If I Wanted a Tourniquet I’d Have Asked for One

There are days in life that make one feel their head has been wreathed in illuminatingly warm, scintillating happiness. Those are beautiful days. Truly, splendid.

Today is not one of those days.

The truth is, I’m a fairly content person, except when I’m not. I would go as far as to speculate I’m more content than most. I have baskets full of good things in my life to be sure; however, the pain in my life predominately stems from a handful of individuals who occupy significant roles in my life.

It turns out I have a freakishly high tolerance for selfishness and with that tolerance I attract the freakishly selfish to my person. There is zero merit in this.

Z E R O .

These individuals, one in particular, excel in disappointing me with Olympic levels of impressiveness; and they reliably medal in complications. I loath pointless complications. Valid complexity I take, it fends off apathy. The only thing nugatory complexity fends off is good digestion; and Pepto Bismol is a poor substitute for peace of mind.

So, people whom I love who are also producers of perpetual self-deceit, selfishness and ill-thought out complications, I have something to say. You’ve already watched me ride off alone (it isn’t the worst thing to be). I headed for the crisp open air where reality could actually breath two lungs full of fresh air and guess what? It’s beautiful here. Grace pushes up through the earth and fills the air with, I don’t know how to describe it… freedom? peace? good faith? Whatever it is I can’t seem to stop marveling at the beauty.

I do take the blame for what is mine, only what is mine. I actively choose to stop scrambling to carry what is yours. I have learned to have more respect for the both us for that. If you can’t or won’t make the effort to face the difficult decisions in life I can’t help you nor will I sponsor your self-deceit. I grieve for you. I pity you. I love you but do not think well of you. I cannot push or drag you to greener pastures, clearer air and fresher waters. All I can do is motion a welcoming hand from this side of the bank.

That’s what I’m doing now. Please come, you are welcome. I shan’t be returning to your side, ever. This is our only chance to face one another on common ground. As always, your choice.

Let us now praise famous men… ageries.

Tags

Surviving

This blog was originally undertaken under the obligations & requirements of an art appreciation class, which I am pleased to say summated in a glorious A+ (toot, toot).

However as of today I, that is myself the individual (made up of equal parts random good sense to nonsensical superfluousness) hereby announce my intentions to sporadically plod my way to the blog-world community door whilst clutching my own 90-some theses which will undoubtedly touch upon the power & efficacy of my own self-indulgence (and if you don’t get the Martin Luther reference, I can’t help you).

In other words I am, as of this moment and in eerily slow motion, planting my galactical flag deep in the blog-rock of cyberspace thus claiming my right to randomly publish either very good sense, or the complete opposite, mood and ability depending.

Ok, in yet some other, though not in any way superior words, I am taking over this here blog and throwing a verbal welcome party for myself. Heidi-ho.

If you’ve hung on this long I marvel in they general direction.

Non-Western – Xu Wei

Chrysanthemums and Bamboos

Xu Wei was born in 1521 in Shaoxing in the Zhejiang Provence. A Chinese painter of the Ming Dynasty, Xu Wei is considered by some to be the founder of modern painting in China. He was also a poet, playwright and dramatist.
Chrysanthemums and Bamboos was painted in the 16th century and can now be viewed at the Liaoning Museum. Grapes is a hanging scroll that can now be seen in the Palace Museum, Beijing. Both paintings have a very simple and clear beauty as ink is delicately articulated over silk.
This artist, who had such a steady hand and eye for beauty, sadly suffered from a severe mental illness (some suspect he was bipolar). He attempted suicide numerous times and in rather grotesque ways including axing himself in the head (yep, that’s right).  Though he was never successful in offing himself he did murder his third wife whom he suspected of having an affair.  He spent seven years in prison and eventually died in poverty.
As horrifying as his personal life was, his artistic expression did prove to be groundbreaking. He is considered as a bit of a woman’s advocate as many of his plays concentrated on women and their lives. Though indeed, a tormented human being Xu Wei’s aesthetic legacy still influences the art world today.

Sources:
1. Image retrieved on July 27, 2009 from http://en.wikipedia.org/wiki/File:Xu_Wei_Grapes.jpg
2. Image retrieved on July 27, 2009 from http://en.wikipedia.org/wiki/File:Chrysanthemums_and_Bamboos_by_Xu_Wei.jpg
3. Xu Wei. From Wikipedia, the free encyclopedia. Retrieved on July 27, 2009 from http://en.wikipedia.org/wiki/Xu_Wei.

