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