying patrons out there.The work of Marie-Louise-Elisabeth Vigee-Leburn made herself known in the royal court. She was the daughter of an artist but what mainly self taught. By age 15 she was a famous portrait painter and made herself part of the royal academy in 1783. While at work in the Academy she exhibited more than 40 portraits and historical compositions in the academy’s Biennial salon((www.bc.edu).It is hard not to appreciate Vigee-Leburn simply due to the fact that she was a woman who made it on her own with art! This was not too common. Although she was admitted to the academy due to the King’s request something in her really stood out. She was breaking stereotypes for women artists all around. Women usually ended up as second class members of the academy due to their lack of genre knowledge. But Vigee-Leburn was a double threat. Not only did  could she master a very feminine portrait, she could understand the harsh masculinity it goes into creating a historical themed image.  She then became the personal painter for the french royal court. Perhaps a very personal painter for Marie Antoinette. She painted many beautiful paintings of those in the royal court. Especially Marie Antoinette herself, and Antionette’s children(www.mystudio.com). Perhaps the reasoning behind these portraits of the queen was to show that she is much more generous and stable then those were lead to believe. Marie Antoinette was growing a bad reputation and was wanting to gain more respect through paintings. Propaganda was key in her art for the royal court.However, it was not the royal part of Vigee-Leburn’s art that stood out to me. It was in fact her own self portraits. Her Self Portrait with Daughter Julie really stood out as a way to display her family as well. Although she kept close to the royal court patronage she too made portraits of herself and her children. Her portrait with daughter Julie is an affectionate piece between mother and daughter.  It just gives a different feel compared to Marie Antionette’s and her children. We get a more personal and relate able response when we look at the painting. In her portrait she displays herself as a Madonna and child. Although her artwork is very lifelike and personal art historians sneered at her “feminine” limitations(www.bc.edu). Feminine qualities found in her family portraits are noticeable due to the subject matter really. What i noticed is that most people in he portraits are women and their families that in itself is feminine. Delicate brush stokes who every feather and every detail in clothing. This too, can be seen as feminine. Unfortunately the royal academy had some rules against femininity and this bring us back to the fact that portraits and women artists in general were not seen as too much of significance in the art world during this time. But it is amazing to see how one woman can bend the rules in a very competitive art world.

Caravaggio and His Followers

Caravaggio did have much influence on people through his works of art. He had followers who were so interested in is baroque style images that artists all over Europe began to copy his so called “style”. These people were known as the “Caravaggesque painters”. Caravaggio created images that were dramatic in scenery and drew in much drama due to subject matter and almost harsh lighting. As we see in his painting The Calling of St. Matthew for example, a monochromatic background gives more emphasis on the people captured in the foreground. The lighting is very dark and a natural light seen creeping in just highlights the faces of those in its path. Many of Caravaggio’s followers at this time did seem to capture the drama and baroque type styles that were used in many of his paintings. For instance Jusepe de Ribera took on some of Caravaggio’s stylistic characteristics. In the painting The Martyrdom of St. Batholomew we can see this emphasis on dramatic subject matter as well. This emphasis on lighting is seen and another aspect of Caravaggio which is naturalism we used here too. The people in Ribera’s and Caravaggio’s pieces both have this keen interest in naturalism. Each figure in these paintings are seen as realistic as possible and each are individualized as well. In the painting the Calling of  St. Matthew we can see drama withing the subject matter as well. We see one figure talking to a large group but he looks on their faces and the body language implies  that something important is going on. Same with St. Batholomew we can see the drama is his body language as well implying that something traumatic must be happening to him. Another painter who was eager to inherit some of Caravaggio’s painting style was Peter Paul Rubens. In the triptych The Raising Of The Cross we can see strong dramatization in the piece as well. What always captures me first in these types of paintings is really the lighting. The contrast of darks and lights are so emphasized that those figures that are displayed really seem to stand out. You can really see this the Ruben’s triptych. Once gain naturalism is used in this piece. Each figure in the image is seen so realistic and of course, they are very individualized. Although muscle is very emphasized here we can see an old woman on the left hand side with her wrinkles so realistic we can really get that sense of agony that is expressed on her face. The dramatization in lighting and subject matter is also happening. Not just for the old woman, but we can see the sense of grief and the very upset nature in this image. This ties back to the dramatization in Caravaggio’s and Ribera’s pieces. Although not so much as a monochromatic background is used in this painting we still gather the dramatization through lighting. Those who are displayed more in the foreground, especially Christ we can see the lighting really casting on the figures faces. not so much on those in the background however. Each artist does have their own flow of things but you can really see some Caravaggesque stylistic characteristics in all of them, they are really easy to point out due to their dramatic nature.

