Meissen Porcelain

The Porcelain of Germany
     Prior to 1710 all porcelain had to be imported, mainly from China (Britannica). However, in 1707 an alchemist by the name of Johann Freidrich Bottger, and a physicist by the name of Ehrenfried Walter von Tschirnhaus created what would come to be known as Meissen Porcelain. The name stemming from the region of Germany in which it was produced and sometimes referred to as Dresden porcelain; Dresden being a nearby town.
With the invention of this hard paste porcelain came the legacy of Meissen porcelain which is still alive and manufactured to this day. One of the most notable patterns the Zwiebelmuster (onion) pattern pictured below was copied by various porcelain artists after its introduction in 1739. This elegant blue pattern is still used in Meissen porcelain manufacturing to this day and earlier pieces are highly sought after, the two crossed swords being their trademark and the deciding factor or whether a piece is truly a piece of Meissen production.
Aside from dishes and vases Meissen porcelain is known for the creation of Meissen figurines. The King of Saxony, Poland; Augustus II wished to have his home filled with porcelain animals and figurines (Collectors Weekly). To accomplish this task, the Meissen factory employed the wood-carver Johann Joachim Kandler to create the figurines. Thus, the iconic Meissen figurines were brought to life.
Which brings us to my motivation for bringing this as my choice of artwork. These small figurines dotted every hard surface of my Grandmother’s home. Some placed almost as if they were a secret, behind picture frames or peaking over the breadbox. To her, they reminded her of her home in Germany, and to me they remind me of my sweet grandmother and how she would tell us stories, using these small figurines as characters. If ever you have the opportunity to visit Germany, a beautiful sight to see is the pottery market in Meissen. It’s a trove of what my husband calls “worthless dust collectors.

Meissen. Zweibelmuster. 1739. Meissen Porcelain Company. Meissen, Germany.

As you can see on the left side of the image, there is quite plainly what looks like an onion. Thus, the name Zweibelmuster, or onion. I absolutely love this serve ware pattern and remember it fondly from holidays with my grandmother. As opposed to modern serve ware, this is all a monochromatic design. At the time, this was the norm in porcelain design and I am happy that the Meissen company has not only kept up the production of this particular design, but has not bent to the changing of times. I also enjoy the flow of these pieces, you have very defined lines of a more natural and floral scene. Couple with the circumferential lines of demarcation for the  dishes.

Meissen. Europe Riding on White Bull. ~1900. Meissen, Germany. Private Collection.

This is one of my favorite Meissen figurines. There are so many that sometimes it is hard to choose a favorite. This one however, is one that i enjoy because of the bull. Typically people will think of a bull as a dirty farm animal but here we a beautiful woman, Europe, riding it as if it were the most noble steed on her way to some grand event. I love the textures that were added to the base of this piece with the gilding. I would like to point out that one of the hallmarks of the Meissen  porcelain is the creamy white base. They have allowed this to show throughout the piece, with the bull and the other subject having milky white flesh with little glazing to darken certain aspects of the skin, face and hair. The angles in this sculpture as well as the swirling of her clothing lend to the notion of forward progression, as if this woman has somewhere to be and that this bull is happy to oblige,m provided the young child helps it along its way.

 

 

Meissen. Love Letter. 2018. Antemann Dreams Collection. Meissen porcelain Company. Meissen, Germany.

This is a more modern figurine currently being sold by the Meissen company. As you can see this work, and really the entire collection, is a little more risqué than the previous work. You can see that the white porcelain, absent from any imperfections is still the focal point in color. The floral colors and even the light coloring of the hair and deep lips only seems to accentuate the white of the porcelain. Emotionally, this seems to me a sculpture about love and happiness. Perhaps the beginnings of romantic love, when even a simple love letter was a bit to do which brightened your day. However, though the craftsmanship is beautiful, I don’t think it would have a place n my own home, except perhaps in my bedroom where guests wouldn’t see it. But that is simply personal preference.

 

Works Cited:
Meissen Porcelain Company. Meissen, Germany. Established 1710. https://www.meissen.com/en/products/love-letter-antemann-dreams-collection-h-38-cm

Meissen Figurines or Auction. 1stdibs.com. Meissen Rarest Figurine Group. Europe Riding on a White Bull. https://www.1stdibs.com/furniture/decorative-objects/sculptures/figurative-sculptures/meissen-rarest-figurine-group-europe-riding-on-white-bull-circa-1900/id-f_2131332/

Collectors Weekly. European Art Pottery. collectorsweekly.com. Retrieved from: https://www.collectorsweekly.com/pottery/european

Encyclopedia Britannica. Meissen porcelain. Britannica.com. Retrieved from: https://www.britannica.com/art/Meissen-porcelain

 

 

World War II

World War II

World War II began its final blossom into full war on September 1, 1939. After the failings of the League of Nations, the Munich Conference ceding Czechoslovakia to Germany, and finally Hitler pushing German forces into the invasion of Poland, World War II had taken hold. Europe would be at war for nearly 5 years, Germany finally surrendering in May of 1945. The war in Japan would wage for another 3 months until Emperor Hirohito signs the instrument of surrender to the Allies (Brinkley, 2004).
During this time atrocities were not focused on the battlefront. World War II followed quickly on the heals of World War I. However, World War II is the great war which most people have a better understanding. The civilian casualties, and the degrading inhumanity, bloodshed and lack of remorse for our fellow-man came from every side. Some, yes were more brutal than others, but every military force was responsible for atrocities to the civilian populace in their own way. Concentration camps in Germany, the Nanking massacre by the Japanese, America’s refusal to allow Jewish refugees as they attempted to escape the Reich. The calm of the Katyn Forest is now haunted by the souls of over 4,400 Polish officers murdered by the Soviets, and let us not forget to mention the bombing of Dresden by Allied forces.
In the background of all of this bloodshed were those which cataloged, painted, photographed, wrote, and forever immortalized the time. Artists were commissioned on all fronts for posters that would spark national patriotism or to help win over any who were not completely sure about their country’s role in the war. Photographs of broken bodies torn apart by artillery were developed alongside smiling enlisted SS men or the haunted gaunt faces of the subjects of Joseph Mengele. The Reich Chambers of Culture (Reichskulturkammern) controlled all of the visual and literary arts during the war, causing thousands of artists and scholars to flee Germany (Brinkley 2004). However, whether it be for propaganda, the artistic armed service members rendition of the atrocities which they witnessed, or the diary published by a frightened young girl we see that morality and righteousness may have prevailed in this war, the darkness of inhumanity took its hold on everyone that it touched.

