Classical Art- Morality

 The Classical Era

During this period of art there are two very distinct styles that emerge, Rococo and Neoclassical. Rococo is a style that is very light, pastel colors are often used, and very indulgent. While Neoclassical art is often very serious and depict morally good concepts, a very hard shift from Rococo style. This shift in style comes from the evolving public view of the monarchy and public morals.

Rococo

During the first half of the 1700's it is the wealthy and powerful aristocrats who hold the power in society, and the most influence on the art world as they were the majority of the patrons during this time.

Antoine Watteau, Ceres (Summer) (1717/1718), Paris, France. Courtesy of National Gallery of Art

Rococo style reflected the world of the aristocrats, over indulgent and elegant. Ceres by Antoine Watteau shows off this pastel and elegant style and was created towards the beginning of the Rococo period. This piece was a part of series based on the seasons, but the other seasons have been lost over time, and was commissioned by Pierre Crozat for his hotel in Paris. 

While not ornate as other pieces from this time, it is still beautiful and soft. I do enjoy this piece, and wish the other seasons had survived. I do think the lion is very interesting, definitely not an accurate lion, the rest of the picture is beautiful.

It was a hotel owner who commissioned it, as at the time it was only the wealthy or aristocratic who patroned the arts, who could afford to do so. They pushed forward these decorative and elegant pieces that are just for show.

François Boucher, Triumph of Venus (1740), Paris, France Courtesy of Artsy

Boucher became someone who helped define the Rococo style as playful, and even erotic. Again this showcases the styles over the top idealization and ornate finesse. The characters within the painting are practically glowing, and cherubs fly through the sky. This piece was commissioned by Count Tessin, and showcases what the middle class were starting to get disgusted with from the artistocrats, over indulgance and loose morals. 

It is a detailed piece, and the color palette is soft. I think it is beautiful, not something I would have in my own home, because it is over the top. I find it interesting that the women all have a glow to them, especially Venus, while the males do not. I find that my eye follows the ribbon to Venus, and that despite how much is going on in the painting, she still is the main feature.

Neoclassical

The Neoclassical style is a dramatic shift away from the Rococo style as the public views on morality change. This style is more somber, darker colors, and with the discovery of Pompeii antiquities becomes prevalent again. The biggest change from Rococo is the arts depict morals and stories of heroism, rather than frivioulous scenes. 

Jacques Louis David, The Death of Socrates (1787), France Courtesy of The Met

The Death of Socrates displays the somber atmosphere of neoclassical art with muted colors and heavy subject matter and is heavily influenced by antiquities. This was painted by Jacques Louis David following the French Revolution, and depicts Socrates dying for refusing to renounce his beliefs and choosing death willingly for his cause. 

Following the public's views on morality and disgust with artistocrats, the arts begin to show stories such as Socrates and other heroes or martyrs. 

I like the overall aesthetic of the Rococo period, but appreciate the messages Neoclassical art portays. I like how clean and to the point David's painting is, and how despite that Socrates is about to die he still is still giving one last lesson before his death. 

Sources

Baetjer, Katharine. “The Death of Socrates.” Metmuseum.org, 2017, www.metmuseum.org/art/collection/search/436105. 

Conisbee, Philip. “Ceres (Summer).” Art Object Page, 1 Jan. 2009, www.nga.gov/collection/art-object-page.46149.html. 

“François Boucher Artworks & Famous Paintings.” The Art Story, www.theartstory.org/artist/boucher-francois/artworks/. 

Gersh-Nesic, Beth. “Neoclassicism, an Introduction.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/renaissance-reformation/rococo-neoclassicism/neo-classicism/a/neoclassicism-an-introduction. 

Baroque- Bernini's Apollo and Daphne

 

Apollo and Daphne, Bernini courtesy of Borghese Gallery

Background

This sculpture was created by Gian Lorenzo Bernini and finished in 1625 as a commission from Cardinal Scipione Borghese. The sculpture itself depicts the story of Apollo and Daphne from Ovid's Metamorphoses, in this story Apollo was shot by Cupid's arrow and pursues Daphne who rejects him. Despite this Apollo continues his pursuit until Daphne prays to her father, a river god, who turns her into a laurel tree. When you get close-up views of the piece you can see her hands and hair transforming into branches, and parts of her skin turning into tree bark.