Protestant Reformation

Political and religious conflict did change and impact art and artists themselves. Form some artists, their beliefs about religion brought their careers to a screeching halt. Catholic artists were forced to leave the places they call home in search for patronage elsewhere. Anger between protestants and Catholics lead to the destruction of many different religious artworks and structures. Protestants were found breaking sculptures as well as stained glass. They even white washed many religious paintings. These actions done by the protestants was to rid the catholic churches which were considered idols at this time. Religious art was no longer really a need anymore. When before, patrons would have like religious art painted either for their own enjoyment or for their churches, now patron would rather have portraiture or landscapes painted for them. There was also a like for still life at this time as well. This completely changed the look of paintings at this time. Catholic art before the reformation was primarily religious based. Images depicted biblical scenes and people. for instance, the virgin Mary and Christ was seen in several different images before the reformation. These images were mainly to be set inside the church or painted on the church walls. Another example on religious patron would be that Pope Julius had Michelangelo paint biblical scene on the ceiling of the Sistine chapel. Now that patrons were looking for more portraiture and landscape than biblical scenes, this then changed the popularity of certain paintings after the reformation. One major changed that i noticed in this chapter was the landscapes. Although scene before n some pictures, a landscape without some sort of story to tell has never really been seen before. In Danube Landscape by Albrecht Altdorter we can see a typical landscape with no real story behind it. In the image you can see trees and mountains even a small image of a building but no religious images can be seen at all.  Although landscapes were not meant to be viewed as religious images others have seen then\m as a reflection of gods work on earth. Before in images were landscapes have been noticed before, there was usually some sort of religious figure or someone of wealth or importance being displayed in the foreground. In Altdorter’s landscape was simply just an image to capture the beauty of the world as center stage where as before there was such an interest in humanism it was that the world around us was almost lost in images. Now people have taken time to really notice the natural beauty of the world. There are no narratives needed either. Before many images were of biblical meaning there was always some sort of story behind the images or sculptures. Even portraits that have been done prior had reasoning behind them. They were usually of someone or even families that had wealth and fortune. After the reformation simply a picture of the natural world were enough words for the viewer. It seems like people didn’t exactly need paintings to show wealth because of the individuals that were depicted in them. Perhaps people at this time wanted paintings for their own personal liking.

Mannerism

Mannerism seems to give off the effect of chaos and makes images seem a little strange. Entombment done by Pontormo and The Madonna With The Long Neck done by Pamigianino both display mannerism but in different ways. In the image Entombment we can see mannerism by the elongation in certain figures. For example, the person on the left on his tip toes really stretches out their body length. I don’t really quite understand the need for this person to be on their tip toes. They also look uncomfortable due to the fact that they are carrying Jesus’ dead weight almost by themselves. As for Jesus his body looks heavy dangling over those who are holding him. Each figure in the image is contorted in all different directions giving the viewer a sense of chaos. There are many people in the image and they look almost randomly placed and have different positions in which they stand. The colors used also give an unsettling feeling. The man who’s back is to us displays a very pink back. This is unusual for human skin. There is also a woman in bright pink behind him, and aside from the pink many of the other figures wear a striking blue color. Interesting color palette. As for Pamigianino’s Madonna With The Long Neck we can see different aspects of mannerism in this piece as well. Before in Entombment what was so out of the ordinary was the color and the chaotic placement of figures. Where as in Pamigianino’s its the sense of an unfinished image that gives off this strange effect of  mannerism in his piece. What gives off the effect that this image is unfinished is the small man seen holding the scroll on the bottom right. What i didn’t understand is why this person is so much smaller than any one else in the image. It seems like there should have been another scene in the backdrop.  Also in the backdrop we can see a pillar that is holding up absolutely nothing. this makes me think that some sort of architecture was supposed to be placed there but was not. As for the people int he image we see very elongated figures. And bodies that are a bit proportionate. First of there is the figure on the left with their leg out this leg is very long in comparison to the person it belongs to. The Madonna herself is shown with a very small head and a very long neck. As we look at the rest of her body her lap and legs look very large compared to the rest. This is much needed because of the oversize baby that lays on her lap. This child meaning to look like an infant looks to be the size of a 4 year old instead. Both pieces of art display some aspect of mannerism but in different ways. both capture effects that can be unsettling to the viewer and have us questioning just what exactly the artist was thinking. From overly bright colors to an unfinished piece mannerism certainly is a strange approach to displaying people at this time.

