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Claude Monet
Woman in a green dress (Camille Monet) by Claude Monet (1866)
In the late 1860s, suffering acutely from poverty and lack of recognition, Monet deserted his first wife Camille and their young son Jean on several occasions....Giving in to fits of despair, he would rush off somewhere, anywhere, just to change his surroundings and escape from an environment in which he had suffered personal and professional failure. On one occasion he even resolved to take his own life.
Nina Kalitina, and Nathalia Brodskaya. Claude Monet. Parkstone International, 2011.
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Virtual Sketchbook #3
My chosen artwork from The Ringling Museum of Art is Pausias and Glycera by Peter Paul Rubens and Osias Beert. This is an oil on canvas painting measuring about 203.2cm x 194.3cm. The artist has mainly depicted organic shapes and used tints/shades of red and blue in this artwork. The main subjects of this painting is Pausias and Glycerin. Pausias was a Greek artist during the fourth century who was in love with Glycera, a townswoman. In this painting Pausias, who is depicted wearing a cloudy blue gown, is seated on the left side of Gylcera, who is portrayed wearing a red and beige gown, with his arm on her shoulder. He seems to be showing Glycera something is the distance. On the right side of Glycera there is a floral arrangement on a small table along with a basket of flowers on the ground. The artist makes use of detailed brushwork which is evident by the attention to detail in the clothing, facial expressions of the subjects, and the flowers. This painting would be considered balanced because the subjects are placed in the middle creating a sense of equilibrium. Additionally, the background is simple and doesn't have much detail, thus bringing attention to the subjects in the middle. The emphasis in this painting is on the subjects, Pausias and Glycera, which is created by the proportion that create a sense of balance and harmony within the artwork. In addition, a sense of rhythm is established through the flowy lines used for the drapery/gown and the subjects poses. There is not much contrast in this painting as there is only a subtle contrast in lighting/shadows.
I believe this painting evokes a romantic feeling. This is because it portrays an intimate moment between Pausias and Glycera and most people can relate to having an intimate moment with their significant other. I also think it evokes a sense of nostalgia because it depicts what love was like in the earlier centuries, where it seemed more pure in contrast to the "hook-up" culture that we have in today's generation. This "old love" is portrayed by subjects sitting next to each other with a loving look and just seeming to appreciate the something in the distance and the flowers also adds to the romantic feel of the painting.
This painting is associated with Flemish Baroque era. This is reflected through the expressive poses of the figures as well as the muscularity of the figures. There is also a sense of realism in the depiction of the figures and the flowers which contribute the Baroque ideals. This sense of realism is attained by the detailed brushwork of the flowers, the facial expressions, and the clothing/drapery. The artwork portrays the artists as people who pays attention to little details and focuses on making them look perfect so that the overall artwork as a sense of realism. By looking at the painting you can tell the artist is trying to convey the theme of love between two people. I believe the artist gets this message across by the positioning of the figures and their facial expression/body language.
I believe this painting contributes to the knowledge of Greek mythology, as it depicts a scene of the love between a Greek painter and a Greek townswoman. I think this painting is very interesting because it focuses on romantic love. During the time period the painting was made, the 17th century, most marriages/love was based on economic, political, or social reason, so I think it was interesting that the artist depicted true/pure love between two people. I mainly choose this painting because the theme of love interests me a lot.
References for research:
Pausias and Glycera, ringlingdocents.org/pausias.htm. Accessed 28 Mar. 2024.
Charles, Victoria, and Klaus H. Carl. Baroque Art, Parkstone International, 2009. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/scf-ebooks/detail.action?docID=886839.
"Peter Paul Rubens." Encyclopedia of World Biography, 2nd ed., vol. 13, Gale, 2004, pp. 339-342. Gale eBooks, link.gale.com/apps/doc/CX3404705609/GVRL?u=lincclin_mcc&sid=bookmark-GVRL&xid=174ff8e1. Accessed 28 Mar. 2024.
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Academic Blog#1
Analysing The Lost and Found Best Animated Short Film at the 83rd Academy Awards.