Non-Western – Richard Onyango

Caution to Drivers 1992

Richard Onyango was born in 1960 in the western highlands of Kenya. Before he was an artist he tried out many occupations including but not limited to: sign-painter, bus-driver, carpenter, fashion designer, farmer and animal trainer. He now lives and works in Malindi, Kenya where he painted Caution to Drivers in 1992.
Caution to Drivers is an example of contemporary African art. Onyango’s style is very theatrical and psychologically tense. I think we can all agree that the message of this painting is obvious but while it might seem a little facetious for us here in America it is a very real problem in East Africa.
My husband and I spent over three months in Kenya and Uganda two years ago. I spent most of my time working with an orphanage in south Kenya, which was about a six to seven hour bus ride from Nairobi to a tiny little village at the base of Mt. Kilimanjaro. The road conditions are dreadful but everything is complicated by the bus drivers’ apparent need for speed. Over the course of out entire trip we passed several buses and large trucks that had tipped over completely on their side due to this zest for speediness. We were fortunate enough to avoid such a fate but we did have a few close calls (including almost rear ending a giraffe in the dark). One has not truly lived till their life has been threatened by the jostle and heat of Kenyan bus… or so some might say. I may sound like I’m complaining but I can’t wait to do it all again.
Visit Africa, it changes you.

Sources:
1. Retrieved on July 27, 2009 from http://www.caacart.com/html/onyango_bio_english.html
2. Image retrieved on July 27, 2009 from http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=FE1CDB5A5782B0EE

Post Modern – Conceptual Photography – Challenging the System

Untitled Film Still #58

Cindy Sherman is a conceptual photographer whose artistic expression manifests itself in subtle and some not so subtle messages about women in popular culture. She was born in Glen Ridge, New Jersey in 1954 and now lives in New York City. Her breakthrough came in her Complete Untitled Film Stills, (1977-1980), a series of 69 photographs, which can now be viewed at The Museum of Modern Art, New York.  She uses herself as a model for many of her photographs but only as a nameless subject. While she does not consider her work ultra-feministic she does concentrate on revealing the negative stereotyping of women. “In content I wanted a man opening up the magazine suddenly look at it with an expectation of something lascivious and then feel like the violator that they would be. Looking at this woman who is perhaps a victim. I didn’t think of them as victims at the time… But I suppose… Obviously I’m trying to make someone feel bad for having a certain expectation.” – Cindy Sherman

Untitled Film Still #58 (pictured above) was photographed in 1980 in New York for the Complete Untitled Film Stills exhibit at The Museum of Modern Art. This photograph is my favorite piece of conceptual art from the Post-Modern Period. I was immediately drawn to it. As I study the face in the photograph I feel apprehension and tense uncertainty. Sherman effectively lures me in and then leaves me wondering. She has me caring a little. How did she do that?

Untitled Film Still #48 was photographed in 1979 in New York. To some this may seem melancholic and tragic (why is she alone?) while to others it is a symbol of freedom and bravery(escaping an abusive relationship?). I wonder if we all find ourselves somewhere in her story. Do you see yourself somewhere in there? (Perhaps you identify with the suitcase… just joking.)

Untitled Film Still #48. 1979.Collection The Museum of Modern Art, New York

Untitled Film Still #3 was photographed in 1977 in New York. What do you see in her face and posture? Fear, confusion, distaste, detachment, pleasure, love, hate, what? It is difficult to be indifferent to any of these women for they all feel too personal and too real to be ignored. There is nothing incredible about her or about her surroundings. Her expression and posture are what makes us stop and think beyond what we thought we were seeing at first.  What do you see?

 

Untitled Film Still #3. 1977.

Barbara Kruger, another American conceptual artist, was born in 1945 in Newark, New Jersey. She is most widely known for black-and-white photography with bold red and white captions that pack a punch usually criticizing popular culture, gender stereotypes, chauvinism and political authority. “I work with pictures and words because they have the ability to determine who we are and who we aren’t.” – Barbara Kruger

Your Comfort is My Silence was created in 1981 in New York. The “Your” in this caption does not seem to be pointed at the viewer and so we are pushed to think who the “your” and the “my” are referring to. A threat but to whom? Is it a glimpse into domestic violence or corruption within government? I see both; what do you think?    

