Le fleuve de délice

This painting was created in 2001 by Camille-Pierre Pambu Bodo, known simply as Bodo, who hails from the Democratic Republic of Congo.  It is entitled Le fleuve de délice, which translated means River of Delights.  Bodo became a Pentecostal preacher in 1980 and several of his paintings have themes involving abandoning the practice of sorcery, which is still common in this area.  His style of painting progressed in the 1990’s and began to express his ideas via symbolism and fantasy, which was strongly influenced by his dreams.  I chose this piece because I found Bodo’s style of surrealism appealing; this piece resembles the works of Hieronymous Bosch, another painter I found intriguing and had previously blogged.  The strange creatures and positions of the people in this painting are fascinating, and it allows the viewer to form their own opinions of what this painting is insinuating.   

The Virgin Spanking the Christ Child before Three Witnesses:

Andre Breton, Paul Eluard, and the Painter

At first glance one can immediately see the drastic change in pose of this familiar religious duo; this is no ordinary painting of the Virgin and Christ child.  Gone is the angelic façade, Christ’s halo has fallen to the floor and he receives a spanking for his misdeed.  This disrespectful and blasphemous treatment of two central figures of the Catholic Church was typical of the Dada movement and Surrealism, and caused much scandal during this time.  This painting was created in Paris, 1926 by Max Ernst, a pioneer in these movements.  It is entitled The Virgin Spanking the Christ Child before Three Witnesses: Andre Breton, Paul Eluard, and the Painter.  The three “witnesses” in the window are himself and two members of the French Surrealistic Movement.  What I find appealing in this work is actually the subject matter rather than the painting style, as I don’t find the distorted shapes and heavy shadows attractive.  I also find comic relief in the painting, at the thought of a Christ Child who was human and made mistakes.  From the Virgin’s determined face to the red buttocks of Christ, it is a painting which immediately evokes a response in the viewer. 

The Dada movement began during World War I and had an anti-war political agenda.  Rejecting the prevailing standards in art, the artists of this movement created anti-art.  Dada in turn led to Surrealism, a movement that plunged into the world of dreams and the subconscious.  And someplace in between was Max Ernst, an artist who was heavily influenced by WWI.  Ernst served in the German army during this war, and it had such a profound effect on him he wrote in his autobiography “Max Ernst died the 1^st of August, 1914”.   Experiencing the horrors of war obviously left Ernst yearning for a change, and he was a prominent artist in the Dada movement and Surrealism in the years to follow.  Max Ernst also entertained a fascination with birds, one in particular that he called Loplop was said to be his alter ego.  So influential was this bird that it even appeared in other artists’ works.  Knowing human psychology, it only makes sense that Ernst would feel the need to rebel and separate himself from that which he found so disturbing. 

Sources:

http://www.flickr.com/photos/mogun/461534750/

http://en.wikipedia.org/wiki/Max_Ernst#cite_note-3

The early impressionists broke the rules of traditional academic painting, opting for loose brush strokes in vivid colors and emphasized the overall effects instead of detail.  These impressionists also worked en plein air (outdoors) to better capture the effects of sunlight in their work.  The subject matter was light and often depicted aristocratic pastimes; the boundary between subject matter and landscape relaxed so it appeared the artist had captured a moment in time.  Incidentally, impressionism occurred with the camera’s rise in popularity and availability, a medium that also captured a moment in time.  Ultimately though, there was no competition between the two, as photography seemed to inspire artists to pursue other methods of expression. 

Generally speaking, I would have to say that I find Impressionism appealing.  Looking at the artwork is almost like viewing a faded memory; the work is distant, giving no details but rather an overall impression.  My favorite impressionist is Claude Monet, who is perhaps the most well known impressionist.  I personally find the impressionist paintings that focus on the landscape to hold the most beauty, and so I share one I found appealing.  The strokes of color are pure genius and the use of light is brilliantly displayed, leaving the viewer with a serene feeling.  This piece is entitled Branch of the Seine Near Giverny, which was painted in France by Monet in 1897. 

Branch of the Seine near Giverny

Post-Impressionism came later, and had several key differences from Impressionism.  Namely, the post-impressionists had works that were more formalized and structured than their predecessors.  Their works distorted form for its expressive effect, and it emphasized geometric form and color.   One of the most well known post-impressionists is Vincent van Gogh.  This piece is entitled Vase with 12 Sunflowers and it was created in 1888 while the painter lived in Paris with his brother Theo.  Notice that while the form is more defined than those in the impressionist style, the form is still distorted and the colors (while vivid) are not as blended together. 

Vase with 12 Sunflowers

Although both forms of impressionism have a distinct beauty, I prefer that of the impressionist painters.  Looking at those pieces seems almost like watching a dream, and I enjoy the serenity in those paintings.  I find that this style is most appealing precisely because it is “out of focus” and allows the viewer to find their own meaning.   

 

Sources:

http://en.wikipedia.org/wiki/File:Claude_Monet_-_Branch_of_the_Seine_near_Giverny.JPG

http://en.wikipedia.org/wiki/Sunflowers_(series_of_paintings)

Bust of Beethoven

The piece I chose to examine for this next blog was the last symphony written by the esteemed Ludwig van Beethoven, and it is considered to be one of his masterpieces.  While listening to this music as it jumps and flow superbly across your mind, it seems hard to imagine that it was written after Beethoven had gone completely deaf.  The piece is entitled Symphony No. 9 in D Minor, Op. 125 “Choral II: Molto Vivace” and it was completed in 1824.  I chose this piece because it resonated with me: the music had such life and vibrance in it and the music almost seems to dance out of the violins in the first movement. 