A video from Smarthistory about the story of Apollo and Daphne as well as more angles and a closer look

Baroque influence

The video above also does a great job explaining the Baroque elements of the culture. 

As Dr. Beth Harris and Dr. Steven Zucker discuss in the video, Bernini captures the moment Daphne is just starting her transformation into a laurel tree which a lot of Baroque art does, it captures a moment just before something happens and has a tense atmosphere. The figures are not stable like many of the Renaissance sculptures are, there are curves and Apollo himself is in motion and on one foot. The faces express emotion and the viewers can see the tension and feel the drama of the piece.

Comparing to the Renaissance

Bacchus, Michelangelo 1497 courtesy of The Art Story

Looking at Bacchus which was sculpted by Michelangelo, you can see the difference in styles immediately. In this piece despite Bacchus being drunk, he is still in a stable stance and both feet touching the ground. There aren't any dramatic curves through the sculpture as in Baroque art, and I find it harder to read his expression as anything but blank. 

While Michelangelo is indeed a master, you can see the difference in the drama and emotions expressed in the different eras of art. Renaissance art focused on beauty and perfection, while Baroque focuses more on the tension and emotions the piece are supposed to convey. The best way I think of it is that Renaissance art focuses more on the after or even during an event, while Baroque is the moments leading up to the event or just as the event is happening.

The Council of Trent's Influence

The Council of Trent were three sessions that took place between 1545 and 1563, this was the Catholic Church trying to come up with ways to counteract the Protestant Reformation. They wanted all works of art, from paintings to songs, to be easier for an everyday person to understand which was very different from the Mannerist approach. They also wished for art to hold morals and values within them. Bernini agreed with the Council of Trent that art should be easily understood and invoke emotions in the viewer, which can be seen in his works. 

Members of the church are were among his commissioners during this period, such as Cardinal Scipione Borghese, and even Pope Urban VIII. Along the bottom of Apollo and Daphne, there is an inscription in Latin "Those who love to pursue fleeing forms of pleasure, In the end find only leaves and bitter berries in their hands", which was a poem by Pope Urban VIII. This inscription gives this sculpture that is based on mythology, a moral that is taught in the churches.

My Thoughts

This is one of my favorite pieces by Bernini, the emotions and movement he was able to capture within the sculpture are amazing. Not only that but how he was able to capture this in-between moment as Daphne is starting her transformation is what I love about it. I hope to one day see it in person to really appreciate the details and look at it from multiple angles. Theoretically, I would own this piece or a replica, but realistically I wouldn't have the space for it. 

I really enjoy more of the art within the Baroque period than the Renaissance, I find the style more appealing and how emotional and dramatic the pieces are. 

Sources

“Apollo and Daphne by Bernini.” Galerie Borghèse, 2 Aug. 2019, borghese.gallery/collection/sculpture/apollo-and-daphne.html.

“Apollo and Daphne.” Artble, 19 July 2017, www.artble.com/artists/gian_lorenzo_bernini/sculpture/apollo_and_daphne. 

Cooper, James F. “Bernini.” Newington-Cropsey Cultural Studies Center, 2008, www.nccsc.net/essays/bernini. 

“Medici: Godfathers of the Renaissance . Renaissance . Counter Reformation.” PBS, Public Broadcasting Service, www.pbs.org/empires/medici/renaissance/counter.html. 

Humanism within Jan Van Eyck's work

 

Ghent Altarpiece open

History of the Altarpiece

Jan Van Eyck and his brother Hubert were commissioned to paint the polyptych Ghent Altarpiece by patrons Jodocus Vijd and his wife Elizabeth Borluut for the Church of Saint John (now known as the Cathedral of Saint Bavo) in Ghent, Belgium (Hickson). It is unknown when the two brothers began their work, but it is believed to have been before 1422 and completed in 1432. Another thing still unclear is how much each brother contributed, but it is widely believed that it was Jan who completed most of the panels. 

Ghent Altarpiece closed, patrons Jodocus and Elizabeth are in the bottom corners of the piece

Exterior 

The exterior of the piece, which is what was on display for most of the year, contains three layers. The bottom layer from left to right contains Jodocus, St. John the Baptist, St. John the Evangelist, and Elizabeth. The middle layer contains the Archangel Gabriel and Mary, it depicts Gabriel announcing to Mary she'll be the mother of Christ. The very top layer has the Prophet Zacharias, Erythraean Sibyl, Cumaean Sibyl, Prophet Micah. 