 

 

Your Body is a Battleground was created in 1989 in New York. Is Kruger making a statement about sexism, advertising, politics, religion or something else?

 

Thinking of You was created in 1999 in New York. Not one of the more peppy signs you’ve seen but who of us can’t identify with the message? Does it make you uncomfortable or does it make you laugh? I think we all have had at least one person in our lives we might consider sending this postcard to… but I wouldn’t recommend it.[

Conceptual art is the theory that the message to be delivered takes prominence over the material used to relay that message. Both of these artists use conceptual art to heighten awareness of evils within society by providing glimpses, some subtle, some bold, into individual experiences within that society. Some are witty and caustic while other are dark and menacing.  Sherman has a gentleness about her work that I respond to while Kruger relies more on shock factor to demand attention. What is your reaction to these conceptual pieces? 

Sources:

1.Untitled (Your Body is a Battleground) – 1989. Image Retrieved on July 24th, 2009 from http://agant88.wordpress.com/2009/02/

2.Your Comfort is My Silence – 1981. mage Retrieved on July 24th, 2009 from http://projects.ischool.washington.edu/tabrooks/598_Art/barbaraKruger.htm

3.Thinking Of You – 1999. Image Retrieved on July 24th, 2009 from http://www.madebymany.co.uk/on-inspiration-00111

4.Untitled Film Still #58. 1980. Image Retrieved on July 24th, 2009 from http://arts-sciences.cua.edu/hsct102/sherman%20pages/shermmain.html

5.Untitled Film Still #48. 1979. Image Retrieved on July 24th, 2009 from http://www.moma.org/interactives/exhibitions/1997/sherman/selectedworks.html

6.Untitled Film Still #3. 1977. Image Retrieved on July 24th, 2009 from http://www.moma.org/interactives/exhibitions/1997/sherman/selectedworks.html

7. Cindy Sherman. From Wikipedia, the free encyclopedia. Retrieved on July 24th, 2009 from http://en.wikipedia.org/wiki/Cindy_Sherman

8. Barbara Kruger. From Wikipedia, the free encyclopedia. Retrieved on July 24th,

2009 from http://en.wikipedia.org/wiki/Barbara_Kruger

9. Barbara Kruger. The Art History Archive – Feminist Art. Retrieved on July 24, 2009 from http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html

Early Modern – For the Love of Marc Chagall

“Will God or someone give me the power to breathe my sigh into my canvases, the sigh of prayer and sadness, the prayer of salvation, of rebirth?” – Marc Chagall

The First World War devastated and horrified Europe and the rest of the world as modern technology revealed new innovated ways to kill more people in less time with more brutality and with less personal involvement. The desire for rebirth became the inspiration of the Avant Garde movement as it redefined art and its purpose. What followed was itself shocking and even horrifying to some as it revealed the core of society and its reaction to war.

Chagall was a Russian born French painter of Jewish decent. An Expressionist who was also largely influenced by Fauvism and Cubism, his style is very abstract and fantastical. Cubism, I confess, is not one of my favorite modes for aesthetic expression and, since I am already sitting in this self-made confessional, I might as well go on to say that I would just as soon give my nephew a crayon and free range use of it on my living room wall than dedicate it to Cubism; unless, however, we are talking about Chagall.

The Birthday pictured above was painted in 1915 in France and now hangs in The Museum of Modern Arts, New York, USA. It is very imaginative and dreamlike with the position of the main subject’s bodies floating in middle of the painting while a good deal of detail and beautiful color surrounds them. I find it incredibly romantic and gentle.

The Fiddler (directly below) was painted in 1913 and can now be seen at the Stedelijk Museum, Amsterdam, Netherlands. I find it poignant and beautiful and it is a clear example of his style in combining Christianity and Judaism themes though he did not particularly subscribe to either religion. While sadness tinges many of his works his belief in hope, beauty and love seem to be his central themes. He often insisted that love was what colored his paintings. “Great art” he said, “picks up where nature ends.”“ This is where I swoon.

The stained glass window (pictured last) was a memorial made and donated by Marc Chagall to the United Nations building in NY. Blue seemed to be a very emotional color for Chagall and here he uses it to reveal hope and sadness intertwined. Pablo Picasso commented, “When Matisse dies, Chagall will be the only painter left who understands what color really is.” Probably the only thing Pablo and I would agree on aesthetically. Hardcore Cubist lovers, you may now throw your stones if you like, I’m wearing my helmet.

