The Goldsmith- More Advertisements

To be honest, I am becoming very tired of blogging about Christian art. Scouring chapters nineteen and twenty in Gardner's Art through the Ages for something secular but not 'boring', I have decided to write about Petrus Christus' A Goldsmith in His Shop. Unfortunately (for me) this painting still has religious ties. The goldsmith has often been argued to be Eligius, the patron saint of goldsmiths. Ironically, there was once a halo around the goldsmith's head, but was discovered to be added by someone other than the artist, so was removed by art historians.
During the Northern Renaissance, many wealthy men wanted important events in their lives to be depicted in an oil portrait. This painting could have been a couple buying their wedding ring from Eligius or a scene that Christus thought would make a lovely portrait, there is really no way of knowing. As in every Flemish painting, all "everyday objects [have] symbolic reference". The belt next to the women in the painting represents chastity, the scales represent the Last Judgment (and are used to measure the rings).

The object in this painting that intrigued me most was the coral. Most of the paintings we have seen so far do not include natural objects. The coral, along with the precious stones, beads and crystal, are to show the audience what materials the goldsmith had in his possession to turn into jewelry. The pewter pitcher, placed for offerings, almost exemplifies the use of this painting for propaganda. The painting, placed inside a church, showed how extravagant the goldsmith's work was and how every couple wanted a piece of it-- another couple is depicted walking towards the goldsmith's shop in the convex mirror (although not as well articulated as van Eyck's mirror in Giovanni Arnolfini and His Bride). As I see it, this painting is no more of an advertisement than a commercial seen on TV today-- everything strategically placed to capture and entrance the viewer.

Merode Altarpiece

Painted by Robert Campin in the early 15th century, Merode Altarpiece depicts the angel Gabriel telling Mary about the birth of her son. With the invention of Oil paints, Robert Campin was able to add detail to his paintings that he other wise wouldn't have been able to depict with tempura paints. Oil paints allowed for a revolution in art. Small metaphorical details showed allowed subtle representation of religious figures.
The 3rd triptych on the right, shows Joseph, alone, working as a carpenter. The triptych also shows a mousetrap-- representing Christ is destined from reincarnation. The bait in the mouse trap represents Christ who lures the devil, who seizing the bait, is destroyed. The room that Joseph is in, is much less lavish than the room that Mary resides. Mary's room is elegant to enthrone the mother of Christ.
The light cast upon Mary represents birth and an open book and lily's represent the Virgin. Mary is lying in front of a fireplace and is being greeted by the angel Gabriel who is telling Mary of her new child. The room that Mary is in is the most famous of the three triptych because it shows the Annunciation.


The final of the three triptychs shows the man who has paied Robert Campin to paint this watching the Annunciation. Wealthy Dutchmen often wanted to have themselves represented at noble religious scenes. The Dutchman is in the wake of Gabriel with his wife opening the door to Mary and Josephs house to hear the miracle.

Many critics point out that little is mentioned of Joseph and Mary's marriage in this triptych. Indeed the painting shows Joseph in what looks like another house entirely. Joseph and Mary's marriage is not the point of the Annunciation and should not be represented with weight. The Annunciation is clearly shown, as Gabriel tells Mary of the birth of Christ (just in time for Christmas).

The Birth of Propaganda: Saint Francis Alterpeice

Bonavantura Berlingheri lead the Italo- Byzantine Style by combining Byzantine art and highlights some of St. Francis's most noble achievements in a naturalistic style. Why a piece of propaganda? Bonavantura Berlingheri highlights the miracles St. Francis preformed during his lifetime, but his altarpiece was created 9 years after his death.

Completed at a time when the Papal states were in disarray (The Great Schism, MEndicant Orders, and Confraternities), the St. Francis attempted to persuade Christian's to devout their life to the Church, as St. Francis had. The life of a monk meant being completely stripped of all pleasures in life. St. Francis exemplified this belief by going to such an extent as stripping in public, a register that is shown on his altarpiece. 

