The Ming Dynasty, also known as the Empire of the Great Ming, was the ruling dynasty in China for 276 years.  Coming to power in 1368, the dynasty was ruled by the Han Chinese and is touted by many as one of the most successfully ruled regimes in the history of humankind.  Before its eventual overthrow in 1644, the Ming Dynasty amassed a military comprised of over one million soldiers and maintained the largest navy docks in the world.

Concurrent to the uprising of the Ming Dynasty, European trade was quickly expanding.  The increase in international trade in the 16th century prompted population growth and enabled China’s economic conditions to prosper.  The arts flourished as a consequence of the comfortable economic conditions and Ming rulers recruited painters to reestablish the indigenous artistic style reminiscent of the prior Southern and Song Dynasties.  Visual artists were tasked with the creation of art such that light would be shed upon the majestic and benevolent nature of the ruling Ming Dynasty.  This focus on the arts established painting, literature, music and theatre as integral elements of the dynasty’s culture.  Additionally, intricately carved lacquer boxes and porcelain statues pained in excruciating detail were artistic staples during this era.

The artistic developments hailing from the Ming Dynasty owe large credit to the foundation formed during the prior Song and Yuan Dynasties.  During this time a wider variety of colors were utilized and seal brown became widely used – some would purport to its overuse.  The proliferation of the integration of calligraphy within a visual arts context flourished during this dynasty.  Numerous other painting techniques emerged during this era and many schools were established, which directly contributed to the emergence of many outstanding masters of the arts.

Shen Zhou was one of these masters hailing from the Ming Dynasty.  Zhou, who was born in 1427 in Xiangcheng, was a painter who subscribed to the Shan shui style of painting.  Shan shui was a style that utilized scenery in nature such as waterfalls, mountains and rivers, as well as landscapes as the predominant subject matter.  Zhou was a follower of the ethical framework of Confucianism and held great loyalty to the Chinese traditions and styles reminiscent of the Yuan Dynasty.

“Lofty Mt. Lu”

A favorite work of mine created by Zhou is the Lofty Mt. Lu (1467).  This work has been described by many as a transitional piece which reflects elements of the work of Wang Meng whose style Zhou largely emulated, as well as the incorporation of his own emerging style.  This piece was particularly well done as he labored carefully to create the piece in honor of his teacher, Ch’en K’uan.  It depicts a grandiose waterfall, in large scale, which is flowing turbulently to the depths below.  The cascading falls are shown in torrential motion as they enter the gentle flow of the stream that awaits them.  Zhou expertly achieves a realistic depiction of the luminous billows of mist arising from the water atop the grand mountain.

My appreciation for this piece is due, in large measure, to the luminous essence I feel it conveys.  The slowly billowing mist and the expertly painted gentle flow of water down the mountainside truly makes me feel at peace and as though I have reached a “zen” equilibrium in the chaotic world around me.  I truly find it beautiful.

CITATIONS:

en.wikipedia.org/wiki/Ming_Dynasty#Literature_and_arts

http://www.npm.gov.tw/en/collection/selections_02.htm?docno=68&catno=15&pageno=3

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

http://www.cultural-china.com/chinaWH/html/en/24Arts222.html

http://www.art-virtue.com/painting/history/ming/ming.htm

Revolution in Mexico

The Mexican Mural Movement was a significant development in public art which was precipitated by Mexico’s civil war and subsequent citizens’ revolution.  This movement in the arts began in the 1920s when the post-revolutionary government commissioned the painting of numerous murals on large public buildings.  The purpose of the Muralism movement was to reunify Mexico following the war; murals were chosen as a medium to promote a nationalistic tone because most citizens at this time were illiterate.  The specific goal was to glorify the Mexican Revolution and its many tragedies and to promote citizens’ identities with their country by incorporating themes of a mestizo Mexico.  The duration of Mexican Muralism closely corresponds in time from the 1920s through 1970 with the country’s transformation from a mostly illiterate and rural society to one embracing industrialization.  Three prominent artists were recruited for the commissioned murals:  Jose Orozco, Diego Rivera and David Alfaro Siqueiros.  The artists were instructed to create an atmosphere of nationalistic and patriotic themes but were encouraged to develop and employ their individual styles and to be expressive of their own techniques.  A general tone from murals of this time may be surmised; this tone incorporates traditional Colombian heritage with classical and modernistic styles.

