German Expressionism

One of the great things about being an art gallery owner is the chance to experience each of the pieces in great detail. For me, August Macke’s, Great Zoological Garden, is one of my favorites. I really  like the representational color and beauty found in its natural composition. This painting is oil on canvas, but appears to be almost chalk-like, in my opinion. I really enjoy looking at this particular piece because of its detail which makes it truly a unique art piece.

Macke is making a reference to leisure in this painting by putting viewers at the zoo which is not a normal business place rather a pure leisurely activity. The people he shows in this painting would make a person viewing this think they were having a pilgrimage to the zoo to experience nature. Although this may be the case, the triptych yields the implication of worshiping nature. In my opinion, nature opens your mind to the Lord and allows the stillness to surround you. Nature is the place I feel closest to the Lord because I am completely surrounded by all of His creation. Thus, I think this particular piece is showing nature as a place of worship that is being contained in one area – the zoo.

I believe these popular, church played hymns are great comparisons to the experience of worshiping in nature within this painting. The following hymn pieces were taken from a study done by Bob Deffinbaugh’s What in the World Is Going On? A Study of God’s Plan for Man on Bible.org.

How Great Thou Art (Second Stanza)

When through the woods and forest glades I wander
And hear the birds sing sweetly in the trees;
When I look down from lofty mountain grandeur
And hear the brook and feel the gentle breeze;
Then sings my soul, my Saviour God to Thee; How great Thou art!
How great Thou art! Then sings my soul, my Saviour God to Thee;
How great Thou art! How great Thou art!

Great Is Thy Faithfulness (Second Stanza)

Summer and winter, and spring-time and harvest,
Sun, moon and stars in their courses above,
Join with all nature in manifold witness
To Thy great faithfulness, mercy and love.
Great is Thy faithfulness! Great is Thy faithfulness!
Morning by morning new mercies I see;
All I have needed Thy hand hath provided
Great is Thy faithfulness, Lord, unto me!

Fairest Lord Jesus (Second and Third Stanzas)

Fair are the meadows, Fairer still the woodlands,
Robed in the blooming garb of spring:
Jesus is fairer, Jesus is purer,
Who makes the woeful heart to sing.

Fair is the sunshine, Fairer still the moonlight,
Robed in the blooming garb of spring:
Jesus shines brighter, Jesus shines purer
Than all the angels heav’n can boast.

Source: http://bible.org/seriespage/natures-part-gods-perfect-plan-psalm-19-romans-818-25-isaiah-6517-25

Overall, I think this song explains how important nature is in all of our lives.

Please click the link below to listen! You won’t be disappointed!

I hope you enjoyed my blog! If you have any comments please feel free to leave them! Thank you!

-Gallery 9310, The Owner

The Reality of Life

Käthe Kollwitz, Woman with Dead Child (1903) lithograph, 1’ 4 5/8” x 1’ 7 1/8” 26

During Expressionism the artist’s perspectives of situations change and vary. In Kathe Kollwitz’s art piece, Woman with Dead Child, we see an infant limberly lying in her mother’s lap. The mother appears mortified and in utter sorrow while holding her child in her arms. The feeling I have when viewing this particular piece of art is helplessness and a sense of anxiety for the mother. This is one of the first times we see an artist recognize their own ability to go beyond reform. Kollwitz became one of the first European activist artist’s after she created this piece of art.

I decided to place this piece in my gallery because I feel that it contributes much emotion and contrast to the other pieces that are normally seen in a gallery. Kollwitz’s art piece evokes sensation and emotion that I have not experienced in any of the other paintings I have displayed in my gallery. She uses her skills of shading and textuality to make this piece come to life. The recent death of a young boy inspired the country-music star, Taylor Swift, to write the song “Ronan,” which inspired many and gave the mother of Ronan tears of hope to keep pushing on.

According to an article written by Tara Parker Pope from The New York Times, “Ms. Swift learned about Ronan from a blog that his mother, Maya Thompson, began shortly after the diagnosis to keep family and friends informed. Ms. Thompson called the blog Rockstar Ronan, but she did not mince words about his illness, and her heartbreak was painfully evident in every update.” This song speaks volumes, and I am sure if Kollwitz would have heard this beautiful song she would have bittersweet tears in her eyes. Kollwitz’s son dies in WWI and this situation she depicts in the painting is only a mere representation of what truly happened. During this time period infant mortality was a common occurrence and theme throughout art.