There are six registers on St. Francis's altarpiece. The top left register shows St. Francis receiving the stigmata (the wounds placed on his hands to shows his devotion to God). The register below this one shows St. Francis preaching to the birds. The register below him preaching to the birds shows him preaching to townspeople, possibly the poor, from a carriage, while he was on a pilgrimage. The top and bottom registers on the right hand side show him helping others, possibly the poor again. The middle register on the right hand side shows him stripping in a public square proving his devotion to God. 

At a time when the church seemed to be failing, their attempt to recruit followers seems a bit stretched. Although St. Francis's gestures towards the poor and devotion to God are noble acts, his sacrifice to God and self inflicted wounds make the life of a monk not appealing.

The Red Boat at Argenteuil

Currently at the Frist in Nashville Tennessee, The Red Boat at Argenteuil is a supreme example of Monet's landscape painting style. In the mix of other Impressionism paintings at the Birth of Impressionism exhibition at the Frist Center, there isn't much of a difference in this painting from the others. The Red Boat at Argenteuil stuck out at me because this is a painting I have seen since I was younger. When I was smaller I had a print of this Monet masterpiece hanging in my room. As a young child, bright, contrasting colors seem to catch one's easily rather easily. The Red Boat at Argenteuil was painted with contrasting reds, greens and blues-- colors easily recognized by name for a small child.
Many of Monet's paintings show the spectrum of seasons changing. The Red Boat is clearly identified as a summer's day- the water is still and clear, the trees are green and the sky is nearly cloudless. The sails of all the boats have been taking down and the movement in this painting in very still showing again how nature is a calm force. To make his painting as appealing landscapes, Monet eliminated grey tones from his palette. Contrasting to the ideals of the Impressionism movement-- which attempted to capture the most natural form of the subjects-- Monet bended the rules a bit to preserve the beauty of natural in an almost exaggerated form. 

Monet in the midst of his career moved to Argenteuil to work on his career in nature. For The Red Boat at Argenteuil and many of his other works based at the sea, Monet used a boat- studio to be in the water as he painted. Although Monet tried to remove greys from his color palette to highlight the strongest colors in nature, there is some grey still in the sky and water and even some of the boats. The Red Boat, and subject of the painting, is a rust colored red, perhaps to mimic the natural reaction of water on metals (represented by the grey). 
Although I looked at this painting nearly every day as a child, I only saw the red boat with the green tree. It's funny how a painting can grow with you and you can learn more about it each time you look at it-- even something as simple as a Boating Landscape by Monet. I see now the reflection and stillness and respect for the water, instead of only a boat waiting to go out to sea. 

Rotting Jesus: Rottgen Pieta

The wooden statue of Mary holding dead Jesus is purposely disproportionate and contrasts sharply with other European statuaries of the time. Although the statue is painted wood, the colors used for Mary and Jesus Christ are dull greys and browns. To symbolize Mary's grief and Jesus's low place in society at the time of his death, Mary and Jesus's clothing is not elaborate of ornamented. The wounds on Jesus's hands, feet and chest are all dramatically gashing blood and his head hangs backward at an awkward angle making his neck look deformed--elaborating the ghastliness of his death.

The purpose of all of the gore and grief carved into this statue was not only to depict the gloom of Jesus's death, the statue is also a symbol for the "widespread troubles" (Gardner's Art Through the Ages) facing the Holy Roman Empire during the 14th century. The Christians at the time who were facing hardships-- war, plague, famine and social strife-- could now have a noble figure to share their grief with-- Jesus and the Virgin themselves. To display the theme of sorrow, the artist (unknown) exaggerated Jesus's body shape (a frail, bloody body with a dangling, enlarged head) sitting on Mary's lap, just how a mother would hold a wounded child. 