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His animation is about a little boy who tells a story about his past. He goes to a place that looks like a beach and finds something that no one has ever seen before, and the boy spends a pleasant afternoon with him. But no one knows where the object came from or where it belongs. The boy takes him to ask his friend, who doesn't know either and finally has to take him home and hide him in a shed. In the evening, the boy watches TV and sees an advert for lost and found objects and decides to take him there tomorrow. Filling in the form, the cleaning lady hands him a small slip of road sign, and the boy takes him to the road sign address, opens the door, and sees a colourful world full of strange things he didn't know existed. Saw them playing together. Finally, the little boy waved goodbye to him.
Returning to the expression The story begins in the first person and uses an inscriptional account of the theme of speech. It remembers all that has been lost before and shows the importance of the past and present. The film has no voice other than the first-person verbal narration and is more of an internal monologue and self-reflection.
By using animal figures or surrealistically created non-human creatures as protagonists in their works, the authors hope to look at human life from a different perspective, so that readers can get rid of their narrow anthropocentric thinking and not indulge in self-obsession.
I don't agree with this, I think the little boy and the thing are one and the same, maybe there's a time the little boy missed or some emotion he's trying to find, and together they react to the longing for his heart. Beautiful things, together they awaken the dreams we leave behind. Instead of comparing the two main characters. In contrast, I think the reaction is to compare two completely different worlds, the industrial world the boy lives in and the dream world he lives in.
This animation takes full advantage of the fact that surrealists rebel against all oppressive values and oppressiveness. The goal of surrealism is to reduce and eventually resolve the conflict with action, the conscious and the unconscious. By helping him find where he belongs, the young boy also seems to awaken his own unique ideas. In the end, two answers are given, either that thing has disappeared or we no longer care. It also boils down to the question of whether we have been assimilated into the world. What is the other voice within you being oppressed because of？
References
Brodskaya, N. (2018;2020;) Surrealism. 1st edn. New York: Parkstone International.
GALU, M.P. (2023) ‘Suprarealismul sau literatura abisurilor’, ACROSS (Galați), 7(2).
Riccio, G. (2022) ‘Angelica o la notte di maggio di Alberto Savinio. Le tecniche dello straniamento tra fantastico e surrealismo’, Between (Cagliari), 12(23).
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Léonard de Vinci Joli petit livre en excellent état Edition parkstone international 2006 255 pages Format carré #librairiemelodieensoussol #melodieensoussol #oiseaumortvintage #libraire #librairie #librairiemarseille #librairieparis #librairieindependante #librairieenligne #librairiedoccasion #livresdoccasion #bookstagram #booklover #devinci #leonardodavinci https://www.instagram.com/p/Cop9yyGMe-N/?igshid=NGJjMDIxMWI=
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Blog Post 5
Ice Breaker Project.
For our first project we were assigned to go a journey and do a response from it. We were allowed to approach this idea anyway we wanted and it was a chance to try and do some experimenting or exploration of the word ‘journey’.
My immediate instinct was to make the viewer come on the journey with me when presenting so I fell back on a much loved craft I taught myself a few years ago- book binding.
I documented my journey and then worked out how many photos I had and went about making a book so I could stick a photo a page. Fiction books have always been ways for me to go on journeys with the characters within them, and that was my main aim with my own book and series of photos.
Video by author.
Taking it a step further I also wanted to help the viewer understand how I interpreted the journey myself and I decided to ‘personalise’ some of the photos. When recording the journey I made sure to note my initial reaction to things I saw so I then could later quickly physically edit the photograph to show what my imagination was doing in that moment.
Photos by author
For instance, whenever I see Willow trees I always imagine fairies or when I take a walk in the wood what always stands out to me is the light through the trees more than anything else.
When presented it began a fascination conversation with the other people on my course and the lecturers about the instantaneous nature of what I was presenting and also the strong fantastical elements in it. It led to a discussion about German expressionism and how just painting quick little pictures to capture shapes and then implementing my own imagination could lead to some very instant and interesting out comes; so naturally I have started to read up about what German expressionism is.
In general it seems to be a very hard movement to define and label due to the fact that it wasn’t a unified style/ technique but rather a unified push against labels and homogeneity (Bassie,2008). Ultimately it was about fierce individualism and the ‘ liberation of the body as much as the excavation of the psyche’ (Bassie, 2008, p.8). I realised this all tied into my idea of looking into escapism and letting my own imagination be the driving force behind my work. This is only compounded by the fact that German Expressionism also encompassed ‘political apathy’ (Bassie, 2008, p.8).
What also was revealed by my photos that I had not considered was my fascination with light - a big driving force behind most of my portraits - and I can see it becoming a key element in my projects during this MA.