 Source:http://well.blogs.nytimes.com/2012/09/17/a-childs-cancer-story-inspires-taylor-swift/

Another experience was noted in a poem after the death of the Vince’s son while gone to war…

 “In July 31, 1997 a date that is seared in my memory, the date our Son. Philip died in an auto accident. It’s been 13 years but the pain still returns when you least expect it. Phil was a month away from his 18th birthday and had just graduated high school, with honors. We know we will see him again. Praise God.” – Charles Vince

A Life Lost by Charles Vince

Our Son isn’t home, where could he be.
It’s after midnight, and the doorbell rings.
Who could be calling, he has a key.
A man in uniform, we see him through the glass.
“Do you have a son named Philip” he asks.

With those few words our lives forever change.
We will never be the family we were, ever again.

Almost eighteen, in the prime of his life.
A careless driver has ended what should have been,
a life full of promise, of hopes and of dreams.

Our lives must go on, what else can we do?
We know our faith in God will see us through.
He spoke to my heart, my soul and my mind.
“My precious child, He has been with me,
since the moment he died”.

Source:http://www.familyfriendpoems.com/poem/a-life-lost#ixzz2L5OpQcpU

I hope you enjoyed reading this entry exhibiting Kollwitz’s art, and if you have any comments or other observations please feel free! I would love to hear some feedback!

-Gallery 9310, The Owner

Fauvism: "The Green Line"

 

Henri Matisse, Portrait of Madame Matisse 

(The Green Line) (1905) oil and tempera on 

canvas 15 7/8” x 12 7/8”

·      Henri Matisse was an artist that exhibited many different mediums of artwork over the course of his life. I would like to take this opportunity to share with you a little bit about a piece of his art that I find very intriguing and empowering. This particular piece of art is called Portrait of Madame Matisse, also known as, The Green Line. Matisse was an avant-garde artist who questioned academic standards and interpreted things the way he wished. Most all of his artwork was very radically represented. He presented bright and bold colors with Textuality in his art, which expressed his emotion at the time he was painting. In this particular painting Matisse drew attention to the center of his wife, Madame Matisse’s, face. In my opinion, I believe the green line refers to his emotional state as well as his unique style in art – to be different. This is the very first time that the public eye has seen a green line down the middle of any painting, and it marks the beginning of his infamousness. He became somewhat famous and well-known because of this green line. Thus, many other artists began to copy him as a way to say they knew what was going on at the time or they knew “what was in at the time.” The painting not only exhibits a random green line down the center of it, but it also lacks representational color. As we can see her face is not a normal skin-tone shade. The left side of her face, from the viewer’s perspective, is a pale, light green shade with light brush strokes, and the right side of her face appears to have more of a light grey shade. Therefore, we can tell that Matisse was using non-representational color to represent his wife’s face. I think it is an interesting painting, and it really opens your eyes to seeing things differently. There is much more abstraction that begins to outweigh the naturalistic representation of her face, but then again, it is all about Matisse’s emotional state at the moment he painted it.

I have attached a song that I believe relates to this piece because I feel that Matisse was trying to show that she is a true woman. I think he wanted to represent his wife the best he could to say, “She’s mine!” The song I chose is an old 1970’s song called “She’s A Lady” by Tom Jones.

On another note, I have also researched the color green, and according to Kate Smith, CMG, CfYH, the color green can mean or represent numerous things. Smith says that it “ Helps alleviate depression, nervousness, and anxiety,” and it “Offers a sense of renewal, self-control, and harmony.” In this painting I could see where Matisse believed that his wife was a strong woman, and to him, she was a place of comfort and support. In mythology the color green is, “The color of love associated with both Venus, the Roman goddess and Aphrodite, the Greek goddess,” says Smith. As I have said, I believe that Matisse saw his wife as a woman of strength and beauty. It would appear that the green line is representing that strength.

I hope you enjoyed my interpretation of this painting, and if you have any comments or questions please leave a comment!