 

David Siqueros, born José de Jesús Alfaro Siqueiros, was one of the three notable artists recruited for the Mexican Mural Movement.  Siqueros, a Mexico native, was born in 1896 and is well known for his style which closely identified with social realism.  A political activist who in 1966 would be the recipient of the Lenin Peace Prize, Siqueros was a member of the Mexican Communist party and was deeply entrenched in the political strife present during this time.  Touted by many as the leading authority on Mexican Muralism, Siqueros created many great murals during his reign as a prominent artist.

 

“Del porfirismo a la Revolución” (1957)

 

In 1957 Siqueiros began work on his most famous mural, Del porfirismo a la Revolución, or in English:  The Revolution Against the Porfirian Dictatorship.  This work of art was one commissioned by the Mexican government to be portrayed prominently on the Chapultepec Castle in Mexico City.  The mural depicts José de la Cruz Porfirio Díaz Mori at center.  Díaz was a successful political ruler of Mexico for much of his 35-year reign but following his years of economic growth and political stability, his tenure was fraught with repression and economic stagnation as the Mexican Revolution began brewing.  Díaz’s popularity plummeted as quality of life and life expectancies were poor; the period during which Díaz ruled became known as “Porfirato.”  Siqueriros’ mural of the political leader portrays Díaz as an impassive and emotionless leader with his foot held firmly to a book to depict his blatant disregard for the more progressive and socialist political views of the Juárez government.  Díaz is surrounded by elegantly dressed women and men in top hats and fancy gowns; these individuals are meant to represent the opulent and fashionable elite of upper class Europe to which Díaz aspired.

 

I chose to share this work because it so accurately translates the tone I would expect to have existed during this time.  The political strife endured by the Mexican citizens during the latter years of Díaz’s reign is so evident from the images portrayed in Del porfirismo a la Revolución.

 

CITATIONS:

http://www.wfu.edu/history/StudentWork/fysprojects/kmason/DvASiq.htm

http://elagroman.wikispaces.com/HMMTM3G

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

http://www.scribd.com/doc/2178057/Mexican-History

http://www.mexconnect.com/articles/309-the-artist-as-activist-david-alfaro-siqueiros-1896-1974

http://en.wikipedia.org/wiki/Porfirio_D%C3%ADaz

http://www.pps.k12.or.us/schools/marshall/biztech/files/ecornet/Mural_Info.pdf

Alaska In All Her Splendid Glory…

I would love to use this post as an opportunity to explore some of the Alaskan-themed art available for our enjoyment here locally and throughout our great state!  Alaska is a land rich with Native traditions, customs and unique history; one of these great traditions of Native peoples has been expressing cultural customs through the arts.  Tribes throughout our state create beauty in forms as diverse as they are.  These arts encompass basket weaving, beading, jewelry making, painting, carving of wood and ivory, sculpture and work with leather and fur.  The breadth of this blog will expose you to several of these Alaskan painters and provide beautiful examples of their outstanding and unique work.

Randall Compton is a fine example of one such painter.  The Missouri-born painter who now calls Alaska home has pursued his artistic career for over thirty-six years!  The husband and proud father of four children worked in his early years for the Burlington Northern Railroad as a Gandy Dancer, an expression depicting railroad workers who laid tracks.  Compton is now an internationally acclaimed painter, a member of the Society of Animal Artists and has been twice honored as the Alaska Artist of the Year by Ducks Unlimited.  His works focus largely on the vast beauty of the Alaskan wilderness and the glorious wildlife that inhabit it.  Here I have featured several of his paintings which particularly spoke to me.

My favorite work by Randall Compton is one of his recent pieces, Pink Summer (2012), which he donated to the auction efforts supporting the Breast Cancer Detection Center of Alaska.  This work is a gorgeous piece rich with color depicting the abundant fireweed which grows so plentifully throughout the Last Frontier.  The deep pinks and greens that Compton utilizes meld to form an absolutely delightful artistic work!