Expulsion from Paradise

I would like to compare two images with the same subject matter but the way these images are depicted are very different. From the earlier Italian renaissance artist Masaccio created a painting called The Expulsion of Adam and Eve from Paradise. Later, Michelangelo also created his own scene of the Temptation and Expulsion on the ceiling of the Sistine Chapel.  In both images Adam and Eve are presented as nude figure which is no different than what we have seen before. Masaccio’s depiction however, is a bit different than what Michelangelo shows. Masaccio’s depiction of Adam and Eve cast shadows to display form and shape. These are things that we can create with our own eye due to the deep contrast of dark and light shadows. So when looking close up to the figures we can see that no real detail is presented. This is a bit different than other renaissance painting we have seen prior. We can understand the humility in Eve’s face but this is mainly due to the dark shadowing seen around her eyes. When looking close there is no defined line to where an eye would be, it is only implied. Michelangelo too used the contrast of dark and light in his images as well. We can clearly seen to forms of Adam and Eve but in the way they are depicted is different than those of Masacio’s painting. Looking at the Temptation and Expulsion piece we can see clear lines around the images. Yes the use of shadow is noticeable but it isn’t used as a guide for detail here more fine lines and detail are presented. Using these fine lines there is a clear depiction of each figures body and face. From my understanding of dynamic unity there is a trace of it in both images. Both pieces do display some sort of energy and there are different types of feeling and poses that can be seen as well. Starting with Masaccio’s image we can gather the sense of agony, guilt and anger in his picture. Adam and Eve are being cast out of paradise as punishment. The looks and body language display regret and agony. Adam is hunched and covering his face in what looks like sheer disgust in himself. Eve’s face displays regret and agony as well. Embarrassment is understood too as she is cast into the world nude. The angel that cast them out is displayed in anger and disappointment in the two. Her finger is pointing them out of paradise and gives the sense that they are not welcome back in by any means. Michelangelo’s depiction of the same scene also gives us the same sense of humiliation and regret. Adam and Eve are again cast out of paradise and we again can see the look of shame from the two of them and the sense of anger from the angel who is casting them out. However, Michelangelo also created the scene of temptation as well. We can see the sense of temptation on both Adam and Eve’s face when presented the apple. This gives a bit of variety with his image. Adam and Eve’s body languages certainly changes from one scene to another. When being tempted we can see Eve lounging round the garden. This certainly is a difference compared to being cast out and almost running out of paradise.

Analysis of The Birth of Venus

The birth of Venus is a beautiful piece done by Sandro Botticelli. The ways people are rendered in this piece are a bit different than those of the northern renaissance which we learned about last week. Humanism is large at this time and humans are now taking center stage for artworks in the renaissance. In northern renaissance however the aspect of realism, is huge. However, Botticelli’s piece gives off a bit of a different sense of realism. Although the people in this image are noticeably human, they have a bit of a stylized aspect to them, perhaps too perfect for nature.

Venus is born from the sea and we can see Zephyr on the left blowing her to shore. Venus is shown standing on a large seashell nude and in the modest pose. Venus’s stance shows much grace as she carefully leans on one hip. She is modest because she is shown covering her genital area and breasts. This immediately attracts to her sexuality.

