Composition VII

Wassily Kandinsky’s Composition VII is a beautifully, and colorfully, balanced visual depiction of orchestration, or a composition of music. Painted a year before the first world war, the art of beauty and sensationalist emotion was not yet tainted by the ever-so popular need to make political commentaries through every piece of artwork. Kandinsky aimed to tap into the beauty and intricacy of synesthesia, the overlapping and intermixing of the different human senses. For example, we could see sounds, and hear colors. In this image, Kandinsky is connecting music to color and visuals. The objective is to dispose of the notions we gather from what we literally visually see and appreciate the piece for the emotion it evokes. In turn, the image is uncertain and difficult to “analyze.” You aren’t really sure what you’re looking at, but the questions and “disruption” that arise within the view and audience, and this result extended the movement of questioning relevant at the time.

The sheer size of the piece is one of the biggest contributers to the intense emotion the viewer is supposed to feel, being enveloped and overwhelmed by the seeming chaos of the “scene.” There is no direct subject or reference, so obviously a musician could not read this painting like sheet music; again this speaks to the obscure beauty of the ambiguity.

Carlo Carra. Interventionist Demonstration (Patriotic Holiday-Freeword Painting), 1914

When the Futurist Manifestos fell suddenly and with abundance over the Piazza del Duomo, in Mulan, 1914, the swirling piece of paper lit a small flame of inspiration within Carlo Carra. The day Germany declared war on Russia, and a few days Franz Ferdinand was assassinated, the artist painted his piece as a protest against Austria in WWI.

The cubism style of the painting gives it depth and the illusion of being a collage. In the image you see the word “eviva” repeated several times, indicating that the piece is alive itself. The large print letters and musical patterns return to that same theme of synesthesia. All the material in the painting seems to orginiate from the same point in the center, expanding outward as if exploding. The area in the center itself is black and receeding, representing a void and contributing to the depth of the image. Carra’s work here started the Pittura Metafisica, or metpahysical painting style. By using “enigmatic, dreamlike” imagery to create a sense of mystery, odd symbosims, and an unrealistic linear perspective, Carra created an image that sent a clear message while keeping the painting just obscure enough to be interesting. (Metaphysical Painting)

The only thing these two piece have in common is perhaps the connection of color and shape to sound, and maybe the consistent filling of all the spaces of the canvas. Kandinsky created a scene of musical beauty, Carra created a scene of war commentary, and both created a scene to evoke raw emotion in the viewer. Different people will connect with each piece differently.

Maybe it would be a good idea to show these images to someone on a first date; you’d probably figure out how their mind works pretty quick.

HR: google docs; Khan Academy; http://www.visual-arts-cork.com/history-of-art/metaphysical-painting.htm

Sarah Elizabeth Lemon

Crystal Palace

Although destroyed by a fire in 1936, the Crystal Palace remains to be one of the most beautiful architectural masterpieces, however tragic it may be.

Crystal Palace

The cast-iron, plate glass building was originally erected in Hyde Park, London, England to serve as a venue for the Great Exhibition of 1851. The exhibition showcased the newest modern technology of the time and glorified all the new success of the Industrial Revolution. The building itself, however, was a significant specticle on its own due to its need for no indoor lighting and complete structure of windows. Playwright Douglas Jerrold originally created the idea in his satirical magazine Punch when referencing the Great Exhibition. The architects who were at the heart of the selection of the design submissions were Charles Barry, Thomas Leverton Donaldson, the Duke of Buccleuch, the Earl of Ellesmere, and William Cubitt. Joseph Paxton was the biggest contributor to the design, which was innovative and ground-breaking. It was built with perfectly accurate geometry, and most of the building was covered by a flat roof, save the the center that was topped with a wide barrel vault. The structure was moved and rebuilt in Sydenham Hill and slightly redesigned.

A fire that was started by a small explosion in the women’s cloak room got out of control and tragically burned the Crystal Palace down.

Wainwright Building

Although it seems pretty short and sad to us cultured, city folk, the Wainwright building was the first example of a skyscraper. The building was the first built of steel, steel of which is structured with uninterupted lines of support and framing. This skeletal framing had gothic influences, but the architecure is mostly due to the Beax-arts tradition.

The reason this building was so special was that it aimed to be taller than it did wide, which hadn’t really been explored yet.