As an ironic nod to his early days as a railroad worker, Compton painted First Train to Fairbanks (2005) after it was commissioned by The Friends of the Tanana Valley Railroad to commemorate the 100-year anniversary of Engine #1’s initial arrival into the Golden Heart City.  The antique engine is shown chugging down the tracks as two mallards take flight and a cluster of wild Alaskan irises set a tone of serene beauty in the foreground.

Denali (1998) is a painting by Compton which illustrates Mt. McKinley, the highest peak in North America and one of our state’s great landmarks.  Denali, the Native Alaskan name for Mt. McKinley, is an astounding sight and humbles the greatest of spirits.  While finding a better representation of the painting on the Internet was difficult, you can see clearly from the image that this painting accurately replicates the mountain in all its splendid glory.  I love the inclusion of the Canadian geese taking flight; as Interior residents, we are aware of their symbolic meaning of the onset (or fading away) of summertime and for this reason I find the birds to be very special!

The late Fred Machetanz was a renowned Alaskan painter who first visited our great state in 1935 and relocated here permanently in 1951, choosing to reside near Palmer.  Machetanz, who passed away in 2002, utilized an oil glazing technique which lent a luminous, somewhat hazy effect to his works.  For this effect, some have likened his works to those of the famous Alaskan painter, Sydney Laurence as well as European paintings hailing from the Renaissance.  The painter’s work focused on Native Alaskan traditions and customs, Alaskan landscapes and pioneers of the Last Frontier.  Machetanz too was honored with formal recognition, being named by American Artist magazine as Alaskan Artist of the Year in 1977 and American Artist of the Year in 1981.  Below are several of Machetanz’s more well-known pieces.

When Three’s a Crowd (1976) is a beautiful piece painted by Machetanz which depicts a sow polar bear with her two cubs as they lay huddled on a giant shard of sea ice in the Arctic.  This animal is synonymous with the Alaskan Arctic wilderness and Machetanz employs his signature ultramarine blue under-painting followed by additional layers of paint, which creates the hazy luminosity for which he is known.  This technique lends itself to a very realistic depiction of the low levels of light present in the Arctic at dusk or dawn.

Breaking Trail (1976) portrays a truly Alaskan scene with a musher breaking trail in the powdery snow as his sled dog team is in close pursuit behind him.  The backdrop is a beautiful snow-covered mountain with a sprinkling of what are likely black spruce and willow saplings.  As the hazy frost hangs in the valley which they traverse, the admirer of this painting almost himself shivers as Machetanz so accurately portrays the chilly Alaskan day!

Land of Long Shadows (1990) is one of Machetanz’s later works and is certainly my favorite!  This painting is so precisely Alaskan and being a life-long resident of this great state, I feel it so accurately embodies the essence of our Interior winters!  The scene illustrates presumably two Alaska native individuals attired in traditional mukluk boots and winter coats with fur ruffs.  The man in the foreground wears snowshoes and carries a rifle while behind him is a team of dogs, some panting as they catch their breath, pulling behind them a dog sled and passenger.  While the subject of this painting is wholly Alaskan in nature, what appealed to me most and inspired the title of the work is the lighting which Machetanz depicts.  I imagine this scene takes place around 4pm as the shadows from the men and dog team reveal the eminent sunset.  Completing this work is a scattered stand of black spruce trees and several rolling hills consistent with Interior Alaska.

CITATIONS:

http://baldeagles.org/sites/default/files/2007-09.pdf

http://www.ducks.org/media/Alaska/AK%20Content/_documents/AK%20POY%20History.pdf

http://alaskarap.wordpress.com/2006/09/24/art-sunday-for-september-24-2006/

http://www.fairnet.org/agencies/tvrr/Artist.htm

http://www.adfg.alaska.gov/static/species/speciesinfo/woodbison/pdfs/woodbison_news3.pdf

http://www.fairnet.org/agencies/tvrr/Artist.htm

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

http://hipow.blogspot.com/2010_09_26_archive.html

http://www.google.com/imgres?um=1&hl=en&tbo=d&authuser=0&biw=1320&bih=644&tbm=isch&tbnid=cLYzEcCWBZ-HrM:&imgrefurl=http://www.fairnet.org/agencies/tvrr/print.html&docid=IOa9zRZcK1yhKM&imgurl=http://www.fairnet.org/agencies/tvrr/images/TVRR_print_small.jpg&w=315&h=240&ei=pdemUILABKzviQKD-YCgDg&zoom=1&iact=rc&dur=330&sig=107760885412939633679&page=1&tbnh=142&tbnw=177&start=0&ndsp=17&ved=1t:429,r:0,s:0,i:71&tx=94&ty=76