 Rottgen Pieta was ahead of it's time in the statue's bold emotionalism in Mary and Jesus's face. If we focus on Mary's face, there is a mix of emotions in her gaze. The artist humanizes Mary by giving her strong emotions. Mary's face looks appalled and anguished because of her son's death, and there is also a sense of shock, and awe that anyone would kill her son- the Son of God. The artist had exaggerated Mary's sorrow in attempts to make it seem she was asking the viewer, 'what is happening to you that can be more distraught that this?'

Laon Cathedral

The Laon Cathedral is the first example of architecture from the Early Gothic period. Branching from some Romanesque features like rib vaults resting on pointed arches and alternating support system. The original Gothic style architectural interior is the triforium, or the first level of the nave surrounding the arcade. The Laon Cathedral is 78 feet high, which at the time seemed large but was a mere midget to its Reims counterpart built in 1225 and 144 ft tall.

Cathedral architects always wanted to break up the boring walls of cathedrals and they did so by adding stained glass windows and more stories to each cathedral over time. Four of the six towers still remain at the Laon Cathedral. The two bell towers are decorated with bulls to commemorate the hard work animals put forth for the construction of this cathedral. Laon Cathedral has a flat roofed apse, flying buttresses and rib vaults similar to the Romanesque and other Gothic Cathedrals.

The Dark Lord Tympanum

In Art History class this week we had the wonderful opportunity to make tympanums honoring whoever we'd like, instead of taking notes. Anna Claire and I chose to make a Harry Potter tympanum, but instead of honoring Harry Potter, we put Voldemort in the middle.
Voldemort is enclosed in a mandoria constructed from a snake. In the Harry Potter series, Voldemort and descendent of Salazar Syltherin, a founder of the Syltherin House at Hogwarts School of Witchcraft and Wizardry and represented as a snake. The archivolts of the tympanum has 7 registers. Each register contains a Horcrux, or an item that contains a piece of Voldemort's soul. From left to right the items are  Helga Hufflepuff's Cup, Tom Riddle's Diary, Salazar Syltherin's Locket, Rowena Ravenclaw's Diadem Nagini (Voldemort's snake), Gaunt ring and a lightening bolt to represent Harry Potter. On either side of the Horcrux's towards the bottom boarder of the arch is an interlacing snake pattern, similar to those in celtic art (snakes are very important to Voldemort because he is an heir of Slytherin and was in the house of Slytherin when he attended Hogwarts).
To  Voldemorts left are the "damned" souls. Directly to his left is Harry Potter, whom he could not defeat with the killing. Next to Harry Potter is Dumbledore, who is the only wizard whom Voldemort truly feared. On Dumbledore's left is "Mad Eye" Moody, the most renowned  auror of his time. An auror is like a detective in the Wizarding world of Harry Potter. Next to Moody is Arthur Weasley, a Wizard who appreciated Muggles (something frowned upon). All "damned" souls were members of the Order of the Phoenix.
On the right of Voldemort are the "blessed" souls. Directly to Voldemort's right is Lucius Malfoy, a devout Death Eater (follower of Voldemort) who allowed Voldemort to use the Malfoy Mansion as a meeting ground. Immediately next to him is Severus Snape, Voldemort's most trusted Death Eater, but who has vowed to protect Harry because of his love for Harry's mother, Lily. Next to Snape is Bellatrix Lestrange, a member of the Black family (a prominent family in the Death Eater world) and sister-in-law to Lucius. Lying next to Bellatrix is Fenrir Greyback, a Death Eater turned werewolf, who is notorious for killing children. We represented Fenrir in the form of a Etruscan Sarcophagus; he is lying down and the upper half of his body has more attention than the bottom half.
Immediately next to Voldemort's head on either side is the Dark Mark or the sign of the Death Eater. To summon the Death Eaters, a Death Eater will release this symbol into the sky. They also use this symbol when on of the members has killed a victim. Voldemort's wand, in his left hand, is casting the Dark Mark over the "damned souls" because 2 of the 4 are dead (Dumbledore and Moody).
Below the damned souls are four figures representing the Death Eaters.  From left to right is a Death Eater in cloak, a skull, a victim, a Death Eater mask, and a Dementor (a creature that feeds off human happiness) whom are most loyal to the Death Eaters because they can provide the most happiness for them to feed off of.
Below the "damned" souls are 4 figures important to the "damned" souls, or most notably The Order of the Phoenix. From left to right is a Hungarian Horntail, a house elf (Dobby) who saved many members from the clutches of the Death Eaters. Next to Dobby, is Hedwig (Harry Potter's owl) flying over Hogwarts grounds, and next to Hedwig is Hagrid, keeper of keys and grounds at Hogwarts.
Of course, it has hard to find one worshipped character (although, arguably it could be Harry himself) in the Harry Potter series. Voldemort had a fascination with symbols and objects (that he later turned into Horcrux's) that made his portrayal for a tympanum quite simple. Mr. Lovell, if you have made it through all of these descriptions of Harry Potter characters, you should now attempt to read the first book in the series!!!!