This piece premiered in Vienna in May of 1824; it was the composer’s first appearance on the stage in twelve years and the theatre was filled.  Unfortunately, the performance was less than ideal, due in part to under-rehearsals.  Beethoven accompanied the theatre’s Kapellmeister (person in charge of music-making) on the stage and directed the piece himself.  Obviously, his deafness played a role and the performance was off tempo and inaccurate… but the performance was also wildly successful.  Beethoven had to be turned around to receive the crowd’s applause after the performance, and he was rewarded with five standing ovations.  Such adoration of a private figure was almost unheard of in this time; the Imperial couple themselves would only receive three standing ovations upon entering a hall. 

You can listen to Beethoven’s 9th by following the link:

http://www.youtube.com/watch?v=TZkxtqzeUHU

 

Sources:

http://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)

http://www.sculpturegallery.com/sculpture/beethoven.html

Landscape with Aeneas at Delos

Claude Lorrain was a Baroque era artist who specialized in landscape paintings.  Pure landscape paintings in this time were regarded as lacking moral seriousness, for that reason all of Lorrain’s work had mythical and religious themes incorporated into it.  Looking at his artwork, it is apparent that the landscapes are center stage and the figures are almost secondary.  This painting in particular is entitled Landscape with Aeneas at Delos.  It was created in 1672 and it depicts the mythological Greek hero Aeneas from the Trojan War.  I was drawn to this piece because of the detail in the architecture and beauty of the sea.  Lorrain’s use of foreshortening to create the illusion of depth is brilliant, and it is obvious he possesses great skill in landscape; from the buildings to the trees, everything is detailed. 

The great artists of this time also had great patrons; from the papacy to royalty, those who were in their favor found success and fortune.  Though by definition a Pope is not royalty, the Roman Catholic Church possessed great wealth, influence and military forces, and papal territory was expanded during this time.  The Council of Trent also played a role that lead to patronizing Baroque-era artists, as the Catholic church looked for ways to counter the Reformation.  And so it was that Claude Lorrain was commissioned by Cardinal Bentivoglio to create two landscapes.  This work was so well received that it earned him protection by Pope Urban VIII, and he quickly became a public figure. 

This also came at a time of expansion in scientific knowledge, and the papacy of Urban VIII was known for the extravagant patronage of artists, polymaths, and architects.  I personally found it to be interesting that the Pope would encourage some sciences (and scientific approaches to art) while demanding other great thinkers, such as Galileo, to recant their work. 

Overall I find this to be a counter intuitive approach, but heliocentrism was a radical and dangerous idea that threatened the church.  Regardless, the art that survived from this time shows real use of technique and detail on a minute level.  I really enjoyed looking over the work from different Baroque artists. 

 

 

“Pope Urban VIII.”  Wikipedia.org.  2009.  Wikimedia Foundation, Inc. 3 October 2009.

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

Hieronymus Bosch 1500s

The title of this work is Ascent of the Blessed; it was part of a polyptych entitled Visions of the Hereafter, created sometime after 1490 by Hieronymus Bosch.  It is believed that this, like all of Bosch’s work, was created in Hertogenbosch (the capital of the Dutch province of Braban), although it is currently housed in the Palazzo Ducale in Venice, Italy.  When I came across this work, I was drawn first to the heavily robed angels that are accompanying the naked “blessed” figures into paradise.  The figures are being carried towards an object which, at first glance, would pass for the moon.  Closer examination shows that the moon is really a tunnel; there is a single figure standing at the end of this passageway, surrounded by a radiating ethereal light.  I personally find it fascinating that Bosch chose a tunnel of light to facilitate the entrance into paradise, as it is a commonly described phenomenon in near death experiences today.  I am curious if this was just Bosch’s artistic expression of entering heaven, or if this rendering mirrored near death experiences during his time as well. 

Hieronymus Bosch was very much a religious artist whose work reflected humanism (an outlook stressing individual worth and human values).  Many of Bosch’s works reflect the dangers of hell and the importance of leading a devout and faithful life, indeed the emphasis seems to be on individual choices and the path that leads them to.  The works of Hieronymus Bosch have been scrutinized throughout history, and among them Paul Vandenbroeck contributed a discussion of Renaissance art theory in relation to Bosch’s visual imagery.  He maintains that while Bosch made use of fantasy and invention, the “hermetic quality of Bosch’s work is thus interpreted as a device by which meaning could be hidden from those who were regarded as socially (and morally) inferior” (The Practice of Theory).  According to this theory, Bosch was part of a humanist bourgeoisie class that was anxious to distinguish itself from those who were less well off, a theory that is supported by tax records from this time in Hertogenbosch.

 

Moxey, Keith.  The Practice of Theory: Poststructuralism, Cultural Politics, and Art History.  Ithica:  Cornell University Press, 1994.

Shaggy Dog

I am testing this blog post for homework assignment one.