Paul Nash. Battle of Britain. 1941. Oil on Canvas 1480mm x 2060mm. War Artists Advisory Committee 

This painting by Paul Nash is a depiction of an aerial battle over a picturesque sea and river inlet. In his description to the War Artists Advisory Committee Nash states that he tried to depict the constant elements that would have been seen during the Battle of Britain (Imperial War Museum). These are not all happening at once, but are rather a ‘long exposure’ if you will, of the events which transpired. You can see air balloons in the lower left taking off and airplanes grounded as they await what is in store for them in the sky on the lower right. The part of this painting which I enjoy the most is the events in the sky. You can see minutely placed aircrafts as well as a fleet in formation, but what is most jarring, in my opinion is the clouds and the white trails coming from the planes in their aerial defeat over the Luftwaffe. Creating dark black smoke as the Axis forces are destroyed, plummeting to the ground.
For Nash, who was a prominent artist in Britain during WW2 (Imperial War Museum), this painting was not only well done, but depicted acts which were carried out during his time. The Second World War raged over Europe, consuming everyone and everything in its path. We can see this in this scene, which if you remove the aerial modern warfare instruments you would be left with a peaceful and beautiful landscape at twilight. The people, the civilians saw this happening on a daily basis, the war in Europe was at their doorstep and bombings, death, and the tattoo of aerial fighting was as normal to them as their daily mealtime.  Personally, I don’t believe that I would hang this piece in my home, however, I do believe that it could have a place in one of those larger coffee table books of prints which specialized in the era.

Thomas Calloway Lea III. Marines Call it the 2,000 Yard Stare. 1944. United States Army Center of Military History. Fort Lesley, Washington D.C. 

Tom Lea was a Life Magazine correspondent in World War II. He was with the 1st Marine Division during the Battle of Peleliu. As he was a correspondent with the Marines he knew them quite well and was with them during their battles and skirmishes. When asked about the subject of painting he said:
“He left the States 31 months ago. He was wounded in the first campaign. He has had tropical diseases. He half-sleeps at night and gouges Japs out of holes all day. Two-Thirds of his company has been killed or wounded. How much a can a human being endure.”
Thomas Lea.
This painting shows the horrors of war and the atrocities that the military members faced and the effect that it had on their psyche. It also shows the ‘silent aftermath of combat’ in the image the soldiers have obviously finished their portion of the skirmish, at least for the moment. Smoke billows up behind them as aerial support flies overhead. The soldiers in the background are resting, not actively engaged in their target. It is relatively calm, but you can see the struggle in the eyes of the subject. He is worn out. His nerves are ragged, and he looks at the observer, but does not see them.
I love the detail that Lee placed in this photo as you get farther into the background you would expect the detail to be more muted, but the mountain ridge behind them, as well as the tattered and torn trees are still expertly defined. If I was more educated in the markings of planes, I’m sure I could identify the ones fling over head. The lines on the subjects face and the hair on his chest are found in shadow and highlight so expertly done that you can see the gauntness of war and the distress of his clothing. The lines that he uses in his shading are a good contrast to the softened clouds of smoke and lend a better depth of detail to the image. A great piece,even if it is too raw for display in a residential setting. I think it would be great in either a military hospital or where it is now, in a museum.

Albert Richards. The Drop. 1944. Oil on Panel. 54.9 x 75.2 cm. Imperial War Museum. 

This image by Albert Richards is of a British Paratrooper drop during World War II. Albert Richard was a British War Artist who first served the British army as a Sapper, followed by becoming a paratrooper, and finally as a War Artist. In this image we see a paratrooper insertion into war-torn territory as depicted by Richards. Having had first hand experience with the life of the paratrooper as well as being an artist in his own right. Richards brought the intensity of the jump to the observer in a manner which drew them into the landing zones of Europe at the time. Richard was the youngest of the British War Artists to be killed in World War 2, suffering fatal injuries after his military vehicle triggered a mine within a mine field.
I like this painting because of the use of color and the tone. Most of the colors are a monotone green/yellow. With splashes of black and burgundy. To me, it seems like a surreal and peaceful painting, and from my time at Fort Bragg, there is a kind of ethereal quality to jumping, at first your anxious and nervous, but then it all fades out and your weightless waiting for the abrupt tug of the ‘cute opening. Even watching a jump is mildly peaceful, just beautiful plumes of chutes rhythmically opening against the sky. to me, this painting, as opposed to the above painting by Lea is a calm before rather than after the storm. The last moment to gather yourself and be at peace before the impending combat. The LZ doesn’t look hot, so there is no imminent danger. I would love to hang this piece in the corner of my office which is reserved for military memories, simply because to me, it has great implications about the paratrooper life.

Alan Moore. Grim Witness. 1947. Sketch. Australian War Memorial.

This drawing by Alan Moore is different from the paintings which I usually post, as it’s just a sketch or drawing. Alan Moore was an Australian War artist during WW2. He was there (on assignment) when the British 11th Armored division liberated Bergen-Belson. It was at this time that he saw the atrocities inflicted upon the civilians in the war. Much of his work depicted the suffering of civilians through the war, rather than military skirmishes or Australian soldiers.
As I mentioned above this, being a sketch I would not typically gravitate toward it. However, the raw emotion that this elicits is extremely powerful. Monochromatic with all of the depth and contrast coming from variations in shading and highlights, as well as the darkness of the subjects. Obviously, what we are viewing is an atrocity of dead or dying persons being loaded into some sort of trailer to (presumably) be disposed of. Similarly the lack of detail within the faces seems to me, to show the vastness of the situation. With so many innocent lives lost, it is hard to individualize.

Chief Photographers Mate Robert F. Sargent. Into the Jaws of Death. June 6, 1944. Black and white photograph. 