Gero's Cross

The Crucifix commissioned by Arch Bishop Gero is one of the first life-sized wooden crucifixion's and has remained in considerably good condition noting it's location and medium. Many of the crucifix's prior to the Ottonian period did not show such a severe emotion of Christ. The Gero Cross was the first to show the distress in Christ's face, as well as his body language.
The distress in Christ's is complemented by the sad, stretched muscles in the rest of his body. In some crucifix before this one, Christ's body didn't seem to hang as much off the cross as it in Gero's cross. The weight is pulled from between his nailed hands and throughout his core, where it is resting on the pedestal at his feet. Where there once was a throned crown, there is now dripping blood. Different from "happy crosses" in earlier Ottonian crucifixes, Christ does not look joyful or youthful; Gero's cross is the more realistic representation of the Crucifixion.
Today's image of Christ is a lot like the one from Gero's Cross; Gero's cross laid the foundation for the image of Christ. Christ today is pictured more Middle Eastern with a sad expression when he is on the cross. Come to think of it, there isn't a representation in art when Christ is happy. Does this have something to do with his death? We know now that Christian story tells us Jesus died for all of our sins. Did artists depict him as unhappy because they interpreted his fate as something for him to be unhappy about? Christ's sad expression in other works of art may be unexplainable, but because his feet and hands are nailed to a cross, his sad expression in Gero's Cross is the most realistic of its time.

Moon

Dale Chihuly’s Moon is made from glass. Currently on display at Cheekwood museum in Nashville, the Moon is the centerpiece in a planetary display. Since I saw the Moon at night I was able to visually compare it to the real moon. Of course, the real moon is grey but still shares the same varying shadows that Chihuly’s Moon does.

Van Gogh’s The Starry Night also depicts a surreal night sky with varying shades of blue. The mystical mystery of the night is portrayed in his varying ‘plates’ of blues and whites that are welded together to form a sphere. At Cheekwood, the Moon is placed behind a foreground filled with different color basketball-sized glass globes representing different planets. The swirls on the ‘plates’ reminded me immediately of The Starry Night and the swirls Van Gogh used in his paintings to depict the wind during the night and the movement of the night’s sky.

I haven’t seen many glass arts but Chihuly used the random bends and twists of glass to his advantage to make beautiful sculptures. Chihuly has a variety of subjects of astronomy to vegetables. I was impressed the most by Chihuly’s Moon because of its lighting display and the other glass globes that were places around it. 

September 17, 2010

Classwork analysis over thirty minutes.