Wainwright Building

It was meant to be a prototype for modern office buildings. The symmetrric, geometric motifs stemmed from the Palazzo style, even down to the rows of windows. PBS even included the Wainwright in their “10 Buildings that Changed America,”

The Crystal Palace and the Wainwright building have two completely opposite purposes. While the palace was designed specifically as a venue and for viewing pleasure, the Wainwright building was designed and built for experimental, yet utilitarian purposes. The buildings have two different origins, two different purposes, two different architectural styles, and two totally different aesthetics, yet both influenced the country and architecture of the area significantly, moving them toward the future.

Help Received: https://en.wikipedia.org/wiki/Wainwright_Building ; https://en.wikipedia.org/wiki/The_Crystal_Palace ; google docs ; google images

Sarah Elizabeth Lemon

Oath of Horatii, Jacques Louis David

This Neoclassical painting by Jacques Louis David depicts three Horatii brothers swearing an oath to protect Rome to their father. Saluting him, the three men will soon fight three Curatii brothers to settle a dispute in order to avoid a full-blown war. The women behind the father grieve because one of the Alban women is engaged to a Roman man, but is also a sister to a Curatti, so the two sides must fight against each other, though they are still linked by marriage. She mourns because no matter what results from the fight, she will lose someone she loves. The posture and poses of the men contrasts with those of the women in order to emphasize the dedication and willingness to sacrifice for their homeland, and renders the women useless in their grief.

The background of the painting is too dark relative to the light shining on the forefront of the scene, David did this to portray the virtue of the act being performed.  The vanishing point of the structure is covered by the father’s hand wrapped around the sword. This draws the viewers eye almost to the center to give an even view of all the happenings in the scene.According to Julius Held, professor at Barnard College and Columbia University, and Donald Posner, professor at the Institute of Fine Arts and New York University in their collection and commentary on 17th and 18th Century Art, this new assymetrical arrangement was influence by Baroque art and was shortly thereafter departed from in more Neoclassical art.

The emphasized masculinity serves to evoke a sense of patriotism in the viewer. The virtue of the act served as a catalyst for rallied support from the French who shared classical views, and even though it was created about four years before the revolution, it became a symbol for the time period and the movement.

Reconciliation of the Sabine Women, David

David’s painting, Reconciliation of the Sabine Women, depicts a gruesome, confusing, and inspiring story. Years before the scene takes place, Ancient Romans had taken Sabine women captive and forced them into marriage. The Sabine me come to take back the women, however the women throw themselves in between the fighting because after years of adjusting, they now how families and cherished ones on both sides of the fight. David mostly created this piece for his wife who has very strong opinions about love versus war. Ultimately, the painting served as a political commentary on the Revolution in France and the desparate need for peace. No one gains anything in this scene, which was David’s idea of the present conflict; it was a lose-lose situation.

The Reconsiliation was painted in total opposition of the Oath of Horatii. The first image glorifies fighting as a solution to conflict, while the latter expresses it’s total destruction and complete lack of benefit. Rococo art met its end with David’s work. (17 and 18th Century Art)

Bibliography:

Held, Julius S., and Donald Posner. “France in the 18th Century.” 17th and 18th Century Art; Baroque Painting, Sculpture, Architecture. New York: H. N. Abrams, 1971. N. pag. Print.

Help Received: Google Docs; Google images; https://en.wikipedia.org/wiki/Oath_of_the_Horatii

Sarah E. Lemon

Kojo Bonsu. Finial of a Spokesperson’s Staff

The Finial of a Spokesperson’s Staff was the Ashanti ruler’s messenger and served to warn against the abuse of power, represented specifically by the figure at the head of the staff. It was carved around 1960-1970, and was, overall, a symbol of leadership. The carrier was clearly in a powerful position. The tradition has extended to even today, seeing as some professors and instructors still use similar statue representations of their authority. The figure at the head is carved to look like the Ashanti himself. The figure holds an egg in his right hand, representing political authority; easy to break and easy to drop.

Nankani Compound Sirigu, Ghana 1972

The Nankani Compound served housing for men an women; the former residing in the rectangular housing, the latter residing in the rounded housing. The men’s housing were placed near the entrance to protect the shrine, and each compound had it’s own protective wall. Each compound faces toward the entrance serving to focus on the shrine.

Both of these reflections speak to the focus on power in the late African movement. By focusing on the shrine and using painted symbolism, the compound directs energy in a positive way. The staff serves more as a warning, yet still focus attention were it needs to be focus, toward leadership and authority.