The above photograph was taken by Robert F. Sargent at the time of the amphibious Coast Guard insertion of Omaha Beach, on D-Day (Young, 2013). I have seen this photograph on countless postcards, prints, posters, and reproduced on various web pages. A very iconic image to say the least. And, though most people do understand the significance, if you didn’t you would wonder what made the image so great. That is the beauty of photography though, not only to capture a good image, but one that freezes a moment in history so as to present it to the world for generations to come.
I love everything about this photograph, except perhaps the fact that is had to come to exist in the first place (war may be an inevitable reality, but it doesn’t mean we have to like it). First, I think that the image being a monochrome black and white adds to the emotion, rather than detracts from it. It gives it almost a peaceful ethereal quality, without the clashing colors and business. The men exiting the ramp are obviously laden with a large amount of gear, but there is an urgency to their movements. The lines of the water crafts railings kind of force your eyes to follow the path of these men, and up to the waiting shoreline. The horizon of trees in the background foreshadows the impenetrable obstacle that these men faced ahead and the shore of the beach is littered with soldiers, however, from this distance we cannot tell how they are fairing against the machine-gun fire which they encountered.
Photography, and namely war photography was abundant during this time. images of fire fights, skirmishes, as well as the civilians which were encountered, flooded newspapers and were reprinted on posters. With this the war efforts could be increased within the various contributing countries. Showing the people back home what they were fighting for and who was doing the fighting. War photography, in my mind, solidifies and humanizes the men and women who are tasks with fighting. Because it is o easy to forget that in order to save our own way of life, brave men and women must risk theirs.

Karl Robert Bodek and Kurt Conrad Low. One Spring. 1941. Watercolor, India ink, and pencil on paper. 14.4 cm x 10.3 cm. Collection of Yad Vashem Art Museum, Jerusalem.

I want to finish this post, with one of my absolute favorite paintings. This image was a collaboration between two artists who were held in the same prison camp  (briefly) during World War II. the painting, shows the muddy landscape and the barracks in the background. And the barbed wire which  encircled the camp. Such a dreary and horrifying place to be brought on to paper, but then, a lone butterfly, sunny and beautiful perched on the barbed wire. A symbol, perhaps of hope. A light in all of the darkness which surrounded these people. To me, that is what this painting shows. That even though these two men were facing certain torturous lives and even death (Bodek was murdered in Auschwitz approximately 1 year after this painting was done). They held fast to this small scrap of hope and beauty.
World War II was filled with nearly every atrocity known to man. The absolute worst of the human race filled with greed and given power being let loose on the innocent people and running unchecked for so long, by those who could have intervened. Even with all of that, even with experimentation on men, women, children by not only the Reich but also by the Japanese, they did not prevail. Though they had followers and had brainwashed generations of people, enlisting their children to their cause and stamping out any charity, remorse, or persons who would help these people, they did not win.  However, we must not forget that this happened, these images, paintings, the poetry and words must live on. Because those who do not study their history are destined to repeat it, and what an awful atrocity that would be.

Works Cited:
Imperial War Museum. “Battle of Britain”. Retrieved from http://www.iwm.org.uk/collections/item/object/20102

Rothman, L. and L. Ronk. “A painter’s view of World War II.” 15 July 2016. Retrieved from time.com/4382370/a-painters-view-of-world-war-ii/

British Council. “Albert Richards (1919-1945).” Retrieved fromvisualarts.britishcouncil.org/collection/artists/richards-albert-1919

Lewis, Caroline. “War artists World War II on canvas and paper pat two: The Theatre of War.” Retrieved from http://www.culture24.org.uk/history-and-heritage/military-history/world-war-two/tra27967

Alan Moore (War Artist).Retrieved from http://www.revolvy.com/main/index.php?s=Alan+Moore+(war+artist)

LT Young, Stephanie. “Into the jaws of death: U.S. Coast Guard-manned landing craft at Normandy.” 6 June 2013. retrieved from coastguard.dodlive.mil/2013/06/into-the-jaws-of-death-u-s-coast-guard-manned-landing-craft-at-normandy/

Hall, Allan. “Art created in hell of Nazi Germany… by the Jewish victims who were forced to suffer there: Astonishing works of ‘mankind survival’ revealed as world remembers the holocaust”. 26 January 2016. Retrieved from http://www.dailymail.co.uk/news/article-3415925/Art-created-hell-Nazi-Germany-Jewish-victims-burned-Astonishing-works-mankind-s-survival-revealed-world-remembers-holocaust.html

Yad Vashem. “Art from the Holocaust: Works from the Yad Vashem Collection.” retrieved from http://www.yadvashem.org/yv/en/exhibitions/art/bodek.asp

Early Modern Art

Setting the Backdrop
      World War I rang across the globe from the July 1914 to November 1918. Barely one hundred years ago, men lay split open by modernized war machines only for their female counterparts to try to nurse them back to health once the surgeons and doctors had done their best to put them together again. The arms race was in full swing and Europe was engulfed in an a power struggle that not only decimated the bodies, minds, and souls of those called to fight, but also left raw gashes in the countryside from, bunkers, minds, and the trenches which they fought from. (The Great War).
With the signing of the Armistice Agreement on November 11, 1918 the World War I drew to a close. This closure brought with it a need to rally against the politics of the time which sent young men to fight for old men’s wars. In the West, the people suffering and pulling up from The Great Depression as well as those returning home from the battle front knew what trauma and loss were, many of them having seen it in unwavering clarity. Those who began the war with romantic ideals of god, country, and patriotism soon became spiteful to the industrialization which followed. The Lost Generation of veterans secluded themselves and raged against the advancements of modern society, the frivolity and gaiety of parties, vacations, and luxurious merchandise.
Similarly, an uprising among the people and the artistic community was emerging. Gone were the days of sculptures showing the idealistic proportions of victory, the pleasant prose of idealistic poetry, and the softening of trauma on the canvases of earlier eras.

Dada

The Dada works turned abruptly away from the tradition they felt brought the war screaming into reality, replacing it with anti-political and anti-cultural advancements against which had culminated in the cataclysm of World War I. Paintings, sculptures, posters, and the like were made by chance or accident. Never thoroughly planned and all with the idea of breaking away from the heavily Carved Lines of Tradition.

Hausmann, Raoul. ABCD. 1920s. Gelatin silver print. 15.1×10.1cm. The Metropolitan Museum of Art. 