Clare Coyle Taylor- January 2, 2007
Color pencil on bristol board
Taylor's abstract drawing depicts a smudged pastel background of green, purple and pink colors. The drawing is a small square, approximately 8X8 inches. In the vertical center of the drawing there are top boxes. A top with a black center and the bottom with a red center. The boxes are both surrounded by black blurred outlines that encompass the shapes in the chaotic background. Both squares seem to sitting in a birds nest safely nestled in their black boarders. The top box, a bluish blackish color, could represent the blueness of the moon, while the red box represents the sun.
The emotions tied in with the colors boarding the boxes show chaos and wild color. The background displays bright colors that contrast with the two black boxes. The red could also represent a passion and love for something, but the bluish blackish is darker and more menacing. The two boxes could also represent life and death. Red, the color of blood could represent life, while black, the color of decaying flesh, can represent death. Life and death are both encompassed by boarders. I now notice the boarder surrounding the "death" box is somewhat distant to the box, while the red boarder closely encompasses the red box. The boarder's could be protectors for the beings in the chaos of the real world. I see the red box as a representation of life and life being closely connected to its conscious (the black) boarder and its ability to shield itself from the outside world. The "death" box's black boarder is farther from the black box. Death cannot shield itself from the outside world and has to face natural decomposition without a close shield; thus it's shield is more distant from the box and more precise because death does not have to incorporate itself in the real world, but it is still there.

The Kiss

Gustav Klimt’s The Kiss 1907

Romantic depictions in Art at the time of Gustav Klimt were at the first stages of being more “realistic” emotional than they had previously been.  For the first time, the Impressionist Movement captured the emotions of the movement rather than a snapshot. Klimt captures a young couple in an embrace.

The woman is not only knelling, but has her toes and necked curved at an uncomfortable angle. Klimt’s lifestyle reflected his view of women as objects by hiring them as nude models. The women in The Kiss is uncomfortable and has a position manipulated by the man, but sticking too his lifestyle, Klimt paints her face with a peaceful expression. Although each of the subjects clothing is embellished with gold, the male’s clothing has more rigid shapes while the women’s drapery is covered in circles—almost mirroring the flowers below her. The man holds the women in a very rigid position and does not show his face.

The couple seems to be on the edge of a cliff as they embrace. Love is an uncertain emotion because it must be shared between two people. There is a ecstatic feeling associated with love and that it can end very quickly. The edge of the cliff represents how closely to the edge a couple can be.

The landscape of The Kiss is very limited. The couple is knelling in a bed of flowers while their background is a mess of black flecked heavily with gold. The haziness of the gold along with the flowers gives the scenery of the kiss an almost dreamlike state.

The ratio of the width of the couple to the ratio of their height from the ground represents the golden mean. The mass of the couple, in addition to the platform they are knelling on takes up almost the entire height of the painting. The lightening at the scene of The Kiss is at a dark time of the day, most likely dusk. A bright background would bring attention to the couple, when they are clearly sharing a private moment. 

Breakfast in Bed

Mother child relationships can normally be described in a few sentences. The mother having full responsibility for the child loves them unconditionally but sometimes need a break. The child is completely dependent on the other and therefore wants to be with her ever moment they get. The impressionist style of Cassatt captures casual moments, as this one does here and shows the emotions of that moment. Cassatt captures the tired emotions of the mother with her exasperated look at the child. The mother is clearly tired- she is still in bed and her head is relaxed against the pillows. The child is expressing comfort. She is near her mother and therefore content and at the same time completely oblivious to the needs of her mother. Her ignorance of her mothers needs could be due to her age but also her selfishness in wanting to be with her mother. The lightening of this painting clearly shows it was not at nighttime or even at dawn. The lightening is late in the afternoon, which could contribute to the idea the mother is depressed (she is still in bed at noon).  The mother, although not very focused on the child is still restraining her with her arm showing that she wants the child to be there but her thoughts aren’t completely focused on the child. There is a sharp contrast with the whites of the sheets and the flesh tones of the mother and daughter. Cassatt has the subjects framed in a dark green, which draws the eye to the center pink, surrounded by white and then framed with green.