-Gallery 9310, The Owner

Express Yourself

Edvard Munch The Cry [the scream] (1893) oil, pastel, and casein on cardboard
3′ 0″ x 2′ 5″ (91 cm x 74 cm) Munch Museum, National Museum of Art, Architecture and Design, Oslo

Edvard Munch is an artist whose works I chose to place in my gallery because of the interesting purposes and themes behind his works. The Cry (1893), better known to most as “the scream,” has caught the eyes of many over the years. Edvard Munch chose to create this as an expression of his inner feelings. Munch was extremely sensitive to the world, much like that of Vincent Van Gogh. In this particular painting Munch said,

“I stopped and leaned against the balustrade, almost dead with fatigue…”

Munch’s anxiety level when out in public was very high, and his sense of lack of control drove him to the edge each time he was out. The Cry, I feel, is the very depiction of the inward depressed and axiety-ridden state of Munch on a very regular basis. It is also the basis of the 20th century movie, Home Alone, as well as the song “Express Yourself” by Charles Wright and the Watts.

Please listen to the song above for the full affect. The song was part of the soundtrack of the movie “Remember The Titans.”

This famous movie was all about expressing yourself and who you are as a person: white, black, or whatever. Edvard Munch could relate to this song because although he did not sing about his feelings, he expressed them in his art. This piece has vibrant colors and brush work that plays a major role in the feeling of the painting. I have to admit that I sometimes feel anxious like this, and Munch’s depiction of anxiety that can be found in the real world is so evident. It’s real!

I think Edvard Munch’s The Cry is very applicable to what we feel today, and it should not be ignored because of the time period in which it was created. I find it somewhat disturbing and would not want it in my house, but in my gallery for those to come and view, I think it is a great eye-opener for us all. We are not alone. None of us are the only ones who feel the need to express ourselves and who we really are – white, black, anxious, scared, etc. We all need to be reminded of that sometimes. Express yourself!

-Gallery 9310, The Owner

The Art of a New Age

Aubrey Beardsley Salome with the Head of Saint John the Baptist (1893) India ink and watercolor
10 7/8” x 5 3/4” 9”

“Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century.”

-Paul Greenhalgh, Head of Research, Victoria and Albert Museum, London, and Mari Griffith, department of exhibition programs, National Gallery of Art.

 

During this period of time many artists’ were turning to more modern, bold and detailed pieces of art. The art medium of this particular piece is ink and watercolor which were becoming increasingly more popular for some artists and for others, oil on canvas remained the safe medium. In this piece we are approached with a very similar topic to that which we have viewed previously during the Symbolist Movement in Gustave Moreau’s The Apparition (c. 1876). However, Moreau chose oil on canvas as his medium for this painting rather than Aubrey Beardsley’s Salome with the Head of Saint John the Baptist (1893) with an India ink and watercolor medium.

Gustave Moreau The Apparition (c. 1876) oil on canvas

Nevertheless, both paintings deal with a very iconographic theme – the death of John the Baptist. In Moreau’s version of this theme of death symbolism rejects the traditional and replaces it with the subjective. The subjective is then related to a very emotional experience which welcomed the modernist movement. Each of these works display a very Biblical representation. In my opinion, Aubrey Beardsley’s version is much more dramatic. It seems to be more brutal and violent than Moreau’s. However, Moreau’s version involved color, brightness, and a very detailed depiction of John the Baptist’s death.

Beardsley’s version of his death is one that I like much better because of the black and whiteness that provokes the viewer to see things very plainly. It is obvious what is happening because of how she painted this work of art, yet the viewer must also remember the time period in which this piece was created – during the modernist movement. The Modernist Movement was a time that included many various focuses. Some artist’s focused on nature, others on architecture, and others on catalogs, magazines, or even posters.

Beardsley’s painting also evokes a very helpless feeling for the viewer. It makes you feel as if you are there almost, just watching his death happening before your very eyes. I cannot imagine truly being there at King Herod’s birthday party watching them bring out the head of John the Baptist to his daughter, Salome, on a platter. Although neither of these show this, the implication of the known is there, and this is what both of these artist’s were trying to get the viewer to see – to read between the lines.

Overall, my favorite painting is Beardsley’s interpretation and artistic representation of Salome and John the Baptist’s head. I think it is very modern and bold, which is what I feel is way art should be when an artist is painting such a serious subject. I hope you enjoyed reading and viewing these two pieces, and please feel free to leave comments and your own interpretation of these two pieces of art! Thank you!