Venus is meant to be the idea of divine love and we can get that sense when looking at her in this image. We gather the sense of divinity because Venus appears so perfect and graceful. Her facial features are stylized to show perfection much like what was mentioned before. Her hair flows gracefully as she is blown ashore and hides certain areas of her to display her modestly. The use of mythological figures and the desire for perfection seems to move us away from the complete use of naturalism that was learned prior to this.

As for the composition we can see that Venus is in fact, the most important image in the picture. Venus is shown smack dab in the middle. Although she is not exactly larger than the other figures we know she is important due to her placement in the very center of the piece. When looking at the image the scallop shell also draws our attention to Venus as well. It is a large mass that is seen at Venus’s feet and for me I instantly catch myself looking in the direction of the shell first then moving up and noticing the figure of Venus, then later moving around the image to the other figures. Speaking of the other figures, since they are so bold and detailed you hardly seem to notice the background until dead last.  The beach and trees are hardly noticed at all.

This brings me back to the theory of this image being more stylized because not only can we see it in the figures due to a sense of perfection  we see it in the background as well. The trees are not entirely realistic. Yes we can tell they are trees but the connection with realism is a bit lost. Long and skinny trunks extend and display tiny individual leaves. The seashore also looks a bit foreshortened due to the fact that Venus is nearly hovering over the small amount of sand and is about the same height as the trees. The water and waves appear a little stylized as well. The waves are displayed as small ripples that extend back behind the shell Venus is standing on.

The background does give off the effect of space though. We can see this because the waves in the background get smaller and less noticeable towards the horizon line. The images in front are crisp and clear and as the shore extends back its color begins to fade giving off the effect that it is far. Even though we get the sense of depth we can also see it too, is a big foreshortened.  The sky in the picture is much less than the water making the water look as if its extending up a bit rather than back.

Lastly, the colors in this image make it feel a bit calming and serene. The artist was sure to use a lot of green hues in the picture. The sea for one isn’t a stand out sort of blue which is usually seen it is a bit of a blue green that strangely appears a bit warm to me. The color of Zephyr’s cloth and the sky appears to be right around the same color making all these pieces blend in a way. The only different color that is really used here is the orange that can be found in the cloth, Venus’s hair and some lighter tones found in the skin. The use of really only looks like two different colors really ties the image together giving it a sense of completeness and harmony. Which I think is important when painting a picture of the goddess of divine love. Peaceful, is what I think the artist was trying to capture here and I can really sense that.

Northern Renaissance

What was really valued in the beginning of the renaissance art was the sculpture which later changed to paintings. Religious figures were carved as center pieces in altars. What really makes these pieces stand out is the realistic quality they have. Each person in for instance the Well of Moses each person is individualized. Heavy drapery casts shadows creating an effects that seem so real. Paintings in the beginning were just an embellishment compared to sculpture. Later people were more drawn to the realistic paintings done by Jan Van Eyck. He was in fact, argued to be the greatest painter of all time. He too, captured the realism of the world and humans in his pictures. in the Ghent Altar piece for instance he captured the realism in each figure. The lighting was set perfecting to where the piece was actually place in the church to give the effect of light casting through the church onto the figures was in fact real light. The figures are so realistic they look as if they are extending of the board, and are actually three dimensional. Gemstones and water are depicted as transparent. But how is it possible for pieces on a painting appear so real when they were actually two dimensional and made the paint? Oil paints came into play and the use of them really gave Van Eyck’s images a three dimensional effect. Oil paints allowed the painter to paint in layers and use less opaque pigments to show a contrast of dark and light. Portraits became almost evidence of the people who lived at this time and what they truly looked like. People were less idealized and were shown in more of a natural state. For example, Van Eyck’s own portrait shows exact wrinkles and lines on his face. You can really see what he looks like if he were alive today. Portraits and realistic painting from this era are almost a way to keep the dead alive. No photographs were taken so this is the closest thing that we have to prove that these people where here. What was really impressive about van Eyck was not the fact that he created beautiful realistic pieces of our history, but the personal interest he seemed to have with each figure he painted. Van Eyck’s painting seemed to display how important the person of interest was. He included signatures and dates which documented and celebrated the people in them. Lastly the use of personal prayer books also known as “Book of Hours” displayed a three dimensional world into such a small piece of space. Small spaces were used to capture and entire three dimensional world. The detail that was cast into these images gives off the effect that there was an eternal background that went back forever. Rather than earlier pieces of art that captured the sense of space by stacking images on top of one another, artists of the renaissance seemed to have mastered the sense of eternal space which is why people today can relate to the images. They are so close and mirrored images of our natural world.