This piece by Hausmann, Raoul. A very busy piece made of the juxtaposition of various items from the media of the time. We see his mouth open with the letter ABCD, perhaps a nod to his later literary works within the Dada ideology. Structurally, this piece uses layering of various items, including medical diagrams, representations of the large face clenching the letters “ABCD” and various other numbers and letter placed throughout the piece. The color in the image is quite lacking, being variations of black white, and grey wash. However, even within the use of this limited color palette we can see a vibrancy within the layering technique. I personally do not like this piece, nor any of the Dada works. However, I can appreciate the idea behind them. In this case Hausmann has gone so far from the norm of artistry before the war that you could never mistake it as traditional. In order to spark change, and in the case of the Dada artists, one must look at the history and see what sparked that which they are wanting to change. Hausmann did this by screaming out about the materialism, capitalism and the old styles of creating art. So, though I would never buy this piece for my own enjoyment, I can see the place that it has in history and the value that it would have been to the European people at the time.

Surrealism

     The Dada movement gave way to Surrealism after the works of Karl Marx and Sigmund Freud, two well-known psychoanalysts of the time. Like the Dada movement the Surrealism wasn’t a planned endeavor, but rather it was a representation of the artists dreams, imagination and unconscious known as automatism (Voorhies 2004). This led to several very interesting pieces. I would like to note that many of the painters/sculptures/literary authors of this time took a great influence from those of the Dada movement. Surrealism brought the nightmares of war to life with disproportional bodies, harsh lines, and a brutal honesty. The artwork from the Surrealism movement can seem hard to comprehend, and personally, I used to just look at the paintings and sculptures with an interest and appreciation in technique. Now, however I understand that given the time frame of post World War I there was likely a need to represent automatic thought and emotion without covering up these feelings or thoughts. Especially given the harsh political environment and atrocities that many had seen, both in Europe and the West.

Joan Miro. Tête et coquille (Head and Shell). 1933. Polished Brass. 7 1/4 x 7 7/8 inches. Guggenheim. Venice, Italy.

This sculpture by Miro is actually two piece, that may be picked up, handled, and rearranged (Childs, Elizabeth). Though Joan Miro originally depicted works of Surrealism on Canvas he eventually began to make multiple sculptures. These began with simply sculpting out of how wall paintings and then became stand-alone sculptures. These pieces, though they do not portray any exact forms that we would find in the sculptures of older artistic eras, still have an organic form and a pleasing shape. The use of polished brass creates a reflective quality to the piece and adds to the tactile elements. Perhaps, with the closure of World War I and the social and cultural unrest at the time (persons of Europe and the West were still dealing with the traumas and the concern of preventing another war of this magnitude) it was an attempt to create something concrete, that could be held and didn’t really need to mean something specific, but rather to just be whatever the observer and handler needed at that time. Be it a pleasing form to observe or a very nice paperweight. This is why I chose this piece, and why I think it is important when discussing Surrealism. Though paintings, photographs, and images are pleasant to look at, sometimes people simply need something solid to hold on to.

The Harlem Renaissance

Another movement that was spurred by World War I and came to fruition after its closure was the Harlem Renaissance. The Great Migration had brought African-American workers and their families North, bringing with it, the Harlem Renaissance which helped to push African American culture through sculpture, paintings, music, and literature to influencing artists around the globe (Harlem Renaissance).  Though slavery ended after the Civil War, it wasn’t until the end of World War I that the African American community brought forth pride within it’s culture. Putting away the ideas of assimilation and changing that which they were to suit the white society in which they found themselves. The Harlem Renaissance was at the heart of this pride with artists taking pride in their depiction, the jazz of Louis Armstrong tethering these people to the community with lively music and skillful artistry proving that the people of this culture could, not only hold skill within their various artistic talents, but that they could elicit emotion and feeling just as everyone else.

Archibald J. Motley Jr. The Octoroon Girl. 1925. Oil on Canvas. Michael Rosenfeld Gallery. New York, New York. 

I chose this beautiful painting by Archibald Motley to represent the era of the Harlem Renaissance. Motley was born in New Orleans, La and moved to Chicago during the Great Migration, finding work as a rail car Pullman. After being one of the first African-Americans to become accepted to and graduate from the Art Institute of Chicago (BRITANICCA). For this piece he was awarded the Harmon Foundation Gold Medal in fine arts.

There are many aspects to this piece which personify post World War I America, from the African-American perspective. First, the title The Octoroon Girl, is a derogatory/slang term used to describe those African-Americans who were 1/8th African-American. That he used this derogatory term to title such a beautiful work and, what I see as a gorgeous woman, is interesting. It shows the ideals of the Harlem Renaissance that the African American community was taking pride within itself, in all shades and forms, regardless of what their peers thought of them. At this time, there was almost a fervor to bring forth the culture of the African American community into the limelight and prove that they were not so different from their white counterparts, and even those differences which they did have were no less beautiful and profound.

The piece its self is masterfully done with contrasts between the woman’s skin and the background to the red within her dress, her lips and her face. Even thought he background is in shadow, you can tell that there he spent a great deal of effort on the texture of the couch on which she sits. Similarly the texture seen in her dress, hair and even her hat make it seem as though she is simply sitting across the room from you. The color and use of light perspective play on the lightness of her face as well as the red portions of her dress, but he shading and the texture of the black portions allows, or rather forces, you to appreciate her face and gaze. The attention to detail is apparent in her necklace, as well as the figure with stands on the table beside her.

I absolutely love this piece, and I love everything which it represents, especially knowing Motley’s history. I would love to own a print of this piece, however I think the original should continue to be displayed in all of its glory for the appreciation of others. It’s interesting, I typically lean towards scientific prints, but this one has so much history behind it and would be an excellent conversation piece to place in the family room. Not to mention it is absolutely beautiful.

 

 

Works Cited:

Archibald J. Motley Jr. The Octoroon Girl. 1925. Oil on Canvas. Michael Rosenfeld Gallery. New York, New York.

Hausmann, Raoul. ABCD. 1920s. Gelatin silver print. 15.1×10.1cm. The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/265584

Battle Remains on the WWI Western Front. Great War UK.
http://www.greatwar.co.uk/battle-remains/battle-remains-western-front.htm

Harlem Renaissance. History. http://www.history.com/topics/black-history/harlem-renaissance

Voorhies, James. “Surrealism.” 2004. http://www.metmuseum.org/toah/hd/surr/hd_surr.htm

Peggy Guggenheim Collection. Guggenheim Museum. http://www.guggenheim-venice.it/inglese/collections/collection2.php?id_cat=17

Blumberg, Naomi. “Raoul Hausmann.” 8 July 2018. Encyclopedia Britannica.    https://www.britannica.com/biography/Raoul-Hausmann#ref1204346

Romance or Reality

Romanticism

Neoclassical style artwork fell away in the late 18th century. Followed by the Romantic style which lasted well into the 19th century. The artwork took on a more dreamlike quality, mists falling over landscapes, dreams came to life under the touch of the artist’s brush and beauty, even in the imagery of tragedy, broke forth and brought with it emotion and feeling. These feelings, felt throughout the countries and within the hearts of the people following war and revolution in France, the Manifest Destiny within America and the abolition of slavery across Europe and America, are what these artists drew upon.  Bringing romance not only to beautiful landscapes, but to otherwise harsh faces of grief, war, and the plight of the people.