The amount of detail the Van Eyck's were able to achieve is evident, especially in the middle layer with Gabriel and Mary. In the window between the two, you can see the skyline of Ghent 

Details from the window between Gabriel and Mary

Interior

There is so much going on within the interior and it is a huge piece, I'll include a diagram of what each panel is representing and some close up of the details. Being that this is an altarpiece, the images and symbolism are very religious. The bottom layer is depicting people coming to the Holy Lamb, a symbol of Jesus Christ. In the close-up of the Holy Lamb, you can see that the lamb is bleeding and is said to represent the Eurachrist. Behind the altar with the lamb are angels carrying the cross, crown of thorns, and nails that Jesus Christ was to have been subjected to before his death. 

There is a lot more symbolism present, but unfortunately to get into all of that would probably take a whole book and cannot fit into one blog post. 

Interior view labeled

Zoomed in view of Adoration of the Holy Lamb

Close up of the Deity

Humanism

The humanism influence in Jan Van Eyck's work can be seen throughout this altarpiece. It is present in the amount of detail and beauty within the piece and each part of the piece represents something and has its own role. He is presenting divine figures as beautiful and as human, and linear perspective can be seen throughout which emerged during this time period. Each person, angel, and animal within the painting is done with care and purpose. You still get a sense that this is a religious work, but there is also a sense of reliability within it as well.

My Thoughts

This is one of my favorites done by Jan Van Eyck, its something you could stare at all day and still find something new within it. While I am not particularly religious, I can appreciate the symbolism and how stories from the bible are depicted. His mastery over oil paints is obvious when you get in close to the panels and spot all the small details hidden, and stepping back and seeing it all together you can see the story.

Work Cited

Hickson, Dr. Sally. “Jan Van Eyck, The Ghent Altarpiece.” Smarthistory, 9 Aug. 2015, smarthistory.org/van-eyck-the-ghent-altarpiece/.

“Jan Van Eyck Biography, Life & Quotes.” The Art Story, www.theartstory.org/artist/van-eyck-jan/life-and-legacy.

Pioch, Nicolas. “Eyck, Jan Van.” WebMuseum: Eyck, Jan Van, 19 Sept. 2002, www.ibiblio.org/wm/paint/auth/eyck/.

Elements of Art

                            

                                                            Image courtesy of The Met                 

Vincent Van Gogh was a Dutch painter from the 19th century, who after his death in 1890 became one of the most influential artists known today.  The painting that I chose for today is Cypresses (1889) which was painted while Van Gogh was in Saint-Rémy-de-Provence, which was a mental hospital that he stayed at for a year. During his stay at Saint-Rémy Van Gogh painted about 150 paintings while his mental health during this time would fluctuate. During his lifetime, he got very little recognition for his works, it wasn't until after his death that people began to appreciate his art and today he has become a household name.

Line

Vincent uses lines to create the movements in the painting. He also uses lines to create the structures in the painting made out of lines from his brushstrokes. He uses a lot of curved lines, I don't notice any hard or sharp lines present.

Texture

The technique Vincent uses has a lot of texture, even though a computer screen it seems as if you could your finger over the painting you could feel the lines of his brushstrokes.

Tone/Color

The contrast of the dark colors in the cypress trees and the lighter background make the trees the focal point of the painting. As for color, one thing I noticed that yellow is a part of each element of the painting. It is a subtle yellow and it's not the main focus of the painting, but it is something worth noting that it is in the sky, the grass, and the trees as well. Yellow is a prominent color within his work, and many of his most well-known paintings feature yellow.

Pattern

An echoing pattern throughout the work is the swirls and curves he is famous for.

Emotions/My thoughts

To me, Cypresses looks peaceful and calming, almost like an idyllic day. I don't have any information as to whether this piece was made during a moment when his mental health was stable and well, but I like to believe so because of how calm the scene looks. I've always been a fan of Vincent's landscapes and how his technique brings so much movement and life to the painting, and I like the color choices he made for this particular painting. 

Work Cited

“Cypresses.” metmuseum.org. Accessed May 30, 2021. https://www.metmuseum.org/art/collection/search/437980. 

“Vincent's Life, 1853-1890.” Van Gogh Museum. Accessed May 30, 2021. https://www.vangoghmuseum.nl/en/art-and-stories/vincents-life-1853-1890.