Female Diversity in the Mid Modern Arts

 Introduction

In 1969, 8% of the Whitney Biennial, then known as the Whitney Museum's Annual, comprised female artists. In the late 1960's to early 70's, groups like WAR, (Women Artists in Revolution), sought to change this and how women were viewed in the artistic world. Many women who were a part of the formation of  WAR, originated from the AWC, (Art Worker's Coalition), but left because women were still being treated like they were not enough compared to their male counterparts.  Other groups, such as Black Artists Liberation (1969) and Ad Hoc Committee of Women Artists (1970), soon followed. Ad Hoc protested at the Whitney about their lack of female artists, and in a rounding success the next year the number rose from 8% to 20%, including two women of color. Due to these groups starting a chain of reactions, feminist art was able to be shaped into what it is today. (JSTOR).

Please enjoy the following artworks from the women who made this era of female artists come to life. 

Walking Piece 1966, Yayoi Kusama (1929-)
New York
Currently Located: Garage Museum of Contemporary Art, Moscow (2015)

About the Art

One of Kusama's early and less conspicuous Happenings, Walking Piece, is her homage to her root culture while living in New York. In it, she asserted her identity as a Japanese immigrant and an artist by walking New York's empty streets in a flamboyant kimono and parasol combo. According to the Whitney Museum, although she dressed more modernly in Japan, Kusama enjoys the occasional traditional wear to show pride in being an outsider in New York (ArtsyYK). 

Art Elements

The piece comes together to isolate Kusama, drawing the viewer's attention directly to her. 

Form: The blurred form of other human bodies, aids in depicting Kusama as the one to pay attention to.

Color: The hot-pink color of the kimono stands out loudly drawing attention to what is happening, which was the idea. The surrounding background also has colors that complement what Kusama is wearing, helping her stand out further as the star.

Shape: The shape of the flowers on the kimono and parasol naturally draws the attention of onlookers, as flowers are normally a stimulating sight to see. 

Aesthetic Reaction

Upon viewing Walking Piece, I first thought that Kusama was breathtaking and full of confidence. I wouldn't own one of these displays but I would like to see it displayed at a museum. Overall I love the vibe that she was achieving to put out. 

Dancers 1968, Betty Blayton (1937-2016)
New York
Currently Located: Studio Museum, Harlem, New York

About the Artist

Betty Blayton was born in Williamsburg, Virginia, on July 10, 1937. Her works are best described as 'spiritual abstractions', combining monotype printing with traditional painting. She was a foundational abstractionist for many New York-based artists in the 20th century, including Jean-Michel Basquiat, a former student of hers (Artsy). She is the co-founder and Board Secretary of the Studio Museum in Harlem, co-founder and Executive Director of Harlem Children's Art Carnival (CAC), and co-founder of Harlem Textile Works. She has also served as an advisor, consultant, and board member for various art and community-based service organizations and programs (Betty). 

Art Elements

Form: Humanoid forms are in movement to depict dancing. Together they also help to form the face and body of another in the background watching the dancers be liberated, as if they are longing for that liberation for themselves. 

Color: The color palette used adds a sad depth to the painting, further complementing the longing to be oneself freely.

Line: Soft brushstrokes are used throughout almost giving this painting the illusion that it could melt away.

Aesthetic Reaction

This painting intrigues me as the more you look at it the more details you see in it. The dancers making up a giant form of a person grabbed my attention the most. This person looks lonely as if they are reflecting on themselves and what they wish they could be without being held back. Even the dancers appear as if this is the first time that they can move freely. I am unsure if this was the artist's intention as I could not find more details about the painting, but that is what it says to me. I would happily own a copy of this in my home.

Tiptoe Through the Tulips 1969, Alma Thomas (1891-1978)
Washington D.C.
Currently Located: National Gallery of Art, Washington D.C. (not on display currently)

About the Art

Thomas enjoyed painting works of nature, especially those around her Washington, D.C. home. This work depicts a tulip field in Spring and references Tiny Tim's song "Tiptoe Thru' The Tulips." Her work became associated with the Washington Color School Movement. According to Thomas, "Man's highest inspirations come from nature. A world without color would seem dead." (NGA). 

Art Elements

Color: Colors representing the rainbow are used, creating an inviting painting you want to 'tiptoe through'. 

Tone: A bright, eye-catching tone is used, captivating viewers to look at it.