A little extra:
In Chagall’s paintings we see color and emotion in fantastical shapes and unusual but highly symbolic subject matter. For example goats. Yes, that’s right, goats. When flipping through Chagall’s repertoire it doesn’t take one long to notice a suspicious amount of goats randomly placed and often participating in very un-goat-like activities, such as playing the violin. Sometimes these goats seem romantic while others have an eerie, ominous air about them.

Before writing this blog I thought he simply had a thing for goats which didn’t seem too odd to me as he did grow up in a little village in Russia where I thought it was quite possible there was a significant goat population. However, upon further research I have found that these goats were largely symbolic. To delve into this symbolism however would double this blog in size so we will leave it at that for now. (None of the works in this blog supply an example of these symbolic goats however if you look at my very first blog you will see such an example.)

The Fiddler

Sources:

1. artinthepicture.com. Marc Chagall, Birthday. Image Retrieved on July 16th, 2009 from http://www.artinthepicture.com/artists/Marc_Chagall/

2. artinthepicture.com. Marc Chagall, The Fiddler. Image Retrieved on July 16th, 2009 from http://www.artinthepicture.com/artists/Marc_Chagall/

3. Stained Glass. From Wikipedia, the free encyclopedia. Image Retrieved on July 16th, 2009 from http://en.wikipedia.org/wiki/Stained_Glass

4. United Nations Cyber School Bus. Chagall Stained Glass. Retrieved on July 16th, 2009 from http://www.un.org/cyberschoolbus/untour/subcha.htm

5. The Artchive. Marc Chagall. Retrieved on July 16th, 2009 from http://www.artchive.com/artchive/C/chagall.html

Impressionism – Love or Hate?

 

The Impressionist’s motto states the “human eye is a marvelous instrument.”  As I look at the paintings of Claude Monet, John Singer Sargent, and Pierre-Auguste Renoir I understand their motto implicitly.

Impressionism emerged around 1863 as the radical new face in the visual arts scene. The first Impressionists took a fair amount of criticism and even scorn for a good twenty years before gaining worthy recognition in the art world and society in general. Another term for impressionism is optical realism, which refers to the almost scientific exploration of the visual experience and the effect of light and movement on nature, human figures and random objects. This fascination for light and movement brought the artist out of the studio and to the open outdoors where he could experience nature and the essence of light first hand. The technique of painting out of doors was groundbreaking and controversial.

One of these pioneering outdoor painters was Claude Monet, one of the four first Impressionists who created the Impressionist method. Madame Monet and her Son (picture below), also known as The Walk, Woman with a Parasol, was painted in 1875 by Claude Monet in France and now hangs in the National Gallery of Art, Washington DC, USA. It depicts Camille Monet, Monet’s wife, and their son Jean. Monet loved to explore the subtle changes in atmosphere, which we can observe in this painting with the wind and daylight playing their part in this snapshot in time. I love the colors of movement and pure briskness in the sky, the grass and flowers, the woman’s clothing and even in her face, which is covered by a veil. How would you describe her expression? I can never seem to decide. Yes, impressionism has my attention now.

 

Here artistic expression comes alive with brilliant color and textures leaving detail to be implied more than articulated. Along with the radical change in technique, the subject matter itself was considered controversial as it is not journalistic nor did it tell a story or carry a classical theme or religious message.  Impressionists intended to supply only a quick glimpse, a slight impression of a moment in time where light, movement and color rule the scene.

Impressionism predominately refers to French paintings; however American John Singer Sargent earned his own place in the Impressionistic movement though he did not paint exclusively in this style. The Black Brooke (first picture below) was painted in 1908 in London and now resides at the Tate Gallery in London, England. The colors and textures swirl about the young girl and within the girl herself giving one a sense of calm (is it cheerless or the opposite?) contemplation. It is one of those rare paintings that make me want to crawl through the frame and settle myself next to that brook to do my own heavy thinking. The Brooke (second picture below) was also painted in London around the same time and is now part of the Collection of the Ormond Family. Sargent used bolder and brighter colors here and instead of the subjects looking off into solitude they seem aware that we are watching them but they don’t seem to mind or care. The painting feels warm as if I can feel the same sunlight that shines on the two girls reaching me a little too.  It is similar to The Black Brooke but with less introspection.  These are two of my favorite paintings from the Impressionistic style. I love them both for their simplicity and how detail plays second fiddle to the colors and textures.