Honoré Daumier. Rue Transnonain le 15 de Avril 1834

Honoré Daumier may have created one of the first comics–gruesome though it may be– with the lithograph he created. The romanticized image of the “French government” being killed in their homes, asleep refers to the actual assassination of this family which occured on April 14th, 1834, incited by a riot of the discontent of the masses. Although the image is slightly humorous because of the unflattering depiction of the prominent figure, the view is very solemn and intense overall. The man lying on top of a baby insinuates that his decisions make the young, the next generation, suffer, even as he suffers in the process. The contrast between black and white, as well as the shadows serve to intensify the scene and portray it as harshly as possible.

Eugène Delacroix. Liberty Leading the People

Delaxcroix’s piece, Liberty Leading the People, portrays the French Revolution in a romanticism style meant to inpire encouragment and inspiration in the face of a seemingly overpowering oppressor. Liberty is depicted standing boce the others, holding the French flag, most likely in an attempt to emphasize the importance of the revolution and waht the people believe their country stands for. Her partial nudity represents a break of social norms, while the angry citizens around her fire or aim their weapons, indicating the the battle was just finishing. The positions the members of the government in the painting emphasize their weakness and helplessness against the people, which gives the interested viewer (in this case a citizen) a sense of power over them.

The positions of the members of government are similar to those in Daumier’s lithograph, but perhaps a little less comical. In the first image, the idea is that they are totally unprepared. In the second, they might attempt to fight back but there is no way they will succeed.

Detail of a Leaf with the Birth of Mahavira

The Jainist depiction of the birth of the founder of Janism above parallels Bhuddism as well as Christianity. Similar to Bhudda, the child is born to a royal family, and similar to Christianity, he is depicted with the face and body of a full grown man despite having just been born. This technique, like the medieval Madonna and Child, is used to emphasize the child’s divinity and inherent, holy wisdom. The people are flatly drawn and there is little depth in this piece. The people are semi-realistic but the proportions are inaccurate and the child being shown as a man is unrealistic.

The Bodhisattva Avalokiteshvara

The englightened individual depicted in this sculpture, Bodhisattva Avalokiteshvara, was infamous for his vow that his path on earth would not be complete until he had relieved the suffering of all rational beings. This vow connects and relates him to the Lotus flower, which symbolizes enlightenment while still in this world, as you can see by the Lotus flower under his foot, his seat, and above him.

There is a similar intricate, decorative, Bhuddist aesthetic to both pieces. Both depict chakras and urnas. The sculpture, however, is more naturalistic while still having the stylistic Bhuddist elements of the clothing and structure of the face.

-(provide more pictures and info.) (talk about why he sits in that posture, design of the statue)

HR: Pete, Zach for in class edits

Nan Madol

The Nan Madol served the purpose of centralizing control as a megalithic complex. Chieftans were required to live inside the structure as a way of maintaining power over the local clans. The Basalt boulders were influenced by Megalithic architecture, as were the prismatic columns. The geometric design provided even weight support. The complex was a result of the Saudeleur Dynasty.

Maori Meeting House

The Maori Meeting House originated as a dwelling space for the tribal chief but the purpose shifted into a meeting place after coming in contact with Western influences. The decorative totum pole style columns served as ancestoral tribute, and the lattice panels on the outside created by women, since it was wrong for women to be inside of the structure at the time. The symbolism of the intricit aesthetic includes the chevrons representing the teeth of the sea, steps representing the stairs to heaven, and diamonds representing flounder. You know, like, the Little Mermaid.

The first structure was utilitarian while the second served more ceremonial purposes.

Rembrandt, The Nightwatch

This painting by Rembrandt is a narrative of a thriving middle class economy, a group portrait with a democratic and egalitarian style. Not all individuals in the painting are equal because each paid their way into the scene. Rembrandt desired to create an atmosphere of interaction and activity amongst the figures. The religiously open area was a contributer to the thriving economy. The name of the painting is misleading, seeing as the painting depicts ceremonies or celebrations that specifically happened during the day, however the faint painted and now provides a darker aesthetic. The female figure is specifically depicted as humanistically as possible in order to maintain the rejection of religious themes.

Rembrandt, Staalmeesters

Unlike The Nightwatch, the balance between internal and external untiy is ideal. Also differently, there is little interaction between the indivuals in the painting while all are just looking in different directions. These figures are meant to look very similar and cohesive. All are directed towards the viewer and none of the figures are obstructed. In the Staalmeesters, focus is on knowledge in education.

In both pieces there is a distinct secular theme, a purposefule departure from the Southern Renaissance fixation on biblical themes.

HR: Matthew Penaranda, Zack McManus

Sarah E. Lemon