References:
Bassie, A. (2008) Expressionism, Parkstone International, New York. available from: Proquest Ebook Central. [Accessed: 19th October 2022].
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Was the movement that we have just described only a violent bout of fever? Was it anything more than exaggeration and distortion? Did it only have a superficial and, when all is said and done, perhaps regrettable influence on artists? Was it going to be remembered as a movement marked by a strong and rampant taste for trinkets, cheap rubbish and mundane anecdotes, a movement mostly interested in subjects taken from fiction or history and easy to turn into vivid scenes? Those subjects corresponded to the fashion of the time, and if Romanticism had been limited to illustrating books and popular historical stories it would then be difficult to understand why it faced such strong resistance. If it was only made of mannerism and failings would it have kept raising so much passion and would it have remained polemical a century later?
Rosenthal, Léon. Romanticism, Parkstone International, 2008.
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Claude Monet
Both the visual and the literary portraits of Monet depict him as an unstable, restless figure. He was capable of producing an impression of boldness and audacity or he could seem, especially in the latter years of his life, confident and placid. But those who remarked on Monet’s calm and restraint were guided only by his external appearance.
Both the friends of his youth, Bazille, Renoir, Cézanne, Manet, and the visitors to Giverny who were close to him — first and foremost Gustave Geffroy, Octave Mirbeau and Georges Clemenceau — were well aware of the attacks of tormenting dissatisfaction and nagging self-doubt to which he was prone. His gradually mounting annoyance and discontent with himself would frequently find an outlet in acts of unbridled and elemental fury, when Monet would destroy dozens of canvases, scraping off the paint, cutting them up into pieces, and sometimes even burning them.
Nina Kalitina, and Nathalia Brodskaya. Claude Monet. Parkstone International, 2011.
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Francisco de Goya y Lucientes - The Witches’ Sabbath (In Spanish: El Aquelarre), 1797-1798
In the last years of the eighteenth century, Goya became interested in the subject of witchcraft at a time when enlightened men and women thought that believing in the occult was a sign of little intelligence. In a letter to his great friend, Martin Zapater, Goya wrote, “I’m not afraid of witches, hobgoblins, apparitions, boastful giants, knaves or varlets, etc., nor indeed any kind of beings except human beings.” The Witches’ Sabbath is one of six paintings on the theme of witchcraft that hung in the boudoir of the Duchess of Osuna’s country house, La Almeda. It is not known if they were specially commissioned by his liberal patroness or if she bought them after they were painted.
The Witches’ Sabbath shows the devil disguised as a he-goat crowned with vine leaves, a reference to lustful Bacchus. He is surrounded by a group of poor, old and ugly women of the type who might be suspected of witchcraft. Witches reputedly sucked the blood of children and were blamed for infant mortality; here the women present the devil with various children. A healthy baby is held by the woman on the right, while another hides under the cloak of a woman reclining in the foreground. An emaciated child stretches out its arms to the devil and, on the left, an infant lies dead on the ground. Above him, a woman holds a rod from which hang three unborn corpses, a reference to the practice of abortion often carried out by such outcast women.
Credit: Museo Lázaro Galdiano
Reference: Carr-Gomm, S. (2006). Francisco de Goya. London, UK: Parkstone International.
Art Through Time
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Russian Painting :: Peter Leek
Russian Painting :: Peter Leek
Russian Painting :: Peter Leek soon to be presented for sale on the outstanding BookLovers of Bath web site!
Bournemouth: Parkstone International, 2005, Hardback in dust wrapper.
Includes: Black & white photographs; Colour photographs; Colour plates;
From the cover: For centuries Russia had no great painters to speak of. Artists like Rublov concentrated nearly all their creative talent on the…
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more research
- Hollingshaus, Wade. TDR (1988-) 52, no. 4 (2008): 201-02. Accessed August 2, 2021. http://www.jstor.org/stable/25145566.
- Kirsten Olds (2013) “Gay Life Artists”: Les Petites Bonbons and Camp, Performativity in the 1970s, Art Journal, 72:2, 16-33, DOI: 10.1080/00043249.2013.10791028, To link to this article: https://doi.org/10.1080/00043249.2013.10791028
- Shanes, Eric. Warhol, Parkstone International, 2011. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/aut/detail.action?docID=887091.
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