Shape/Pattern: This painting consists of repeated rows of brightly painted rectangles.

Aesthetic Reaction

I love this painting! I would own this in my home in any room. I enjoy how this painting draws you in with its bright colors in neat rows as if you truly are staring into a field of tulips.

Reaching for Center 1970, Betty Blayton (1937-2016)
New York
Currently Located: New York

Art Elements

Form: Two humanoid figures stand back to back with each other reaching out. 

Color: The color is that of warmth, what you would expect to receive after reaching out for a hug.

Line: Soft brushstrokes give this painting an inviting feel as if reaching out to embrace you.

Aesthetic Reaction

This painting feels like a warm hug waiting to happen. The colors feel warm and inviting, and it makes me want to fall into the embrace of this painting. The shorter figure looks like they are the ones in need of comfort reaching in hopes to meet the comforting embrace of the taller one. This is a piece I would enjoy having in my home. 

Hochhaus (Nr. 1) 1974, Renate Eisenegger (1949-)
UK
Currently Located: Sammlung Verbund, Vienna

About the Art

Hochhaus (Nr. 1) speaks to the conformity and monotony that prevail in domestic spaces. Her signature white face paint represents being a blank canvas that is waiting to be filled. Breaking the mold of what 'should' be. The iron represents the flattening of women's individuality (HuffPost).

Art Elements

Color/Tone: The photo's black-and-white color and tones add to the simplicity expected of women of the time. Compared to something in full color, it gives the image a 'docile' feel, which is a homage to the docile nature expected of women.

Line: The lines and shape of Eisenegger's body are sharp in contrast to the rest of the lines you can see throughout the photo causing her to stick out as the focus. 

Shape: The simple rectangle door and lights, paired with the bare walls give a minimalistic, neat vibe, reminding one of the tidiness a woman is expected to keep.

Aesthetic Reaction

My first reaction to this was, 'What is going on? A woman is ironing a floor, in a covered face.' Upon learning about the image and what it is meant to represent, I found myself intrigued by it. Eisenegger's calm and confident demeanor is truly striking. While I enjoy this artwork I would not own a copy personally.

Demolition of an Illusion 1977, Karin Mack (1940-)
Vienna
Currently Located: Sammlung Verbund, Vienna

About the Art

Mack is shown in a lovely portrait holding a homemade jam against a floral background, she then pierces it, shattering the illusion and liberating herself from that identity. Along with many of her photographic images, Mack aims to take a dreamy detour from traditional forms of feminine representation, shattering them from the false promise that women are as cohesive and pleasant as their pictures would lead one to believe. According to the exhibition catalog, "The death of the image, the destruction of the photograph, is at once the end of an illusion and an act of liberation" (HuffPost).

Art Elements

Pattern: A floral pattern adorns the wallpaper in the background. While there is no uniform pattern with the nails and pins, Mack has them following the form of her body.

 

Color/Tone: The black-and-white color and tones add to the simplicity expected of women of the time. Compared to something in full color, it gives the image a 'docile' feel, which is a homage to the docile nature expected of women. The lack of color also aids with the submissive illusion that needs to be demolished.

Line: The sharp, jagged lines of the nails and pins are a sharp contrast against the softer, peaceful lines of the floral pattern wallpaper. 

Aesthetic Reaction

I think this piece is fantastic and would love to own a copy in my home, in my kitchen specifically. The nails and pins piercing Mack's smiling form are what first attracted me to this image. It loudly speaks against being caged into the role of 'just a housewife.' 

Works Cited

Blayton, Betty. “About Betty Blayton.” Betty Blayton, 2015, www.bettyblayton.com/about-betty-blayton. Accessed 19 Nov. 2024.

Dozier, Ayanna. “28 Overlooked Black Artists to Discover This Black History Month.” Artsy, 1 Feb. 2023, www.artsy.net/article/artsy-editorial-28-overlooked-black-artists-discover-black-history-month. Accessed 18 Nov. 2024.

Frank, Priscilla. “8 Radical, Feminist Artists from the 1970s Who Shattered the Male Gaze.” HuffPost, 24 Oct. 2016, www.huffpost.com/entry/feminist-artists-1970s_n_5800dfc1e4b06e0475943918. Accessed 18 Nov. 2024.

Gotthardt, Alexxa. “6 Works That Explain Yayoi Kusama’s Rise to Art World Stardom.” Artsy, 21 June 2018, www.artsy.net/article/artsy-editorial-6-works-explain-yayoi-kusamas-rise-art-stardom. Accessed 18 Nov. 2024.