The art blossoming from this period may at glance, seem just like beautiful pieces full of soft lines and naturalistic landscapes or softened faces, but underneath we can see the need for experiences. The drawing of the observer into either a far off and beautiful place or to depict the ever-present political undertones of society at the time. Landscape paintings attempted to draw persons who, in the face of world shrinking technological advances such as trans and telegraphs, to a quiet and peaceful place. Adding the new storage tubes devised during this time for paint, artists could enjoy the energy of the landscape which they were creating while they were creating it.

 

 

Eugène Delacroix, The Death of Sardanapalus, 1827, oil on canvas, 12 ft 10 in x 16 ft 3 in. (3.92 x 4.96m). Musée du Louvre, Paris.

This piece by Eugene Delacroix is a depiction of a story by Lord Byron. The man you see ever so leisurely  posed neatly among so much seeming chaos is King Sardanapalus. Who instead of risking either death or surrender in battle, makes the decision to destroy everything that he owns and enjoys. A fire is to be set to everything that is seen within this piece, snuffing out lives of the people, disintegrating his possessions, and ultimately himself.

We see within this painting a great use of shading, and highlighting as well as shape. I don’t believe that I can find a single straight form within this painting, lending to the frenzied emotion of imminent danger among the subjects. Until your eyes land on Sardanapalus himself.  A much more angular form, but still, not straight, more laid back and resigned to what he is doing and what is to come. The painting is, as most within the Romantic Era tend to be, beautiful. Looking closer, you can see that though these people obviously understand their fate, there is no severe emotion within them, it almost seems peaceful and if you did not know the back story, and perhaps did not look too closely, you wouldn’t think that they entirety of the party is about to go up in flames.

Caspar David Friedrich. Seashore by Moonlight. 1836. Oil on Canvas. Musee du Louvre, Paris. 

I chose this piece by Caspar David Friedrich, because it seemed like a very different depiction of a landscape during the Romantic Era. At first glance it looks almost as if there is a storm close at hand and the painting seems dark and desolate. However, Romantic Era paintings weren’t all light and airy, as most landscapes of the time depicted. We can still see a serene quality within this piece, and upon further inspection it is not dreary, but simply a night scene, and the cusp of moonlight reflecting on the water brings an ethereal quality to the painting. Primarily I see this as a peaceful nod to the water vessels that were perhaps starting to be a thing of the past given the steamships which were coming to the forefront. The romanticized way of life which was dwindling to its end.

Realism 

Realism brought reality to the romanticized notions depicted in the arts and literature that had lasted from the late 18th Century. Showing instead, the realities of the ‘working class’ or peasants of the time. Instead of large peaceful lush landscapes, realism brought the iron strength of work and hardship to the forefront. The subjects were displayed in all of their rough glory, cords of muscles straining under their labors. Sheer exhaustion swept away the softened lines of romantic era faces, leaving a stark comparison within the two styles.
Where once exotic places or dreamlike events dominated the art world, realism brought us to dining tables set over dirt floors, the interiors of darkly lit pubs, and blemished faces of reality. When tragedy was placed on the canvas of the realist artist, there was no softening of death, or soft evangelical lighting from above. There was only what was, without embellishment or falsehoods. The people wanted, for lack of a better phrase, the truth. They wanted reality and they yearned for true understanding. Personally, I prefer the realism to the romantism. Though I am a hopeless romantic at heart, I think we all, to some extent would not wish the harsh truths to be glossed over by gossamer gowns and honey laden words.

Hubert von Herkomer. Hard Times. 1849-1914. Oil on Canvas. Manchester City Art Gallery. 

This piece by Hubert von Herkomer envelopes many of the aspects we find within Realism Era art. We see a family which seems to have finally completed a hard days work. Clothes laden with the fruits of their labor tools of their trade, and exhaustion on every face. The man leans against he gate, using its frame to support his exhaustion while looking up the roadway to what could very well be their ride home. The woman carries a sleeping infant in her arm and a toddler beside her. The look of defeat on her face as if she has used every ounce of herself and has sunk to the ground to rest her weary body. Shadows show the slight sunkenness to their cheeks and the wear in their clothes. Even the children who, in previous styles would be brightly painted innocent subjects with rouged cheeks, show the labors of the day upon them. Emotionally, this painting draws you into what is probably the daily life of these common people and makes your bones ache with the work which they have done.

Vasily Grigoryevich Perov. A Drowned Woman. 1867. Oil on canvas. 68cm x 108cm. Tretyakov Gallery, Moscow. 

The tragedy poured out by Perov in this painting is harsh, but falls flat when we think of the above Romantic painting by Delacroix. This woman is obviously dead, and there is no sense of movement within or around her. Completely opposite of the pleasant flow of movement and softened glow painted by Delacroix. The man looks on in seeming indifference to the death, smoking his pipe as though this is not the first body he has pulled from the calm waters behind him following the political upheaval at the time. There is also a certain lack of color that i find daunting. A monochromatic lack of life, as if the death has seeped into the ground and poured over the entire setting.

Gustave Courbet. Le Désespéré. 1843-1845. Oil on Canvas 45 x 54 cm. Private Collection.

This piece, is a bonus for this post. Gustave Courbet was a noted Realism painter of the Era. Even having been exiled and jailed for his protests against the politics and government of the time. However, this self-portrait is so striking, the glow of his skin and the brightness of his clothes and eyes screams out Romanticism to me. Even while the proximity of his pose and his gaze seem so real that I almost want to reach out and softly tug on his arms to release his first from his hair. There’s almost a defiant quality to this painting, as if Courbet is saying: I can use your Romantic techniques and style, soften my face, brighten my facade, but still the emotions which I carry inside will leak out and there is nothing but reality which comes from my brush. I would personally love this painting in my own home, it seems like the perfect mix (in my opinion) of the ethereal qualities of Romanticism and the fervent need for reality within realism.