-Gallery 9310, The Owner

The Formation of Modernism

Horace Walpole, Strawberry Hill (1749-1776) Twickenham

Within my past blogs I have referred to the fact that I have included several different types of art, and the next era of art that I want to tell you all about is known as Modernism. This period of time occurred after the Post-Impressionism Movement, and it was a period of time where the boundaries of art was being broken down. An artist did not have a limited focus or them and were free to explore many different mediums and forms. According to huntfor.com, “The term Modernism applied retrospectively to the wide range of experimental and avant-garde trends in the arts that emerged from the middle of the 19th century, as artists rebelled against traditional Historicism, and later through 20th century as the necessity of an individual rejecting previous tradition, and by creating individual, original techniques.” Thus, I have decided to focus today’s blog on the beautiful architecture of Strawberry Hill in Twickenham.

The architecture seen in this piece is almost gothic and traditional at the same time, however, it became a sensational design that became popular throughout the area. Horace Walpole’s home was the earliest large-scale example of the Gothic Revival in England. Strawberry Hill was a small suburban area that consisted of many little shops that were supported and maintained by the Strawberry Hill Railroad Station. “The original owner had named the house “Chopped Straw Hall”, but Walpole wanted it to be called something more distinctive and after finding an old lease that described his land as “Strawberry Hill Shot”, he adopted this name, according to wikipedia.com. The Strawberry Hill Railroad Station is an example of the movement from very historical and traditional architecture to more modern architecture.

Strawberry Hill Railroad Station
London, England

Strawberry Hill Railroad Station
London, England

The Strawberry Hill House is very detailed and beautifully designed. It exhibits the country home-look with its large, green lawn and garden-like area. I like the uniqueness of the external perspective seen by a person passing by. The Gothic architecture was a large part of the beginning of modernism in England, especially London. Although the Strawberry Hill Railroad Station does not exhibit Gothic architecture, it reveals the historical aspect of the city of Twickenham in England. Overall, this type of architecture is seen more and more throughout the rest of the late 1800′s and even some into the 1900′s. The formation of modernism began through many forms of architecture, music, and religion. The Strawberry Hill House is just an example of the development of modernism.

I hope you have enjoyed viewing this piece as much as I have – although it is much better in person! If you have anything you would like to say please feel free to leave your comments below!

Thank you for reading!

-Gallery 9310, The Owner

The Symbolist Movement Begins

Gustave Moreau The Apparition (c. 1876) oil on canvas

Gustave Moreau’s art is one that is very unique. I feel as though it is quite important to include his works in my gallery because of his significant part in the French Symbolist Movement. Symbolism rejects traditional iconography and replaces it with subjectivity. The movement was one from universal, objective truth articulated in academic art to individual, subjective at with an emotional experience. The French Symbolist Movement was the welcoming of the hallmark of modernism. Although Moreau played a large role in the movement, he was a painter that enjoyed using mythological themes and figures as well as themes from the Bible. He placed explicit messages and detailed representations in his paintings, such as, those found in The Apparition (1876).

In The Apparition (1876), Moreau’s approach, in my opinion, is to place the viewer in the position of an attendee at King Herod’s birthday party. The story in this painting is from the Biblical passage in Matthew 14:1-12.

The Death of John the Baptist

14 At that time Herod the tetrarch heard about the fame of Jesus, ² and he said to his servants, “This is John the Baptist. He has been raised from the dead; that is why these miraculous powers are at work in him.” ³ For Herod had seized John and bound him and put him in prison for the sake of Herodias, his brother Philip’s wife,^{[a] 4} because John had been saying to him, “It is not lawful for you to have her.” ⁵ And though he wanted to put him to death, he feared the people, because they held him to be a prophet. ⁶ But when Herod’s birthday came, the daughter of Herodias danced before the company and pleased Herod, ⁷ so that he promised with an oath to give her whatever she might ask. ⁸ Prompted by her mother, she said, “Give me the head of John the Baptist here on a platter.” ⁹ And the king was sorry, but because of his oaths and his guests he commanded it to be given. ¹⁰ He sent and had John beheaded in the prison, ¹¹ and his head was brought on a platter and given to the girl, and she brought it to her mother. ¹² And his disciples came and took the body and buried it, and they went and told Jesus.