Impressionism can be recognized by its sketchy loose brush strokes and dabs of brilliant color that blend together on the canvas. The result is a rough dramatic surface, which clashes dramatically with the smooth and glossy paintings from past eras. Remember Watson and the Shark by John Singleton Copley from the Baroque Period,  painted in 1782? The subject matter was an actual event and the style was very smooth and glossy. That was the opposite of what Impressionists were going for.

 Pierre-Auguste Renoir concentrated on the effect of sunlight and light in general on figures and flowers. In The Reading Woman (picture below) painted in 1900 in France he gives us a glimpse of a young girl completely absorbed in her book. In this simple, common moment we see Renoir’s love for light as her pearly shoulders and neck gleam out from the canvas. I love this painting so very much; just as I might find myself intrigued by an author as I find their words connecting with some intimate part within me, I look at this painting and find myself wondering about Renoir.

 

I am thoroughly in love with Impressionism however my love affair fizzles out to a mild crush when it comes to Post-Impressionism.  In danger of being stoned by art lovers everywhere I confess that while I enjoy and recognize the beauty in Van Gogh’s work he is not a great favorite of mine. I will take the burden on myself and simply conclude that he speaks a language I do not entirely understand. Post Impressionism begins the dangerous path to that style that is so open-ended in its interpretation that I find myself losing interest altogether. Throw stones if you must but to each his own… right?

Sources:

1.Impressionism. Retrieved on July 7, 2009 from http://www.huntfor.com/arthistory/c19th/impressionism.htm
2. Impressionist Art. Retrieved on July 7, 2009 from http://longwood.cs.ucf.edu/~MidLink/Impress.html
3. Artelino. Impressionism. Retrieved on July 7, 2009 from http://www.artelino.com/articles/impressionism.asp

4. Image retrieved from AllPosters.com. The Black Brook. Retrieved on July 6, 2009 from http://img2.allposters.com/images/SHD/S880.jpg

5. Image retrieved from AllPosters.com. Brook. Retrieved on July 6, 2009 from http://img2.allposters.com/images/MCG/S844.jpg

6. Image retrieved from AllPosters.com. Madame Monet and her Son. Retrieved on July 6, 2009 from http://img2.allposters.com/images/HAD/5608.jpg

7. Image retrieved from AllPosters.com. Reading Woman. Retrieved on July 6. 2009 from http://img2.allposters.com/images/ARIPOD/40121541.jpg

8. Image retrieved from AllPosters.com. Starry Night. Retrieved on July 7, 2009 from http://img2.allposters.com/images/ARTPUB/AF2-00057.jpg66

Classical Period – Beethoven’s 7th – The Golden Age

* Upload Video File * Record from Webcam Watch this video in a new window Charles Latshaw conducts Beethoven Symphony #7 mvt II

(I have included the second movement for you to listen to, as it is my favorite part and the entire symphony is rather long running about 34 minutes.)

The Classical Period has been called the “Golden Age of Music” with little wonder as it produced some of the greatest geniuses in music history, such as Haydn, Mozart, and Beethoven.  Music in this era differed from the music of the previous Baroque Era as it was lighter, less complicated and more accessible to the middle classes.

This was the age of Enlightenment (not to mention revolutions) and the common man was seen as being capable of tapping into his intellectual side and being responsible for acts of great goodness and bravery. Between the French and American revolutions the middle classes achieved more power and influence and with these they demanded more influence in the art spectrum.

Emphasis was on grace, proportion and balance, known as classicism, in all the arts, not least of all, the music world. Music became softer and mainly homophonic though not exclusively. Moderation and control were evident in the elegant beauty of the melodies but did not interfere with their expressiveness.

Unlike composers from the Baroque period who earned their livings through the patronage of the church or the high court, Ludwig van Beethoven supported himself though annual stipends and gifts from members of the aristocracy as well as fees from his concerts and music lessons and the general proceeds from the sale of his work. Perhaps the most extraordinary detail of Beethoven’s besides his obvious genius was that he produced many of his best works AFTER he had become completely deaf. One of the most talented composers who still inspire us today tragically never heard most of his own music outside his own head and imagination.