 

Works Cited: 
Carroll, Colleen. The Desperate Man Gustave Courbet. 2015. Arts and Activities. Retrieved From https://artsandactivities.com/the-desperate-man-gustave-courbet/

Caspar David Friedrich. Seashore by Moonlight. 1836. Oil on Canvas. Musee du Louvre, Paris.

Eugène Delacroix, The Death of Sardanapalus, 1827, oil on canvas, 12 ft 10 in x 16 ft 3 in. (3.92 x 4.96m) (Musée du Louvre, Paris)

Gustave Courbet. Le Désespéré. 1843-1845. Oil on Canvas 45 x 54 cm. Private Collection.

Hubert von Herkomer. Hard Times. 1849-1914. Oil on Canvas. Manchester City Art Gallery.

Seiferle, Rebecca. Romanticism Movement Overview and Analysis. 2018. TheArtStory.org. Available from www/theartstory.org/movement-romantacism.htm. Accessed 9 July 2018.

Webster, Andrew. Portrait of the Week: Gustave Courbet, “The Desperate Man”. 2017. Retrieved from https://fineartconnoisseur.com/2017/06/portrait-of-the-week-gustave-courbet-the-desperate-man/

The Age of Reason

The Beginning 

The Age of Reason was a period of scientific discovery and philosophical enlightenment. Spreading from Europe to North America during the ‘long’ 18th century (1685-1815). Stemming from the ideals introduced after the 30-year war and the Renaissance period, the people of Europe began to think differently. They began what we know today as a skeptical and scientific approach to the world and ideas around them. They were not content with the dictation of monarchs or the absolutes of the Church.

This new tangent of thought brought about philosophical debate, scientific discovery and the need for reason in one’s life. Giving the period its namesake of: The Age of Reason. Most importantly, the thirst for knowledge was born, and without the, previously very real, repercussions of being labeled a heretic or blasphemous knowledge could be actively sought and brought to the public.

Matejko, Jan. Astronomer Copernicus, or Conversations with God. 1873. Oil on Canvas. Collegium Novum.

The Church

Though the people began to question these “absolutes” of the church, this does not mean that they gave up on god entirely. One of the main products of The Age of Reason was Deism, or the belief that God allowed the universe to operate according to natural law. This allowed the line between science and theism to be blurred, and those seeking knowledge and understanding to maintain their faith. This is true of Copernicus, as rendered above by Jan Matejko. Copernicus was active within the Catholic Church and after his publication of “De revolutionibus” in 1543 it was taught at several Catholic institutes, until it was banned by the Catholic Church in 1835 (Solis, 2013). That’s nearly 300 years after publication!

The above piece, to me, is wonderfully chaotic. Painted in Copernicus’ youth it seems to show a young man at the beginning of his journey. Bits of equipment scattered about and his arms out as if he paused mid-motion to gaze at the stars. The look of realization on his face right before the look of awe as if he has just discovered something profound. To me, this is a piece that defines The Age of Reason. A man yearning to know more, and going out to find it.

Not Just Europe

The Age of Reason spread far once it was rooted within the European Landscape. Stretching as far as America with the minds of Alexander Hamilton, James Madison, and Benjamin Franklin, depicted by Benjamin West below, to name a few. A very defining point in The Age of Reason within America was the Separation of Church and State brought forth by Roger Williams. The intricacies, of philosophical discussion, scientific innovation, and political change during this time allowed America to jettison itself past the American Revolution and into a united country.

West, Benjamin. Franklin Drawing Electricity from the Sky. 1816. Oil on Slate. Philadelphia Museum of Art. (Produced in England, Europe)

This piece shows the great Benjamin Franklin and his electrical kite experiment, that I am sure we are all aware of. Though, this depiction is slightly different than the story we are told in history, he is surrounded by children and isn’t the person manning the kite with the improvised key conductor, but the children are. Personally this image projects to me that though men (and even women) may make profound discoveries in the world; whether it be math, science, morality, or anything else, it is not ours to keep but the future generations to have and to build upon.

Philosophy

During this time there was the inevitable shift away from the Church entirely, however religious tolerance was still in place. Many of the forward thinking minds of this period may not have held the same religious views as the Church, but they did not actively hold malice towards the ones who did.

Wright, John. Thomas Hobbes, Portrait. 1669-1670. Oil on Canvas. National Portrait Gallery, London.

Thomas Hobbes, depicted in this portrait by John Michael Wright. was one of these philosophers, penning the politically philosophical work Leviathan as well as various other political and philosophical works (Lloyd and Sreedhar 2018).  He believed that people were selfish and required the authority of a sovereign power. He believed that with an absolute power or absolute government, the common people would be spared the atrocities of selfishness leading to civil war. Though this may seem a harsh and perhaps desolate interpretation of the morality of man, Hobbes’ work is still being reviewed, studied and debated over to this day. Much like other philosopher’s of the time, such as Francis Bacon, Rene Decartes, Baruch Spinoza, and John Locke. Personally, I may not agree with all of their ideas, but that is the beauty of The Age of Reason. It brought about discussion, ideas, and a horizon that wasn’t fettered by the previous thoughts of what was and what wasn’t.

This piece is very serious, as I believe Thomas Hobbes would have been in life, given his thoughts on the cruelty of man. I notice the pinching of his brows as if he is silently judging the observer and even the receding hairline seems severe. Perhaps he wanted to portray an air of seriousness for this portrait, due to the seriousness of his texts. It seems that the entirety of the painting is in relief, except for his face. His face and his hand which are etched with lined, brought on by the thoughts of a serious man, with serious ideas and a need for knowledge and understanding.

 

WORKS CITED

“Age of Enlightenment.” New World Encyclopedia. New World Encyclopedia. http://www.newworldencyclopedia.org/entry/Age_of_Enlightenment Accessed June 2, 2018.

Solis, Steph. “Copernicus and the Church: What the history books don’t say.” The Christian Science Monitor. 19 February 2013. https://www.csmonitor.com/Technology/2013/0219/Copernicus-and-the-Church-What-the-history-books-don-t-say. Accessed June 2, 2018

Wright, John. Thomas Hobbes, Portrait. 1669-1670. Oil on Canvas. National Portrait Gallery, London. https://artuk.org/discover/artworks/thomas-hobbes-158913

Lloyd, Sharon A. and Sreedhar, Susanne, “Hobbes’s Moral and Political Philosophy”, The Stanford Encyclopedia of Philosophy (Summer 2018 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/sum2018/entries/hobbes-moral/&gt;.