Jackson, Ashawnta. “The Origins of the Feminist Art Movement.” JSTOR Daily, 1 Apr. 2021, daily.jstor.org/the-origins-of-the-feminist-art-movement/. Accessed 18 Nov. 2024.

National Gallery of Art. “Tiptoe through the Tulips.” Www.nga.gov, 2024, www.nga.gov/collection/art-object-page.195456.html. Accessed 18 Nov. 2024.

Early Modern- The Harlem Renaissance

 The Harlem Renaissance

    The Harlem Renaissance, also known as "The New Negro Movement", took place during 1920-1930. We saw a burst of  African-American artists, musicians, and dancers during this time. The Harlem Renaissance was a literary movement and social revolt against racism, but most importantly it was a way to uniquely express culture and redefine African-American expression. African-Americans were highly encouraged to celebrate their heritage and become "The New Negro," a term coined by Alain LeRoy Locke in 1925. In his book, The New Negro (1925), Locke describes the northward migration of Blacks as "something like a spiritual emancipation." (Robinurton)

    Though it did not last long, the Harlem Renaissance left a powerful impact on Americans, brought attention to and produced great African-American works of art, and greatly influenced and inspired future African-American artists and intellectuals. (NMAAHC).

    The following consists of a virtual exhibit featuring works from some of the most known artists of the time: Augusta Savage, Lois Mailou Jones, and Aaron Douglas.

Gamin by Augusta Savage (1892-1962)

    Gamin was created in 1929 in Harlem, New York, and depicts Savage's nephew who was living with her at the time. It is made with plaster that was painted to look bronze, however the original is a life-size bronze piece. Her nephew is wearing a soft cap, commonly worn by the working youth of newspaper boys. 'Gamin' was used as its title because of its meaning of streetwise children (AmericanArt). Gamin is Savage's most known work.

The original can be found at the New York Public Library in the Art and Artifacts Division of the Schomburg Center for Research in Black Culture section. Copies can be found at Dartmouth, Detroit Institute of Arts, University of Maryland, Cleveland Art Museum, and the Smithsonian American Art Museum. (Beinecke)

Savage overcame poverty, racism, and sexism to achieve the great feats that she has. Due to poverty, she was mainly only able to use plaster and then paint it to look like the metals typically used at the time, (such as bronze). Her leadership in the art communities she ran, like the Harlem Community Art Center, had a great influence on artists like Jacob Lawrence and provided free art teachings to many. (Artsy).

Art Elements

Form: Savage demonstrates form by accurately creating a piece of sculpture that mimics the 3D form of the human body, including intricate facial details. 

Line: Softer lines come together to bring shape to the body and clothes, while bolder lines bring together the details of the face. 

Tone: A forlorn tone can be felt throughout the piece, depicting the lonely and harsh life of working youth. Shadows can be seen cast from the cap over the face, adding to the forlorn look on the boy's face.

Personal Thoughts:

I can understand the popularity of this piece, as it is beautifully constructed. However, it is not a piece I would want to own.

 

The Ascent of Ethiopia by Lois Mailou Jones (1905-1998) 
Created: 1932, Harlem, New York
Located: Milwaukee Art Museum

   

The Ascent of Ethiopia was created using oil on canvas and was inspired by the positive representations of traditional African iconography seen in Harlem Renaissance works. The painting shows the long journey to reach the Harlem Renaissance and the impact it had on bringing African culture to the spotlight (HistoryPin). Jones wanted to 'convey profound respect' for the Black experience, 'with a sympathetic and dignified treatment,' according to a former student of hers, Tritobia Hayes Benjamin (MAM). 

Jones was inspired by the Harlem Renaissance and its influence can be seen in her works.

Art Elements

Shapes: Many shapes can be seen throughout this painting, such as circles, stars, pyramids, rectangles, and triangles. These give shape to buildings, stairs, people, elements of the sky, and clothing patterns.

Pattern: Patterns can be seen in the make-up of the people with their composition of rectangles and circles to give form to their bodies. Patterns can also be seen throughout the Pharaoh's clothing wear and headpiece. 

Color: Vivid colors are used, capturing the viewer's attention and casting a spotlight over the piece on its own. 

Lines: Brushstrokes are light and dreamy, making you want to capture every detail. 