Matthew 14:1-12

Source: http://bg4.me/YbcCAh

As you can see when you read this passage of Scripture, it was King Herod’s birthday when John the Baptist was beheaded. Why, one might wonder, especially after looking at this painting? The interpretation made was that King Herod had his daughter dance for him, which in our day seems very inappropriate, but then it was not viewed quite the same to everyone. Nevertheless, he told her that she could have whatever she wished as long as she danced for him, and she did. Herod was pleased with her dancing and asked her what she wanted and she replied saying that she wanted the head of John the Baptist, thus he is beheaded and his head is brought to her on a platter. Although we do not see John the Baptist’s head on a platter here, we do see the meticulous artwork and depiction of his head without a body floating with light gleaming from all around it. In my opinion, I believe Moreau wished to bring light to John the Baptist’s face in order to somewhat lighten the mood of the anxiety-ridden moment we find ourselves in as the viewer. This anxiety is also called Mal-du-sielce.

Moreau painted this piece in the late 1800′s, which is one of the first times we see women taking the role of men. Femme Fatale was the name that I would have given to Herod’s daughter, Salome, because she was a deadly woman with evil initiatives and motives. These depictions begin to emerge more about a century later, in the late 1970′s. The Women’s Right’s Movement was beginning to take form in the United States, and we begin to see more of these “deadly women” in art. The Apparition (1876) was a piece that really opened up doors for Moreau during this particular time. As far as the elements go in this painting, he used materiality to place details in the columns, in her outfit, and around John the Baptist’s head. It is a very unique dynamic.

Gustave Moreau Samson and Delilah (1882) watercolor

As I said above, Moreau used materiality to create detailed depictions within his artwork. In this particular piece, Moreau makes a Biblical reference to Samson and Delilah in the book of Judges, chapter 16. Delilah was not a prostitute but a deceiver. Samson was in love with Delilah and told her he loved her, however, when she asked him where his strength lies, he told her the first time that his strength would fail if he was bound by seven fresh bowstrings that have not been dried. She bound up using the bowstrings, but he broke free. She asked him again, and the second time he said his strength will fail if he is bound with new ropes that have not been used, and she bound him up, but he broke free. The third time she asked him, and he said that his strength would fail if he was bound up with seven locks of his head with the web and fasten it tight with the pin. Once again he broke free, and she felt as though he was lying since he had told her he loved her and where his strength lied.
He ended up telling her where his strength truly lied, which was in his hair, and she had him lay down, which is what is shown in this painting. Moreau’s paintings are incredible and are very insightful both in an academic (Biblical) sense, and they are also very beautifully detailed. I really like the differences in these two pieces, but more than anything I like the referencing he uses which adds value to the art, in my opinion.

Samson and Delilah

¹⁸ When Delilah saw that he had told her all his heart, she sent and called the lords of the Philistines, saying, “Come up again, for he has told me all his heart.” Then the lords of the Philistines came up to her and brought the money in their hands. ¹⁹ She made him sleep on her knees. And she called a man and had him shave off the seven locks of his head. Then she began to torment him, and his strength left him. ²⁰ And she said, “The Philistines are upon you, Samson!” And he awoke from his sleep and said, “I will go out as at other times and shake myself free.” But he did not know that the Lord had left him. ²¹ And the Philistines seized him and gouged out his eyes and brought him down to Gaza and bound him with bronze shackles. And he ground at the mill in the prison. ²² But the hair of his head began to grow again after it had been shaved.

Judges 16:18-22

Source: http://bg4.me/YblgyA

I hope you have enjoyed reading this blog about these beautiful works of art done by Gustave Moreau! More coming soon as we enter in to more of the Post-Impressionist artists’ works I have in my gallery! Please feel free to leave comments and add anything you found interesting!

-Gallery 9310, The Owner

The Cultivation of French Art

Paul Cezanne, Battle of Love (c.1880) oil on canvas, 147/8” x 18 ¼”

Within my gallery, I have displayed and spoken about through this blog of many different pieces of art. However, I have not spoken much about the era of art that each of these pieces were created in, and how that reflects on the art piece itself. In the late 1800′s there was a movement from Impressionism to Post-Impressionism. The Post-Impressionist Movement was created and given its name by a man named Roger Fry. He wanted to put together an exhibition of all of the works created up to this point (not literally), in order to place those works within a specific category – the cultivation of French art – also known as The Post-Impressionist Movement. This allowed those artists working after the Impressionist Movement to become institutionalized in the academy. From this point forward Artists’ dabbled in Impressionism and then began to branch off.