http://www.fairnet.org/agencies/tvrr/print.html

A family in need…

Migrant Mother (1936) is a photographic work belonging to Dorothea Lange and is indisputably one of the most iconic images which ever captured the essence of the Great Depression and the impact it had upon people who endured its effects.  The subject of the photograph was Florence Owens Thompson, an impoverished mother of seven hungry children.  This photograph struck me years ago when I first laid eyes upon it and it has captured me with indescribably awe and pity ever since.

Franklin D. Roosevelt implemented his “New Deal” economic stimulus package beginning in 1933 in an effort to save our faltering country.  An integral element of the New Deal was a series of programs, which proffered work to unemployed artists and other workers not skilled in a specific trade.  Dorothea Lange was employed by one of these programs, the Farm Security Administration, under whose direction she traveled throughout the country to photograph and otherwise document the strife endured by the displaced families of the Depression era.

While this work is so obviously related to the Great Depression, I felt compelled to discuss it in this post because it has had such a profound impact on me over the years.  One can so easily empathize with Thompson when seeing her desolate, almost expressionless face and it is impossible to not be entirely moved by the sight of her children clinging desperately to her shirt as they shy away from Lange’s camera.  I find this piece so profound in nature that I yearn to be present at that moment to reach out to offer comfort and aid to the mother and her children…

“Migrant Mother” (1936)

CITATIONS:

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

http://www.loc.gov/rr/print/list/128_migm.html

http://memory.loc.gov/ammem/fsahtml/fachap03.html

http://www.berkeley.edu/lange/lange.html

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

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

“Comparison is the Thief of Joy” -Theodore Roosevelt

We have, in the course of our studies, discovered and learned to appreciate a diverse gamut of styles, which reflect a continual artistic evolution through the centuries.  These various styles have the consequence of reflecting and embodying the changing political, economic and religious climates of the eras in which they occur.  This dynamic aspect of artistic history makes following its progression through time quite interesting, especially when viewed from a macro perspective.  Two of my favorite styles are the Baroque era, encompassing approximately the years 1600-1750, and the Impressionistic era of the late nineteenth century.  I will explore some striking differences between the two and delve a little deeper into the facets of each in hopes that we can better understand the two eras and develop a keen appreciation for their unique dynamics!

The Baroque era surfaced as a notable distinction in art history following the Northern European Renaissance.  Historically, the Catholic Church was largely influential in shaping the direction of artistic works’ subject matter.  Consequently, works hailing from the Baroque period are rich with history and religious themes.  A brief discussion of the political and religious climate during this era is necessary to fully grasp the direction of the period’s artistic style.  Protestantism had recently begun in Europe and was precipitating major changes as the Catholic Church sought to reestablish their dominance and power through the reverent regard of their people.  Church leaders dictated that between 1545 and 1563, three sessions would commence – called the Council of Trent.  Their task:  identifying weaknesses of the Church and devising a successful strategy and terms of implementation to counter the Reformation movement.

The Council of Trent had enormous and profound implications as the Church embraced the arts as a medium through which they could connect with individuals’ senses of piety and faithfulness.  Church leaders condemned the production of secular subject matter and instead supported sacred works that left out the allegorical complexities rendering themselves difficult for common people to interpret.

Owing largely to the intense involvement of the Catholic Church, Baroque era visual art, architecture, music and theatre exhibited an extraordinary amount of drama, passion and intensity with a certain favor of sacred subject matter.  The opulent and ornate features consistent with the Baroque style are exhibited in several architectural masterpieces of the time, which include St. Peter’s Basilica, the Palace in Versailles and the Louvre!  Below are photos of each of these three architectural features!