Personal Thoughts 

This painting is as beautiful as it is powerful, but also has a soft feel to it like it should be printed on a blanket rather than a canvas to engulf you in its warmth. I would love to own a copy of this painting, it is simply breathtaking and powerful. 

Evolution of Negro Dance by Aaron Douglas (1899-1979)
1935, Harlem, New York
Located: Harlem Branch of the Y.M.C.A

Evolution of Negro Dance is an original mural that is still surviving in the Harlem Branch of the Y.M.C.A from the Harlem Renaissance. It was a contribution to the Works Progress Administration (WPA) by Aaron Douglas a renowned painter and illustrator of the time. Silhouetted figures are depicted in the mural as representations of the different periods in African-American history from slavery to the Harlem Renaissance through dance (Untapped). 

Art Elements

Color & Tone: A darker palette with pops of light emerging is used to create a tone of dusk to dawn. Symbolizing the rise of something beautiful. 

Shapes: Shapes are shown to create the image of trees through petal-like oval leaves and rectangular trunks. Rectangles and circles can also be clearly made out to shape the silhouetted figures. 

Pattern: A repetitive pattern of leaves is shown to depict tree limbs.

Lines: Soft brushstrokes, that come together to unify the mural as a whole in one big dance. 

Personal Thoughts

Evolution of Negro Dance is a beautifully crafted mural and I love that the tree's limbs seem to be dancing along with the figures, guiding you through the piece. I would not own a copy of this piece, as I feel it is most powerful where it is located in its original form. 

Works Cited

Historypin. “Historypin.” Historypin, 2024, www.historypin.org/en/explore/geo/37.77493. Accessed 5 Nov. 2024.

Kuhl, Nancy. “Augusta Savage: Gamin.” Beinecke Rare Book & Manuscript Library, 1 Oct. 2020, beinecke.library.yale.edu/article/augusta-savage-gamin. Accessed 5 Nov. 2024.

Our American Story. “A New African American Identity: The Harlem Renaissance.” National Museum of African American History & Culture, Smithsonian, 31 July 2014, nmaahc.si.edu/explore/stories/new-african-american-identity-harlem-renaissance.

Ruud, Brandon. “Lois Mailou Jones and ‘the Ascent of Ethiopia.’” Milwaukee Art Museum Blog, 13 July 2020, blog.mam.org/2020/07/13/lois-mailou-jones-and-the-ascent-of-ethiopia/.

Sandy, Niama Safia. “Sculptor Augusta Savage’s Towering Impact on the Harlem Renaissance.” Artsy, 5 Apr. 2019, www.artsy.net/article/artsy-editorial-sculptor-augusta-savages-towering-impact-harlem-renaissance.

Smithsonian American Art Museum. “Gamin.” Smithsonian American Art Museum, 2019, americanart.si.edu/artwork/gamin-21658. Accessed 5 Nov. 2024.

Urton, Robin. “Eyeconart: The Harlem Renaissance.” Robinurton.com, 2024, robinurton.com/history/Harlem.htm. Accessed 5 Nov. 2024.

Waldman, Benjamin. “A Forgotten Harlem Renaissance Mural inside the Harlem YMCA - Untapped New York.” Untapped New York, 29 Feb. 2016, www.untappedcities.com/a-forgotten-harlem-renaissance-mural-inside-the-harlem-ymca/. Accessed 5 Nov. 2024.

Preferences and Perspectives - The Romantic Era

 Preferences

Among the many styles that emerged from the Romantic Era, the two that stuck out to me the most were Impressionist works and Realism. While Realism has its moments and can be powerful pieces, I prefer the dreamlike works of Impressionism. Looking at an Impressionist painting it feels like I am being transported into someone's dream, filling me with a sense of wonder. However, in a Realism painting, I feel like I am forced to feel a specific way about it and interpret an exact meaning. This causes the overall appeal of the artist's work to be ruined for me. 

Impressionism vs Realism

Realism began in France in the 1840s, and revolutionized painting, expanding conceptions of what constituted art. Idealistic images and literary conceits of traditional art were replaced with real-life events, similar in weight to grand history paintings and allegories. It was an early manifestation of the avant-garde desire to merge art and life and is widely considered the start of modern art.