In this particular painting, the Battle of Love (c. 1880), there are thick lines drawn around each figure and heavy brush strokes throughout the piece. From what we know of the artist, Paul Cezanne was the most important post-impressionist. He was a very analytical painter, and he was always clinical in his approach to create visual stimuli in his paintings. In the beginning of the Post-Impressionist Movement, Cezanne opened the doors for a new way of doing things. He would go out in the morning, paint all day, creating compositions in nature. Many of themes up to this point and before Post-Impressionism were still relevant, thus he used classical Greek and Roman-like characters to portray the battle of love in nature.

Love is a battlefield. True or false?

Paul Cezanne’s painting of the Battle of Love automatically reminds me of the correlation that can be made to the late Pat Benatar’s hit song “Love is a Battlefield.”

Nevertheless, Cezanne uses many techniques to create this vivid form of art, and thus he continues to create many more masterpieces such as The Large Bathers (1906).

Paul Cezanne, The Large Bathers (1906) oil on canvas, 6’ 10” x 8’ 2” Philadelphia Museum of Art

Cezanne once again depicts the figures here naked and bathing out in public, which is seen in much of the Greek and Roman ways of life before this time. However, it was common in 1906, for people to take their clothes off and go down to the river to wash off. We know that bathing at this time doesn’t take very long which correlates this piece of art to Japanese block prints, ukiyo-e. Cezanne is acknowledging academics in this piece, but he changes the views of human bodies because he said that times had changed and he wanted to be different and give a different representation of the humans.

Overall, these two works show humans as natural, nude forms that coincide well with that of the natural world. I like the thickness of the paint and brush work that Cezanne uses in these two works, and I really enjoy the vibrant colors. The contrasting colors work well together which add to the composition of the painting and its substance as a whole. I enjoyed looking into Cezanne’s pieces, but these two are by far my favorites. They include such brightness and vibrancy which I really like! I hope you enjoyed it as much as I did! Thank you for viewing and if would like please comment below for any additional observations that you have or any other material you think pertains to these two works of art!

-Gallery 9310, The Owner

A Lasting Impression

 

James Mallord William Turner, Slavers Throwing Overboard the Dead and Dying – Typhoon coming On (The Slave Ship) (1840) oil on canvas 35 ¾” x 48 ¼”

Have you ever thought about how selfish we are sometimes?

In this piece of art the British men on the ship have thrown their African slaves overboard. In order to lighten their load they made the executive decision to rid their ship of everything including the African slaves. Horrible idea?
Obviously not horrible enough.

It is important to note that during this period of time that the majority of slavery in England had stopped, however, this particular situation was quite unique. This work of art was a product of the reformation taking place and a result of the revolution. The critics did not find this piece humorous, rather an eye-opener to the reality of what was occurring beyond the doors to their homes in England. It not only opened the eyes of the critics, but influenced and strongly impacted the viewers of this realistic art piece. Slavers Throwing Overboard the Dead and Dying – Typhoon coming On (The Slave Ship) (1840) was Turner's way of expressing his feelings toward slavery in order that those who were still using slaves in England would see his painting and recognize in the foreground the bodies of slaves. Nevertheless, it was truly impacting during this time, and it had a profound effect on people’s views on slavery.

Turner's works were a little too radical for people during this time, but London's most powerful critic, John Ruskin, thought Turner was an art genius. Ruskin was known for belittling many artists works, like James Abbott McNeill Whistler's, Nocturne in Black and Gold (The Falling Rocket) (c.1875), which Ruskin thought he flung paint on the canvas. However, this was not Ruskin's response to Turner's Slavers Throwing Overboard the Dead and Dying – Typhoon coming On (The Slave Ship) (1840). On the contrary, Ruskin used his connections and power as a popular critic to elevate Turner's artwork. This demonstrates the power of the critic in European society during the 1800's.