The Louvre, France

Palace of Versailles, France

Basilica of St. Peter, Italy

We would be remiss not to discuss the great influence of France upon the arts during the Baroque era.  The French monarchy was largely influential in the formation of artistic style during this time; King Louis XIV and his chief advisor, Jean Baptiste Colbert, together formed the Royal Academy of Painting and Sculpture in 1648.  The French Academy developed a forum by which to judge artistic works and was tasked with perpetuating the techniques involved in artistic creations by educating pupils of the arts.  The French Academy identified two distinct techniques:  those that favored linear design and those that favored color.  The Poussinistes felt that lines appealed to the mind and that the Rubenistes’ preference for color was merely stimulating to the senses.  Regardless of the class to which one subscribed, the French undoubtedly made large contributions to the arts during this period!

Visual art during the Baroque era consisted of highly dramatic technique such as tenebrism, which is the depiction of extremely pronounced contrasts between light and dark illumination.  Subject matter also evolved during this era and would lend some similarities to Impressionistic works to come centuries later!  Baroque subject matter began to encompass ordinary people in the pursuit of ordinary daily activities and began to exhibit realism and still life pieces.

“The Hundred Guilder Print” by Rembrandt Harmenszoon van Rijn (1647-1649)

Another favorite period of artistic history is the Impressionistic style which emerged in the late 19^th century.  Paintings of this style were viewed by early critics as unfinished “impressions” which traditionally would have just be the inspiration an artist would use in the studio to later create a complete piece of work.  An integral feature of Impressionistic paintings is that they require the use of imagination and perhaps require a viewer to reflect a sense of one’s self in understanding or formulating a story in the image.

Impressionism deviated from painting historical events and religious subject matter and moved instead to scenes depicting the grandeur of the natural world and the contemporary facets of everyday life.  In some ways this was similar to the movement of realism in the Baroque era.  Impressionistic artists focused on the transitory effects of light and the dynamic aspect of our ecosystem.  They could easily find inspiration in splendid scenes of light cascading from the sky and the luminous effect of its shimmer on rippling a rippling tide.  One of my favorite artists from this period is Claude Monet.  Below is a work of his which embodies the Impressionistic style long, streaking brushstrokes and the thick application of paint for a dramatic air!

“Water Lilies” by Claude Monet (1914-1917)

Impressionism introduced the technique of pointillism into visual art, which is the use of small “points” or dots of numerous distinct colors being combined to create the impression of a larger distinct image.  This style is made possible by the unique ability of the human eye and mind to combine these distinct dots of colors and formulate them into the likeness of whatever image the artist is attempting to portray.

The use of light to capture a moment on canvas cannot be overemphasized.  The subject matter of the Impressionistic style married with the technique which favored thick application of paint for a bold, dramatic effect created a very powerful likeness to nature for those who appreciate this beautiful style.

Clearly there is much to appreciate in both eras and each touts unique features that make define the period in which they occur.  The Baroque will forever be a favorite with its highly dramatic, sacred, opulent, lavish and ornate designs of visual art, architecture, sculpture, theatre and music and of course the Impressionists which introduced the ever-grateful world to a beautiful style which favored the grandeur of nature, the extraordinary effects of natural light and the encouragement to experience art on an individual level in the interpretation of artistic works on a personal basis.

CITATIONS:

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

http://en.wikipedia.org/wiki/Baroque#Architecture

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

http://www.louis-xiv.de/index.php?id=46

http://www.wisegeek.com/what-are-some-famous-baroque-paintings.htm

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

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

http://en.wikipedia.org/wiki/St._Peter%27s_Basilica

http://www.ibiblio.org/wm/paint/glo/baroque/

http://arthistoryresources.net/ARTHbaroque.html

Implications on the Arts of the Rising Middle Class

The 18^th century was a period of revelation for many individuals throughout Europe and the Americas.  The North American colonies began to revolt against stifling British rule and the French also engaged in formal revolution.  The upheaval and sustained climate of political unrest had major implications for the arts.  Middle class families were growing in terms of numbers and power and they began not only enjoying and participating in the arts but largely influencing the style of the era.

Many individuals – and in particular the middle class – grew to become appalled by the behavior and tastes of the monarch ruling class.  They resented the lavish and opulent lifestyle of the wealthy, which was afforded only by the hard work and taxation of the lower classes.  The American and French Revolutions are events indicative of the middle class seizing power and effectively crying out for independence and the pursuit of liberty!