Realism focused on how life was structured socially, economically, politically, and culturally in the mid-19th century. Realism was also the first explicitly anti-institutional, nonconformist art movement. (Art)

Impressionism began in the 19th century and also in France. It is based on painting outdoors and spontaneously 'on the spot'. Paintings are conducted outdoors instead of in a studio and primarily were landscapes and scenes of everyday life. It is said that the process of painting 'on the spot' was pioneered by British painter John Constable around 1813-17 through his desire to paint nature realistically. (Tate)

Brushstrokes become more rapid to keep up with the fleeting natural light. 

Impressionism

Impression, Sunrise
by Claude Monet (1840-1926)
Created: France 1872
Located: Musee Marmottan Monet (Paris, France)

Reading
by Berthe Morisot (1841-95)
Created: France 1888
Located: Museum of Fine Arts (St. Petersburg, Florida)

Art Elements

Color: Both paintings use color to their advantage to create details, instead of black lines. In Impression, Sunrise the color palate is limited compared to Morisot's Reading, in fact, the limited palate works to complement the sunrise harbor scene. It adds to the dreamy, just waking up feeling, that is a sunrise over water. Morisot's use of color adds light to the room and the girl reading, giving off the warmth of sunshine coming in over the fence rails through the foliage. 

Tone: Both artworks have a peaceful tone that promotes serenity throughout. Monet effectively makes use of tone to add shadow throughout his work, which aids in the dreamy, illusion of the sun rising over the harbor. 

Lines/Form: Expressive, loose brushstrokes are used in both paintings, making them come to life but still keeping an airy feel around them. The loose lines come together to form furniture shapes in Reading, such as the chair the girl is sitting on and the fence railings.  

Texture: The application use of the brushstrokes adds an airy, or hazy texture over the paintings. Giving them that 'scene from a dream look'. In Monet's painting, it feels and looks like the smoke from the smokestacks has spread over the canvas. 

Shape: In Impression, Sunrise, a circle is used to represent the sun and loosely shaped rectangles are used to represent row boats. In Reading, we see lines collide together to form the rectangular shapes of the door frame, fence, and chair.

Perspectives

Claude Monet: Monet's interest in light, color, and spontaneity, is greatly shown in his work Impression, Sunrise.  While Monet did add the details of the smokestacks, rowboats, and ships, his main emphasis was the emerging sunlight and its reflections on the Port of Le Havre. This is true to his nature in other works, where Monet opted to focus on the sunlight's ephemeral effects on the water. (Modern Met) 

Monet strives to give an 'impression' of his surroundings, an emotional capture, which can be seen in the multiple series he has created focusing on light, atmosphere, and seasonal changes.

This painting was originally heavily criticized and is what kicked off the Impressionist style. It was criticized for its 'lazy' brushwork and not being an ideal landscape. 

Personal: Monet's Impression, Sunrise is perfectly titled, because it is exactly that, no sugarcoating about it. It gives you the emotional feeling of waking up to a beautiful sunrise over the port with sleep still in your eyes. To where the sun shines out to you, greeting you, and wrapping you in its orange warmth. 

I would own a copy of this painting, and display it where dawn and dusk light could sweep across it. I feel like this type of lighting would properly accentuate the sunrise in the painting.

Berthe Morisot: It is believed that Morisot was starting to detach herself from the immediacy of the quick impression to achieve a new 'interiority' towards the end of her career when Reading was created. (Apollo) In her painting, tranquility appears to be the theme Morisot was going for, as a young girl peacefully enjoys a read for pleasure on a summer afternoon. She is known for painting friends, family members, and females in peaceful settings in nature. 

Personal: The colors and use of light throughout the painting, give the feeling of a warm summer day where you want to enjoy a good book that you can't put down no matter what. 

I do not want to own a copy of this painting personally, because it is an activity and warmth I can do and feel at any time. However, I would enjoy seeing it in person on display at the Museum of Fine Arts. 

Realism

The Stone Breakers
by Gustave Courbet (1819-77)
Created: France 1849-50
Located: Destroyed during World War II

Song of the Lark
by Jules Breton (1827-1906)
Created: France 1884
Located: The Art Institute of Chicago

Art Elements

Color: Courbet uses color to highlight the laborers working to clear the jagged rocks. While Breton uses color to create a harmonious piece throughout. Both use simple color palettes.  

Tone: Tone is used to separate the hill from the workers, isolating them, and making them the main focus of the painting in The Stone Breakers. In Song of the Lark, earthly tones are used adding to the harmonious feeling, as they are used in perfect balance. 