 

James Abbott McNeill Whistler Nocturne in Black and Gold 

(The Falling Rocket) (c.1875) oil on canvas 1’ 115/8” x 1’ 61/2” 

Detroit Institute of Arts, Detroit

In my opinion, Throwing Overboard the Dead and Dying – Typhoon coming On (The Slave Ship) (1840) has much detail throughout each of Turner's brushstrokes which invokes an inviting and informing message throughout the whole painting. This piece creates tension and an almost sorrowful emotion within me, as a viewer. I feel that the selfish, impersonal, and brutal actions taken by these Englishmen was an atrocity. How could anyone do that? Although I know that times were quite different during this era, I cannot help but feel sympathy and somewhat upset in the thought of this inhuman act. Nevertheless, Turner's piece influenced viewers, critics, and other artists - the French artists in particular. His emphasis on texture and detail leaves you with an overwhelming view of a horrendous, but very real act that occurred in history. It will forever remain as one of the most impacting pieces of art that I have viewed, and for this reason I have chosen to exhibit it in Gallery 9310. Again, I hope you enjoyed this historical overview of Turner's Slavers Throwing Overboard the Dead and Dying – Typhoon coming On (The Slave Ship) (1840). Please feel free to comment and let me know how this piece of art has impacted you!

-Gallery 9310, The Owner

"I paint what I see, and not what others like to see."

 

Edouard Manet, Le Dejeuner sur l’herbe (1863) 

oil on canvas approx. 7’ x 8’ 10” Musee d’ Orsay

Entering into the late 1800's, more prostitution is being revealed within art work. Although, I am not a huge fan of nudity in any sense, I do find the mystery behind this painting intriguing. This work of art is not anything like that of Bonington or Constable's landscapes, rather it would seem to be much more focused on the human aspects than the natural aspects. Edouard Manet was an Impressionist of this time, and his work was always done in the way that he preferred rather than how or what he thought the critics might say.

"I paint what I see, and not what others like to see." -Edouard Manet

Manet intended on making his own rules regarding his artwork, and he set the tone for the up and coming impressionism. Although the Impressionist Movement did not officially begin until the 1900's, Manet was a contributor to the formation of Impressionism. He opposed most academic art and instead preferred to paint artwork that was familiar to himself. He enjoyed painting those around him as well as landscapes in nature.

In this particular work, Le Dejeuner sur l’herbe (1863), Manet depicts two women and two men in the middle of the day in the forest.The critics in Paris would not approve this painting because of the nudity and suggestive action that one would assume has or will take place. It seems quite peculiar to the viewer as to why Manet would paint something so explicit and risque. The first thing we notice about this work is the nude woman laying on a sheet with two fully-clothed men sitting next to her. In my mind, I see this as a rendezvous during the middle of the day where these four adults could hide away and escape into their secret desires. The thought was that because of the way the nude woman turned her head directly toward, the painter, that the viewer or painter was presumably a male, thus there must be some kind of Biblical message or mythological reasoning behind this...right?

Well, some would agree and others might not, but after much thought and research it appears that there is an element of scandal here. The man on the right staring at the nude woman, the nude woman starring directly at the viewer or painter, the partially-clothed women, in her undergarments, totally clueless of what is taking place right in front of her, and the man sitting beside the nude woman appears to be staring off or looking at the viewer as well - seems questionable as to if they are ashamed of something they have done. Nonetheless, the critics that viewed Le Dejeuner sur l’herbe (1863) were outraged. Their disappointment was not the result of the nudity or the suggestive innuendos, rather it was the back portion of the painting. Manet left the back of the painting as almost empty brush area in the back of the “forest,” and they thought he publicized it when it was unfinished. He told the critics that when he decides he is finished, then he is finished, thus the level of a finished work and the relationship between artist and critics changed from this moment forward.

 

Edouard Manet, Olympia (1863) oil on canvas, 

4’3” x 6’ 3” Musee d’ Orsay

Manet upset the critics very much, but he did not care about what judgements they made concerning his art. It was only his opinion that mattered to him. In any case, Manet continued on in his paintings of the nude, and, in my opinion, representing woman as lesser than. In Olympia (1863), Manet speaks through his artwork once again and implies that there is a sexual innuendo occurring in the midst of the forest. The thought here is if you want to see God then you have to Mount Olympia. Where did this come from one might ask? Such a piece of art, and then he brings in an innuendo... Is that really necessary? Nevertheless, he explains himself in relating the direction of the woman's face and body language to mythology, and we can assume that the woman depicted in the painting is a prostitute, possibly a well-known prostitute. Thus, Manet is stretching the limits according to the time periods moral standards.