Violently Baroque

Artemisia Gentileschi, Judith and Holofernes, 1620-21, oil on canvas, 162.5 x 199 cm (Uffizi Gallery, Florence)

The Piece: 

 

This is the second rendition of the slaying of Holofernes at the hands of Judith by the artist Artemisia Gentileschi. The first of which can be viewed here, was painted in 1611-1612, nearly a decade before. There are several differences, though minor, they are quite significant in this final piece. We see above the propulsion of blood from the wound in Holofernes neck. Also proportionally the figures have been adjusted. A blood-red covering is placed over Holofernes in a continuation of the deep blood spilling forth over the white sheets. Judith’s dress has changed color as well as her hand servants head-piece being changed. The two works are held at separate galleries, one in Naples and one in Florence, which I believe to be a disservice to the viewer as they cannot see the progression in Gentileschi’s work. However, both pieces are beautiful, in their own respect especially given their background.

The Tale of Judith:

The original tale of Judith is from the Bible. You can read the entirety as well as an analysis here. The story goes that the town of Bethulia in which Judith lived was under siege by the Assyrians, of whom Holofernes commanded. She overheard the officials speaking of surrendering to the Assyrians and spoke with them about her attempting to rectify the situation before they surrendered. She dressed up in her best clothes, and seduces Holofernes tempting him with her beauty and a strategy to take him through the area without the loss of any life. Then she slices his head off and saves Bethulia. Forgive me for the short rendering of the story, if you would like to have more information it’s linked above. This piece is the depiction of the moment when Judith penetrates Holofernes ending his life. One would think that would be enough of a back story on this piece, but then you have to consider why the artist completed it, not only once, but twice.

The Tale of Artemisia Gentileschi

Artemisia Gentileschi was born  from artistic stock, her father Orazio, assisted Caravaggio in his works and when Artemisia began showing artistic talent her father hired her a mentor/tutor by the name of  Agostino Tassi. At the age of 18 she was raped by Tassi and thus became famous, not because of her skill with a paintbrush, but by her torture within a courtroom for having been raped. Throughout her works there is a violence, and a rawness that suggests to the observer trauma and blind black passion, not of the kind that fills your heart, but the kind which taints your soul. The man who has raped her openly mocked her, and was set free thanks to his clout with the Pope. Untouchable while she was punished. I think that this painting is what haunted her at night. What she should have done, what she could have done, if only she had been able to. Perhaps that is why she came back and painted it a second time, the trauma was still raw within her.

Analysis

The work itself definitely lends to the Baroque painting style. Beginning with Holofernes he is depicted at the diagonal across the bed, the blood stained mattress so close to the foreground you can practically reach out and touch the cotton. His arm is crossed over his body, shielding the rest of torso. Both women, Judith and her maid, are in line on different diagonals giving the piece a sense of movement rather than the stillness of earlier Renaissance paintings. There is also the very real view of violence. This is not a pretty, pure, innocent rendition of biblical characters. This is exciting, and appalling and beautiful all at the same time. Without knowing the back story one might feel for Holofernes, it does seem to be a terrible way to go, being impaled by your own blade. The use of stark shadows and highlights, allowing the detail of the morbid task to press out upon the observer makes it even more sinister.

Personally, I would love to have this piece, or even a print of this piece in my home. Though it is violent it is exhilarating. Perhaps I am overusing this word, but the rawness that is depicted entices me to keep looking at it, even though I ought to look away.

References

Judith and Holofernes by Artemisia Gentileschi

Artemisia Gentileschi, Judith and Holofernes. 1620-1621. Uffizi Gallery, Florence. Uffizi Gallery. https://uffizi.visitflorence.com/artworks/judith-and-holofernes-by-artemisia-gentileschi/ accessed 25 June, 2018.

Jones, J. 2016. “More Savage than Caravaggio: The woman who took revenge in oil.” TheGuardian. www.theguardian.com/artanddesign/2016/oct/05/artemisia-gentileshi-painter-beyond-caravaggio. Accessed 25 June 2018.

Branch, R. 2016. “Judith: A remarkable heroine.” Bible Archaeology. http://www.biblicalarchaeology.org/daily/people-cultures-in-the-bible/people-in-the-bible/judith-a-remarkable-heroine/. Accessed 25 June 2018.

Northern Rennaisance

Albert Dürer was a German artist living and creating works during the Northern Renaissance period. Though he was born and resided primarily in Germany, he pulled and used many techniques found from his travels to Italy during the Italian Renaissance. The Venetian coloring style is evident in his work with deep coloration, and layering of shadows and highlights to give the exquisite detail that the Northern Renaissance painters are known for. He did not simply paint but also created pieces through woodworking, printmaking, engraving as well as writing poetry.
As the Northern Renaissance progressed and  the Protestant Reformation began we can see in Dürer’s work, a shift to religion. We can see this change in his works Adam and Eve; Knight, Death, and the Devil; and The Apocalypse. All works fashioned after religious texts.

Figure 1: Dürer, Albrecht. “Self Portrait with Fur Collar.” 1500 AD. http://www.openculture.com/2013/07/the_genius_of_albrecht_durer_revealed_in_four_self-portraits.html 

The above piece is a self-portrait completed by Albrecht Dürer thought to be painted during his time in Nuremberg, Germany (Dorbzinski, 2008). During his life, he was one of the first artists to create and keep a chronological set of self portraits. The one shown above was created at the age of 28. At the time, portraits had taken over in the artistic community following the Italian Renaissance introduction of Humanism. However, the portraits that were being done typically depicted the subject in a three-quarter pose, as we see in his earlier Self-Portrait with Gloves. This would allow the artist to use their best features and create a profile which wasn’t as stark as a traditional profile posing. The half frontal pose used by Dürer here is reminiscent of many depictions of Christ at the time. In fact, the frontal aspect and positioning of his hand is identical to the depiction of Christ in Blessing Christ (Hans Memling). Personally, I don’t believe this is an attempt at mockery, but rather Dürer felt his ability and talent was thanks to his faith. Though he did follow Martin Luther in his ideologies of the Church and Reformation, he also continued to maintain his faith.
This is another reason why I enjoy this piece. Not only is the detail exceptional, but the intensity seems to vary within the painting as well. I see a higher intensity on the left side (as viewing) of this portrait and the shading gives a lighter intensity to the right side. Even with this lighter intensity, I believe that it gives a great depth, almost as if you could reach out and feel how soft and textured his coat or hair is. I also love the way that he has differentiated the space within this piece, there is nothing in the background so all of the focus us on himself, and thus his skill in mastering this painting.