Renaissance Art

Why we focus more on this type of art is possibly because it has more to do with our current culture then art that has been produced before. Renaissance time seems to be a time where humans are evolving and life is a little more relate-able to us now than time periods in the past. Christianity is no longer so new and more detailed religious images were popping up everywhere. In much earlier times humans were not always center stage in paintings or artistic images. In school I have learned so much about artists such as Michelangelo and Raphael. Why I think these two artists art particularly popular is because of where they create their art. Well all know what the Sistine Chapel is and the beautiful work that is displayed on the ceiling by Michelangelo. These dramatic and humanistic images are more relate-able to people of this era making it easier to learn and understand in schools.The images painted appear very realistic although people floating through the air is not entirely realistic when looking at the images you can create your own understanding or story behind the scene. Just by looking at the body language in the paintings you can get a sense of whats meant to be understood in the scene. I feel this is why so many people grow up learning about renaissance art and artists. Overall, I don’t necessarily feel as if people believe renaissance art is better than other produced before but it is more relate-able in a more humanistic way. Drama and colors make them stand out. In images such as Assumption of the Virgin in the Parma Cathedral, the drama and realistic lighting really grasps your attention even surrealism displays humans in away that can be captivating and memorable for most. So for us, it isn’t really a matter of renaissance art is better it is more understandable and relate-able to us now days.

My Favorite Artisitc Period

This quarter I especially enjoyed learning about the Jewish, Early Christian and Byzantine Art .In particular, the architecture at this time caught my eye. Architecture is such an amazing thing. It was interesting to me that people during this time can create such beautiful building without the technology we have present today. There is so much history behind the buildings. They are of huge importance to the people at this time and hold so much meaning in regards to the beginning of Christianity. Churches at this time seemed to be such a warm and welcoming place for worshipers to gather. You can really get the sense of community with the use of these churches. One church that stood out to me was the Church of Hagia Sophia. In the book it was described as an awe-inspiring design. Which I can see were this would come from. The building is nearly covered by a massive dome almost defying the laws of gravity but because of this it really is an eye catcher. The dome itself was described as one of the boldest experiments in history of architecture. As for the interior of these churches go, I really enjoyed the works captured in the Church of San Vitale. The church is a martyrium (church built over the grave of a martyr) in this case, dedicated to martyr St. Vitalis. Although this church is not covered by a massive dome it is unique  as well. It is displayed as a central dome octagon. But inside is what really interested me. Inside mosaics cover the walls illuminating the church. Gold and bright colors capture light sending you into another worldly place. The piece of Christ Enthroned really captures the sense of paradise. When looking at the piece you can see naturalism does not really play a part here. Christ is dressed in a beautiful purple robe shown elevated above the ground. Here we can see he sits on a blue orb next to angels as well as St. Vitalis on which the church is dedicated to. We can see the surrealism is used because of all the different colors as well. Below Christ we can see that trees and four rivers are there but the color of the background is what gives the sense of a different realm. Instead of a blue sky which we would normally see. It is a bright blue background instead. Capturing light was really important and is seen often at this time. These Churches really were interesting to learn about they catch your attention by how beautiful they are The history behind them is amazing and you can really grasp the sense of how important religion was to these people at this time in the way they depict scenes and show how important these figures were to them. Churches were beautifully constructed and you can tell they were important and used for so many things. This makes me feel that the sense of community were important to these people too.