Beethoven completed his Symphony No. 7 in a major, Op. 92 in1812 while he was living in Teplice which is located in present day Czech Republic. He dedicated this piece to the Count Moritz von Fries; and yes, by this time he was entirely deaf.

The Seventh Symphony is in the usual symphonic form with four movements. The first movement is in sonata form with dance-like rhythms. The second movement is slower than the other three movements and is the most popular. It is also in my top three favorite pieces of music of all time. The first time I heard it I was seven years old and I became so overwhelmed by its beauty that tears ran down my face. To this day I have difficulty listening to it without welling up with emotion. The third movement is a scherzo and trio, which is played twice. The fourth and final movement is in sonata form again and played very dynamicly. The entire symphony depicts joy and tragedy interlocked, with the listener swept away, equally transfixed with them both.

Beethoven himself referred to it as “one of my best works.” I have to agree.

Sources:

1. Classical period (music). From Wikipedia, the free encyclopedia. Retrieved on June 23, 2009 from http://en.wikipedia.org/wiki/Classical_period_(music).
2. Symphony No. 7 (Beethoven). From Wikipedia, the free encyclopedia. Retrieved on June 23, 2009 from http://en.wikipedia.org/wiki/Symphony_No._7_(Beethoven).
3. Ludwig van Beethoven. From Wikipedia, the free encyclopedia. Retrieved on June 23, 2009 from http://en.wikipedia.org/wiki/Beethoven.
4. Charles Latshaw conducts Beethoven Symphony #7 mvt II. (video clip) from YouTube.com. Retrieved on June 23, 2009 from http://www.youtube.com/watch?v=qs5pH4GKYkI.

Baroque Period – The Rape of the Sabine Women

(The Rape of the Sabine Women by Nicolas Poussin was created between 1634 and 1635 in Rome. It was commissioned by the Cardinal Luigi Omedei. It can be viewed now at the Metropolitan Museum of Art in New York. It is necessary to specify that the word “rape” in the title of this painting refers to abduction, not sexual assault.)

The Rape of the Sabine Women depicts the climax of a story in Roman history that isn’t often shared around the family fireplace; small wonder since the bad guy not only gets the girl but world dominance to boot. Try fashioning a cautionary tale against theft, violence and murder most foul with that ending. This is a plot scheme Disney wouldn’t touch with a ten foot pole. Still, a very interesting story none-the-less.

The story unfolds when the male founders of the ancient Roman Empire failed to convince their Sabine neighbors to allow their daughters to intermarry with them. The Romans response to this rejection was far from chivalrous. They desired to create an empire and wives being a necessary component of this plan, they plotted to aquire them with a no-nonsense approach.

It is here, under the ruse of attending a peaceful feast hosted by the Romans that the Sabines found themselves in a bit of a pickle, a legendary and brutal pickle. The Roman leader, depicted in red, gives the signal and at once the Roman soldiers fall upon the Sabine women snatching them from their husbands, fathers, mothers, and children. Those family members who desperately but ineffectually resisted were killed on the spot. A violent and bloody scene to be sure.

The afterstory is a bit more positive. While quite violent in the act of the actual kidnapping, the Roman soldiers went on to treat these women whom they kidnapped with respect that was unparalleled for the time. They were offered full rights of citizenship within their new status of wives of Roman citizens and mothers of the future Roman empire. I would have found this feeble consolation to having to live my life with my husband’s murderer but legend tells us the women eventually embraced their new rights, their new lives and their new families that they had had little choice in forming. Perhaps, in another time, I would have reacted the same; it is impossible to say. Still, the legend fascinates.

The story itself draws interest (violence, drama, sex, human rights – who said ancient history is dull?) but so does the style of the painting which communicates a good deal. The style is very naturalistic and classicizing as well as being very clear and legible even though the scene is depicting a frenzy of action. This can be seen as a result of the mandate through the Council of Trent that all art be direct, legible and completely accessible to the audience. The scene is kept clean and clear throughout the chaos as Poussin keeps everything very organized. In my opinion, a little too organized.

While I find the painting beautiful and fascinating, I also find the marked attention to rigid orderliness, especially in the architecture set in the background to the right, somewhat insipid. It is distracting as I try to take in the painting as a whole. The alternating light and shadows give a sense of rhythm in all the dramatic movement but there, that building stands, a sore, boring thumb in the middle of so much attention to detail. The experience is much the same when you attend a low budget play complete with tacky backdrops only to find the acting transcends the rest and you enjoy yourself regardless.  Still you wonder, how great would it have been if only the backdrop hadn’t been quite so shabby?