I feel as though Manet uses his colors very wisely and can manipulate a painting to appear almost realistic. I like the fact that he involves almost a mystery or a challenge to the viewer to understand "the method to his madness" in creating both Le Dejeuner sur l’herbe (1863) and Olympia (1863). These paintings invoke a sense of uncomfortabelness and awkwardness for me. As an owner of Gallery 9310, I feel as though I must include the works regardless because they invoke thought process and create a challenge to viewers. These works also helped me understand the meaning behind why many woman that were painted or photographed during the late 1800's, would be painted or photographed looking directly at the camera or the artist. I had no idea that there was a deeper, underlying meaning - they were usually prostitutes. I feel as though, I would not be so direct or open to sharing that if I were one, but as a viewer and spectator of Manet's works I really do value the educational value that they hold for future generations.

I hope you enjoyed learning a little more about art in the late 1800's, and I would love to hear more about what you think about these two great works of art. Thank you for reading!!

-Gallery 9310, The Owner

Bonington vs. Constable

Richard Parkes Bonington, View of the Coast of Normandy (1823) Oil on canvas, Musee du Louvre - Paris, France

It has been noted that my gallery includes a wide variety of artwork in which I can only hope to bring to life for you as I describe each detail and description. This particular piece of artwork was created by Richard Parkes Bonington in the early 1800's, and is quite a unique piece. One of a kind really. Some would say it is obscure as to what message Bonington was trying to convey through this piece.

Bonington was a British Romanticist who wished to center his art on landscapes. The majority of his artwork was created in various areas along the coasts of France. These landscapes were not detailed in the least, but his work intrigues me to think and question. His artwork poses a challenge to the viewer unlike many of the works of this time. Many of the pieces of artwork during the 1700's and 1800's, were straightforward with hidden agendas mixed within them on occasion, but nonetheless, they were traditional, religious, educational forms of art. Bonington's main choice of a medium is oil on canvas, however, in his early years of painting he used much more watercolor.

Nevertheless, Bonington's View of the Coast of Normandy (1823) was not detailed, but rather its display is very plain-jane, an almost abstract composition in comparison with John Constable's The Hay Wain (1821), which exhibited much complexity and detail.

John Constable, The Hay Wain (1821) oil on canvas, 130.2 x 185.4 cm, National Gallery, London

It was during this period of time that the oil tube hadn't been created, thus they stored their paint inside of animal gallbladders. However, Bonington's artistic style and "the method to his madness" was quite different from that of the French artists'. The French artists' preferred to sketch out their chosen piece at the actual scene and then return to their studios to paint the piece, but Bonington would rather paint his masterpiece at the scene of his choice. For this reason, Bonington's art work, such as View of the Coast of Normandy (1823), was rapidly painted and executed, which is also why the critics did not like his paintings. They said they lacked substance and depth. On the other hand, Constable's, The Hay Wain (1821) reveals not only substance and depth, but a hidden reality of the life of a farmer.

In John Constable's The Hay Wain (1821), he uses bold lines, smooth brushwork, and this work reveals much more pizazz than that of Bonington's piece of art work previous viewed above. The reality of life as a farmer during the 1800's was not all that grand. Anyone was allowed to cross through your property and if they so wished, they were free to plant crops and use your land legally. Another interesting theme that Constable brings forth through his painting is the sky. He believes that the sky is an organism of sentiment, thus he felt that when viewing his landscapes one should view the sky first. In Bonington's painting the sky is also a main theme shown, yet Bonington's lack of substance, other than a few contrasting colors, revealed nothing of impression to the art critics of this time. Nevertheless, it was through these two paintings that Impressionism was introduced.

These two works of art are incredibly different in their composition, but very similar in their overall theme. Both Bonington's View of the Coast of Normandy (1823) and Constable's, The Hay Wain (1821) have a landscape theme, and I feel like they executed each work very well. They both create a peaceful, relaxed mood when I view them, yet they are so different in detail. I love the brushwork that Constable incorporates into his painting, but I also like the simplicity of Bonington's work. I think there is a unique challenge here for the viewer. Each artist is asking, "What can I create to invoke a reaction? What can I create that will draw viewers attention to nature? How can I create something that will last a lifetime?" Well, they already have. This is why people still view each of these pieces of artwork today, and this is why I have chosen them to be displayed in my gallery. I hope you have enjoyed reading about these two magnificent and contrasting pieces of art. Please feel free to comment or ask any questions you wish, as I do not pose to be an art expert, but rather an art connoisseur of art itself.

Thank you, again,

Gallery 9310, The Owner