As this shift in attitudes and political climate occurred, the Rococo style of art became synonymous with the lavish tastes and extravagancies of the rich that the middle and merchant classes so despised.  And thus the Classical style of art emerged.  Rich with regularity, order and patriotism, Neo-classical art so embodied the emerging independence precipitated by the American and French Revolutions.

This shift from the Rococo to Neo-classical style occurred swiftly and truly reflected the progression in attitude held by the middle and merchant working classes.  Neo-classical art conveyed solid virtues, self-sacrifice for the greater good of humanity and the ideals of civilizations past such as Herculaneum & Pompeii.  Classical antiquities were featured as were heroes hailing from the American and French Revolutions who gave of themselves for the greater good.  These paintings signified the embrace of the Enlightenment and often retained a somber and linear tone.

The Death of Major Peirson, 6 January 1781 (1783) was commissioned by John Boydell of London and painted by the American Neo-classical artist, John Singleton Copley.  Singleton’s painting so embodies this period of revolution in which the rise of the middle class was so changing the political landscape and radically redefining the arts!  Rich with history, the scene takes place in Royal Square on Jersey Island with a backdrop of what is now called, Peirson’s Place.  Some of the buildings featured in the painting still stand today – some reminiscent of the past with actual bullet holes from the Battle!!

The painting depicts a scene from the Battle of Jersey in which Major Francis Peirson lost his life in the pursuit of freedom.  The work places obvious emphasis on Major Peirson who is the centerpiece of the piece and is dressed in white to stand out amongst the other characters.  Peirson’s black servant, Pompey, is depicted just left of center and is shown murdering the sniper who took his master’s life in order to avenge his death.

The painting was highly popular after its creation and was first included in exhibition at 28 Haymarket in London.  This work is relevant from a patriotic and inspiring standpoint even today; Copley’s inclusion of the Union Flag, his chosen color scheme of reds, blues and whites, and the powerful subject of a Major giving his life for the greater good of his country and the pursuit of freedom and justice are so universally patriotic!  The scene illustrates a young mother fleeing the chaos with her children and servant trailing behind.  While literally these characters were Copley’s wife, children and servant, they figuratively are symbolic of the middle and merchant class populations present during the time of the Battle of Jersey who endured the unrest and ultimate shift in political climate of the 18^th century.
CITATIONS:

http://en.wikipedia.org/wiki/The_Death_of_Major_Peirson,_6_January_1781

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

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

http://www.digitaltermpapers.com/b4391.htm

http://www.britannica.com/EBchecked/topic/408739/Neoclassicism

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

Council of Trent – Influence Upon Baroque Era Visual Arts

There are a plethora of sources illustrating the influence of Counter Reformation and the Council of Trent upon the arts during the Baroque era.  I was so moved, however, by the striking differences between the Renaissance and Baroque depictions of David that I chose to analyze how this event in the Church’s history influenced Bernini’s 1620s sculpture of the religious icon.

First allow me to lay the groundwork which describes the religious climate during the Baroque era.  Following the upheaval in the Catholic Church precipitated by Martin Luther and the Protestant movement, the Church vowed to reinvent Rome and once again attain the image of sheer power and prestige that it had held prior.  In its quest to do just this, the Church dictated that between 1545 and 1563, three sessions would commence – to be called the Council of Trent.  The Church charged the Council within these meetings to devise a strategy to counter the Reformation movement and so “Counter Reformation” ensued.  The Council’s conviction was that the faithful should be reminded of their churchly duties and servitude to God by art that was representative of this sacred nature and thus Church leaders once more embraced support of the arts as a way to maintain the prestige of the Church.

The Council dictated that deviation from sacred works must discontinue; works of art must support the beliefs of the Catholic faith and not be rich with allegorical complexities that were difficult for the common man to comprehend.  Thus followed a movement which embraced dramatic and emotional works that spoke to individuals’ sense of faith and piety.

The influence of the Church is clearly evidenced in many great pieces of art work hailing from this period, however, I feel that comparison of two artists’ take on the same historical figure – one from the Renaissance era and one from the Baroque – illustrates so effectively the striking differences between these two periods!

Michelangelo di Lodovico Buonarroti Simoni created his infamous statue David during the years 1501-1504.  Michelangelo’s David is largely emotionless and the statue maintains a passive, non-aggressive stance as he prepares to engage in battle with Goliath.