Sources:

1. Wikipedia, the free encyclopedia. The Rape of the Sabine Women. Retrieved on June 19, 2009, from

http://en.wikipedia.org/wiki/The_Rape_of_the_Sabine_Women.

2. Smart History. Poussin’s Landscape with St. John (1640) and the Rape of the Sabines (1635) (video clip). Retrieved on June 19, 2009 from http://smarthistory.org/poussin.html.

Botticelli – The Birth Of Venus

Sandro Botticelli’s The Birth of Venus was privately commissioned by the Medici family in 1482 in Florence, Italy. The Medici’s were an extremely powerful family whose influence made Florence the cultural center of the world and whose patronage of artists such as Botticelli, Michelangelo, and Raphael gave fruit to some of the most beautiful and influential works of art, which still inspire the world today.

This painting was likely meant as a metaphor representing beauty as a neo-platonic ideal. Perfect beauty was to be experienced in thought and then through art but it was not to be encountered here on earth. This quest for beauty was considered a spiritual pursuit that would ultimately lead to God. This message would have appealed to the Medici’s, who were the founders of the Platonic Academy of Philosophy, as they were significant figures in the rebirth of Humanism.

The theme of the painting is based upon Greek mythology, indicating the impact of humanist thought which pulled away from the prevalent Roman Catholic influence. Humanism allowed a widening of the borders of what was acceptable in political, economical and cultural spheres but still many similar themed works of art were destroyed for their pagan content. The Birth of Venus’s preservation is a sign of the Medici’s power and influence even as far as the papacy.

The painting itself is very stylized. It represents a Greek myth in which Venus, the Classical goddess of love and beauty, is born under rather brutal circumstances. The background of the story is necessary in order to appreciate the meaning of the scene portrayed. Uranus, a Titan, in Greek myth was murdered by Zeus, the king of the gods, through castration; when his genitals fell and mixed with the foam of the sea, Venus was conceived, and The Birth of Venus comes to life.

The painting depicts the next stage in the story where Venus stands, altogether emerged from the sea and fully-grown upon a half shell and in perfect, neo-platonic beauty. The Winds, Zephyr and Aura, blow Venus toward shore upon her shell where one of the Graces (or Horae, one of three goddesses of the seasons) awaits ready to cover her in a beautiful strip of material. The effect of the Humanist philosophy is apparent with the focus on Venus’ body and her almost too perfect beauty, elongated features and seamless grace. In the background a landscape of waves and shoreline with many orange trees are simply painted.

I was able to see The Birth of Venice first hand several years ago at the Uffizi in Florence. The first detail of the painting, which caught, more demanded my attention, was its size, as it is rather large with dimensions of 172.5 cm by 278.5 cm. The second detail was the colors as they are significantly brighter in person than in any images of the painting I have seen in books or on the Internet. They are incredibly bright and striking.

The main focus is Venus, standing delicately in the center of the canvas on her half shell completely nude but modestly posing with the two Winds to her right, beautifully entwined with each other, blowing visible wind and flowers in her direction causing her hair to swirl about her body in beautiful motion. Other effects which reveal motion are the leaves of the orange trees on shore, the waves around Venus and the clothes of the Horae, which swirl about her as she awaits her chance to clothe the approaching Venus.

This painting is one of my favorites not only of the Renaissance era but also of all time for it translates beauty to me on many levels. The content itself is lovely with its imagery and beautiful story telling. Also, the style of painting is stunning with the effect of grace and movement visible throughout. The colors themselves entrance and seduce, inducing the same effect I experience while listening to Beethoven’s Seventh Symphony. I suppose, upon danger of sounding overly sentimental, The Birth of Venus is a symphony I experience through my eyes.

Sources:

1.The Birth of Venus (Botticelli). Retrieved on June 10th, 2009 from Wikipedia : http://en.wikipedia.org/wiki/The_Birth_of_Venus_(Botticelli).

2.Botticelli’s Birth of Venus. Harris, B, Laird, C. Retrieved on June 8th, 2009 from SmartHistory : http://www.smarthistory.org/Botticelli.html.