Line: A mix of sharp and soft lines can be seen in The Stone Breakers, the sharp lines are used mainly to accentuate the laborers. Soft lines, that feel like they flow as one are used in Song of the Lark, adding to the peaceful flow of the painting. 

Shape: Shape can be seen in The Stone Breakers in the bodies of the laborers. Upon inspection, you can clearly break the bodies down into rectangles and circles. Shapes are prominent in the background of Song of the Lark through the sun, buildings, and grass.

Perspectives

Gustave Courbet: Courbet's intentions were to depict the real life of workers in the countryside. The faces are purposely left blank and turned away, so to draw more focus to the work at hand, the jagged, rough rocks, and the torn, old clothes of the workers. Courbet created an isolated scene for these two workers on a rural hill in Ornans, France, to create the feeling of being trapped both economically and physically. (Khan) This helps fully depict the harsh life of the laborers. 

Personal: I think the shadow on the hill represents a foreshadowing of upcoming dark times for the laborers. Possibly bad weather will ruin their hard work, causing them to start all over again. Hard, ragged work showcases what rural life was like in those times. 

If it was available to own, I would choose not to own it since it isn't in my taste preferences. However, I appreciate how well done this painting is, and that Courbet gave laborers their time to shine.

Jules Breton: Breton's intention was to glorify hard work which resulted in a less confrontational realist painting compared to others of the time. It was highly praised and has had many copies made. (Art)

Personal: I see a hard-working farm woman surveying her field, the sun is rising creating an orange glow over the land and woman. There is a feeling of accomplishment that can be felt as a hard day's work is about to be started. 

Works Cited

Cohen, Rachel. "Berthe Morisot Comes Into Her Own." Apollo Magazine, 6 Oct. 2018, www.apollo-magazine.com/berthe-morisot-comes-into-her-own/.

Harris, Beth, and Steven Zucker. "Courbet, the Stonebreakers." Khan Academy, 2014, https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/a/courbet-the-stonebreakers

Richman-Abdou, Kelly. "How This Claude Monet Sparked The Impressionist Movement." My Modern Met, 24 July 2023, https://mymodernmet.com/claude-monet-impression-sunrise/

Tate. "Impressionism." Tate, 2018, https://www.tate.org.uk/art/art-terms/i/impressionism#:~:text=Impressionism%20developed%20in%20France%20in,and%20scenes%20of%20everyday%20life

The Art Story. "Realism." The Art Story, 2015, https://www.theartstory.org/movement/realism/

CC

Classical Art and Morality

Morality and the Arts

Rococo vs Neoclassical

Rococo-style art is ethereal and mystic, almost like a haze is cast over it. Neoclassical art, on the other hand, has a more real, heroic feel. Lovers and nude figures can be seen in many Rococo paintings, whereas war scenes and historical figures can be seen in many Neoclassical paintings. This is a prime example of how morality differs between the two styles. 

    A shift was seen during the Enlightenment, which called for more morally depicted artwork showing humans at their most noble. (Smart) 

The Toilette of Venus (1751) by Francois Boucher (1703-1770)

The Toilette of Venus is currently on display at The Met. In the painting, we see Venus being adorned by putti with jewelry, (showing her vanity for beautiful things). The painting is classified as a Rococo painting with its use of voluptuous flesh, pastel colors, and asymmetrical unfurling of furniture, flowers, fabric, and pearls. (Met)

The use of pastel colors, adds to the ethereal feel of this painting of the Goddess Venus. 

The use of lines is sharper in objects such as drapes and furniture, giving them a solid feel compared to the figures which glow with softness. Softer lines and gentle curves are used in the figures giving them a light and airy feel as if they are floating over the furniture. 

The tone remains consistent throughout the painting and collectively brightens as your eyes fall onto the center.

Texture is used in this painting to showcase the differences in the fabrics used. It also adds depth to the chair head and vases at the end of the chair. 

The Swing (1767) by Jean-Honore Fragonard (1732-1806)

A student of Boucher, Fragonard is known for painting erotic subject matters during the Rococo-style era. This is seen in his famous The Swing, where two lovers are shown taking part in lustful activities. Statues of cherub look on in curiosity and disgust, while the taller one symbolizes the secret affair. (Artble) The male lover is shown hiding in the bushes, awaiting his lover to swing above him and spread her legs in a game of peek-a-boo, while her husband in the shadows pushes her. This is a perfect example of the lewd morality of humans that was often shown in Rococo artwork.