Gian Lorenzo Bernini was commissioned to create a version of David, which he completed during 1623-1624, intended to occupy the Villa Borghese Pinciana, where it may still be found today.  Bernini’s depiction of David, unlike Michelangelo’s statue, epitomizes drama and emotion, consistent with the Baroque Era from which it hailed!!  The statue depicts David entering into the fight with Goliath raring to go and absolutely full of emotion which I interpret as anger, intensity and passion as he is ready to wage battle!  While both Michelangelo and Bernini were representing the same historical icon entering into the same battle, the Council of Trent and thus the overshadowing religious climate so clearly influenced a monumental difference between the two!!

While both Michelangelo and Bernini’s depictions of the figure of “David” are full of beauty, each in its own right, I was significantly moved by the sheer power and might emanating from Bernini’s statue!  Bernini’s “David” is a man full of passion, strength and fortitude and ready to defeat the enemy!  The differences between these two depictions of the same historical event clearly speak to why I am so fond of the art of the Baroque era!

CITATIONS:

http://en.wikipedia.org/wiki/The_Reformation_and_art#Council_of_Trent

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

http://www.newadvent.org/cathen/15030c.htm

http://en.wikipedia.org/wiki/David_%28Bernini%29

http://smarthistory.khanacademy.org/Bernini-David.html

http://en.wikipedia.org/wiki/David_%28Michelangelo%29

http://smarthistory.khanacademy.org/Michelangelo-David.html

Influence on Renaissance Visual Art

Sandro Botticelli, born Alessandro di Mariano di Vanni Filipepi c. 1445, was a highly esteemed Italian Renaissance painter.  Botticelli studied at the Florentine Academy which was commissioned by Lorenzo de’ Medici.  The Medici family proved to greatly influence and perpetuate Botticelli’s career as they not only commissioned many works from the great artist but also made known his great talent.  Botticelli’s popularity during the height of his career won him clients from the Medici’s circle of affluent bankers and aristocrats among other wealthy and influential individuals.  One of Botticelli’s most famous works, Adoration of the Magi (1475), portrays in its cast the following members of the Medici family:  Cosimo de’ Medici, his sons Giovanni and Piero, and his grandsons Guiliano and “Lorenzo the Great.”  Lorenzo himself commissioned the famous Primavera which was completed in 1482.  Quite clearly, the Medici family played an integral role in Botticelli’s career as they did for many visual artists hailing from the High Renaissance.

In my study of Botticelli’s works, I was most affected by The Birth of Venus (c. 1485), which the artist created in Florence, Italy.  This piece absolutely exudes humanistic influence it its showcasing of the beauty of the female human form.  Some may criticize that Botticelli lacked realistic depth and argue that Venus’ physical proportions are not anatomically plausible, however, I believe that Botticelli’s objective in this work was to express the graceful female body.  The piece embraces true humanistic influence by featuring her flowing, golden locks, which delicately cover her to maintain innocent modesty.  Venus is displayed as the graceful centerpiece of the painting by her placement on an ornate seashell and the inclusion of the back-dropping serene sea and delicately falling flowers.  While a number of Botticelli’s paintings embrace the splendor of humanism, The Birth of Venus so amply applies the concept!!
CITATIONS:

http://www.arthistory.net/artists/sandrobotticelli/sandrobotticelli1.html

http://www.artchive.com/artchive/B/botticelli.html

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

http://en.wikipedia.org/wiki/Adoration_of_the_Magi_of_1475_%28Botticelli%29

http://en.wikipedia.org/wiki/The_Birth_of_Venus_%28Botticelli%29

 

Let’s talk culture!

My boyfriend and I this summer in the Bahamas!

I have never considered myself an entirely knowledgeable individual with relation to the arts, however, I am keenly interested in learning more about them.  I am genuinely excited that this course is required of all bachelor’s-seeking students at the University of Alaska as I am being forced to explore a world of art, music and theatre that I never before delved into on my own accord!    Note:  For my photo inclusion I chose one that I set up and had a stranger take of my boyfriend and I this summer in Nassau (Bahamian Islands).  Lots of fun and a gorgeous photo!!