 

 

Works Cited

Dorbzinski, Judith. “Staring Dürer in the Face. His self-portrait from 1500 dares you to turn away.” 15 March 2008, www.judithdobrzynski.com/3013/staring-durer-in-the-face. Accessed 14 June 2018.

Dürer, Albrecht. Self-Portrait with Fur Collar. 1500. Alte Pinakothek, Munich. www.visual-arts-cork.com/famous-paintings/self-portrait-durer.htm. Accessed 14 June 2018.

Dürer, Albrecht. Self-Portrait with Gloves. 1498. Museo del Prado.
http://www.museodelprado.es/en/the-collection/art-work/self-portrait/8417d190-eb9d-4c52-9c89-dcdcd0109b5b. Accessed 15 June 2018.

Knight, Christopher. Martin Luther Broke Europe in Two, and Albrecht Dürer Painted it Back Together. 21 November 2016. Loss Angeles Times.
http://www.latimes.com/entertainment/arts/la-et-cm-luther-reformation-lacma-20161116-htmlstory.html. Accessed 15 June 2018.

Memling, Hans. Christ Blessing. 1481. Museum of Fine Arts Boston, William A. Coolidge Gallery. http://www.mfa.org/collections/object/christ-blessing-35484. Accessed 15 June 2018.

Wisse, Jacob. Albrecht Dürer 1471-1528. 2002. Metropolitan Museum of Art. www.metmuseum.org/toah/hd/durr/hd_durr.htm. Accessed 15 June 2018

Form Follows Function

The Piece and Technique

Fig 1. Dunn, Greg and Brian Edwards. Action Potential. 2018.

This is one of my favorite pieces done by the pair Greg Dunn, Neuroscientist, and Brian Edwards Applied Physicist. Greg Dunn currently lives in Philadelphia, where he continues to make these pieces. The piece is completed by a technique called ‘microetching’ in which the subject, in this case an action potential within the brain, is etched into 22K gold. By using this technique the piece is very transitional. The still image, though beautiful does not do it justice, so you may view the video of the piece here.  As you can see the video shows the transitional nature of the piece, allowing a different visualization depending upon the observers vantage point as well as the light source applies to the piece.

What I Enjoy About this Piece

Where do I begin? My fondness for everything related to the brain and nervous tissue led me to this beautiful artwork. If you’ve spent any amount of time in a biology course, or around people with a background in the sciences you may have heard the phrase:         “Form follow function.” When I view the works by these two men, I am always taken aback by the beauty of the form which allows the intricate functions of nervous tissue. Typically, when I think of something that processes so much information or does so much work I  imagine a great hulking machine with gears, pistons and electrical cords creating a labyrinth of trip hazards. But within these pieces, you see flowing lines and aesthetically pleasing (at least to my eyes) curves. The differences in lighting are beautiful as well, taking the 22K gold image and placing it under different colored lights or lights which change and vary in intensity, completely changes the observers perception of the piece. This also gives different depth and values to the piece, depending upon these factors. The texture that the microetching gives within the gold brings another dimension to the piece, making it seem more alive, and less static than you would find within a print version.

Further Review

In closing, I would like to link to the web page which shows all of these artists pieces. These pieces are varied from microetching, gold leaf, scrolls, and ink printing as well as prints of their work. This can be found here.

I hope that you enjoy their works as much as I do, and I hope to one day own one of them, or perhaps more!

Best Wishes,
Samantha

Citations: 

Dunn, Gregg and Brian Edwards. Greg Dunn Designs. 2006. www.gregadunn.com/. Accessed June 3 2018.

Shall we begin

Hello, my name is Samantha and I would like to welcome you to by initial blog post. I am currently a student at the University of Alaska, Fairbanks where I am pursuing my Bachelor’s degree in Biological Sciences with a concentration in Physiology and a Minor in Psychology. Upon completion of my degree I hope to attend medical school and continue on in the fields of neurology and psychiatry. It is my primary hope to change the way in which people view the field of psychiatry as well as to conduct research on the regeneration of damaged brain tissue.

I currently live in North Pole, Alaska with my family. My husband (“the old man”), our daughter (Little Miss), and our three dogs (Freya, Sabot, and Astrid). With so many mouths, feet, and paws in the home, quiet is something we are suspicious of, rather than something we enjoy. At 27 years old, I find that I am typically older than many of my classmates, however I do not mind as I have had a very fulfilling life. To add to the activity, we host biweekly game nights and cookouts throughout the summer. We learned early in our marriage that as a military family, we move away from our friends or they move away from us, entirely too soon, so we try to soak up as much time with them as we can.

Art has never been a large part of my life, I believe that the artistic gene must skip a generation. My mother, was a tattoo artist for 12 years and can draw anything and everything. I, however, keep it to stick figures. We do have several prints hanging throughout our home as well as my husbands collection of batiks. The photo below (figure) is one of my favorite sketches by the artist Shawn Coss. Most of our prints and art fall along the lines of neurology, medical imagery, and psychiatry. I can’t say that I have too much knowledge on the subject of art, other than that I think you should surround yourself with pieces that make you happy. I have been to several gallery openings with friends, however I tend to be drawn by the technique, rather than the piece itself.

Coss, Shawn. Post-Traumatic Stress Disorder.

 

I wanted to link the rest of the Shawn Coss series so that others may view it:

Coss, S. “I Illustrated Mental Illness And Disorders for Inktober.” Online article. 2017. Bored Panda. https://www.boredpanda.com/for-inktober-i-focused-on-mental-illness-and-disorders/

I have all of these prints in small 5×7 format in my home office. He did a wonderful job representing these disorders, and I believe that he is continuing with more every year. I hope that you enjoy them as much as I do.

Have a great evening everyone, and if you know of any great artwork you think I would enjoy, please let me know. We have just moved into a new home, so we have much more wall space!

Samantha Smith