The pastel colors are true to the Rococo style and cause the mistress to stand out as the centerpiece.

The flow of the painting aligns with the dominant diagonal line that the two lovers make up together. 

Tone shifts, with the center being light and carefree, and the outer edges being more cynical. The darkest is the husband pushing his carefree mistress. 

Figures are drawn with soft lines and curves this is typical of the Rococo style.

Texture is used for the lace on the dress and the nature around it, like the white flowers.

The Swing can be found at The Wallace Collection in London.

Mary Tisdal Reading (1771) by Angelica Kauffmann (1741-1807)

Mary Tisdal Reading is a painting from the Neoclassical period by Angelica Kauffmann. It can currently be found at the Joslyn Art Museum. 

Compared to works done in the Rococo style, this piece has planned balance throughout, where everything fits together perfectly. Mary is also painted in a "lady-like" pose in modest clothing, compared to the ladies in Rococo paintings who are usually in lewd positions or settings. The book she is reading, along with the cozy sheep adds to the tranquil scene. The setting also has a real feel to it, as if you could stumble upon her at this moment at any time walking through the meadow. 

The colors are not as flamboyant and serve to complement each other as you move through the piece.

Texture is used to differentiate the greenery from each other. 

Continuous lines and curves help to bring the fabric of the dress and robes together, giving them the rumpled look of a lady reading in the meadow all day. With this, it also aids in giving her a beautiful form of the female body.

Rectangles are used to give shape to the natural step and wall she is leaning against.

A light tone is used throughout the whole painting.

Personal Thoughts

Each painting is beautiful, and all deserve their right to be on display in museums for all to see. If I could own one of these paintings, I would pick Mary Tisdal Reading by Angelica Kauffman. This one stood out to me the most because I could picture myself as Mary reading in that meadow. I love to read, especially in a peaceful spot such as that. I would love to have this painting on display in my living room near my couch where I do most of my reading. The longer I gaze at the painting, the more I feel like I am sitting right next to her. 

The Swing and The Toilette of Venus are both beautiful paintings, however, they are too tasteless in theme for me and are not something I would personally want to own.

 Works Cited

Artble. “The Swing.” Artble, 19 July 2017, www.artble.com/artists/jean-honore_fragonard/paintings/the_swing.

The Met. “The Toilette of Venus.” Metmuseum.org, 2019, www.metmuseum.org/art/collection/search/435739.

Zucker, Steven, and Beth Harris. “A Beginner’s Guide to Rococo Art – Smarthistory.” Smarthistory.org, 7 Jan. 2016, smarthistory.org/a-beginners-guide-to-rococo-art/.

Baroque Era - A Claude Landscape

 

Landscape with Nymph and Satyr Dancing (1641) by Claude Lorrain (Gellee) (1604-82)

The Painting:

    Landscape with Nymph and Satyr Dancing was created in 1641 by Claude Lorrain. It was created on a 39 1/4 inch x 52 3/8 inch canvas using oil paints. It can currently be found at The Toledo Museum of Art until June 2025, along with some of his other pieces. 

About the Artist:

    Claude Gellee was born in the Duchy of Lorrain, France in 1604, to the humble village of Chamagne. Around 12 years old, he move to Rome, Italy where he spent the majority of his life. According to his friend and first biographer, Joachim von Sandrart, he started his career in Rome as a pastry cook. (Met) From Rome, Claude went to Naples, Italy where he became a pupil under Goffredo Wals (1590/95-1638/40). After Wals, Claude became associated with Agostino Tassi (c. 1580-1644), possibly as a servant at first and then as a pupil. Tassi was a specialist in landscape and illusionistic architecture, something Claude would later become great at himself. After studying under Tassi, Claude found himself in Nancy, France studying under the leading painter of the court of Lorraine, Claude Deruet (1588-1660). (NGA) From there, he found himself back in Rome where he felt he could fully nurture his talents as a landscape artist, for the rest of his days. 

    Claude is known for his landscapes and use of lighting in them. He was able to use lighting to bring pictorial unity to a scene. He perfected his craft around Rome, constantly observing and drawing the light and atmosphere around him. He carefully plotted perspective, calculated balance and paid close attention to details in his works. (NGA) In 1633, Claude joined the official society of painters in Rome, the Accademia di San Luca.

    He was a highly sought after painter, and even had people imitating and forging his works. In 1635, he created the album Liber Veritatis (London, British Museum), to showcase his works with dates and destinations of when he created them. Claude commissioned works for Cardinals, Popes, and even King Phillip IV of Spain. 

    As he reached towards the end of his career his works developed a panoramic layout to them, making the horizons seem infinitely distant. His early work had been superseded by subtle transitions of space and nuanced reduction of color and detail, to create a slow passage through the landscape. His small, sturdy figures of humans and animals beautifully harmonizing in the natural scene. (NGA)

How Expanding Scientific Knowledge Shaped The Era

    Developments in science and exploring the globe, spurred on a new interest in nature and general broadening of human intellectual horizons. These both simultaneously produced a new sense both of human insignificance, (particularly abetted by Copernicus's displacement of the Earth from the center), and of the unsuspected complexity and infinitude of the natural world. Developments in 17th-century landscape paintings, are indicative of this changing awareness of the human condition, in which humans are portrayed as minute figures in a vast natural setting.(Britannica) Light and movement is used to portray this vast setting in nature, and has a clearer focus on the naturalness with figures harmonizing within.

    Galileo worked endlessly to perfect and prove Copernicus's theory that the Earth was not the center but the Sun was. He provided support using observations from his telescope along with his theory of the tides that he had come up with as proof of the annual and diurnal motions of Earth. Although he made great contributions to this theory, he was punished for not treating it as a hypothetical theory versus the much believed Ptolemy theory at the time, that the Earth was the center of the universe.  (Britannica)

    Galileo inspired many artists with his telescope findings and support to the Copernican Theory. His theory of projectile motion, also proved beneficial to artists in creating fluid motions in their pieces. (Smart)

    Modern science and the opening of the world beyond Europe, brought new rare materials and an increasing serious interest in nature and meaning of these exotic materials. This also opened the doors to more pieces being created combining multiple mediums to create a unique piece. High value was attached to works created with these rarities and they were often decorated with designs of the natural world and motifs derived from human and animal forms. (VAM)  

    

Analysis of the Landscape

    Landscape with Nymph and Satyr Dancing is a breathtaking piece, and it is no wonder it was part of a Golden Age in art. The work itself looks golden. Claude's immense detail to light and his natural atmosphere around him can be clearly seen in this work from corner to corner. This is a piece I would love to have displayed in my home for all to see and marvel at. It invokes the feeling of wanting to jump in and dance along, to climb the rocks and explore the ruins. 

Art Elements That Stood Out To Me:

 Tone: The use of lighting in this piece is used to show vast distance, like the illusion of mountains in the background coming into light as the morning sun rises. As the tone shifts into dark, more objects become visible to the eye as the appear closer. The darkness around the Nymphs and Satyr, showcases the wariness the Nymph in blue is feeling about dancing with the Satyr. 

Color: Claude's use of bright colors, helps his figures to stick out against the natural setting around them. It also provides a spark of individuality and personality to each character involved. 

Form, Line and Shape: The use of shapes such as, cylinders, and rectangles, bring the architecture to life, giving it the form of a 3D building you can explore. Whereas, the flowing lines bring beautiful movement and structure to the trees and even the robes of the Nymphs. 

Works Cited

Baetjer, Katharine. “Claude Lorrain (1604/5?-1682).” Metmuseum.org, The Met, Feb. 2014, www.metmuseum.org/toah/hd/clau/hd_clau.htm. 

National Gallery of Art. “Claude Lorrain.” Www.nga.gov, National Gallery of Art, www.nga.gov/collection/artist-info.1145.html. 

Ripolles, Dr. Carmen. “Secular Matters of the Global Baroque – Smarthistory.” Smarthistory.org, 22 Aug. 2022, smarthistory.org/reframing-art-history/global-baroque-secular-matters/. 

The Editors of Encyclopedia Britannica. “Baroque Art and Architecture.” Encyclopedia Britannica, 10 Dec. 2018, www.britannica.com/art/Baroque-art-and-architecture. 

Toledo Museum of Art. “Landscape with Nymph and Satyr Dancing.” Emuseum.toledomuseum.org, Toledo Museum of Art, emuseum.toledomuseum.org/objects/55147. 

Van Helden, Albert. “Galileo - Galileo’s Copernicanism.” Encyclopedia Britannica, edited by The Editors of Encyclopedia Britannica, 2019, www.britannica.com/biography/Galileo-Galilei/Galileos-Copernicanism. 

Baetjer, Katha