Eight Time Periods and Artistic Analysis by Theme - Essay Example

Political – 2000s

The nature of making political commentary is often a balancing act between being offensive enough, and not being so offensive that the message cannot get through the offense. In Jules de Balincourt’s 2003 New York Show, he presented 57 paintings that were “aggressively political, but avoided being off-putting simply through the playful nature of their compositions” (Complex, 2016). In his work Off Base, 2012, a group of soldiers is shown as they light up for a photograph. However, it is clear because of the use of color and composition that there is a small amount of chaos within the group as well as elements of injury and illness. This is not a painting of the military, but a painting of the men who work as soldiers.

Jules de Balincourt is a French painter who is both colorful and stylized in his work, but with the ability to create historical and cultural narratives that comment on current historic events. In born in 1972, he moved from Paris to California when he was 10 years old and earned his BFA at the California College of arts and crafts in San Francisco. He went on to get his masters from Hunter College in New York, but his popularity began when Zach Feuer saw the work that de Balincourt was doing and offered him his own show in Chelsea. Many of his works are painted on board, which gives a more raw texture which enhances the bright colors of the images he uses. He is considered reflective of the work of Jasper Johns because of his pop culture images with themes based in Americana (Artnet, 2016)

Jules de Balincourt has been able to show his work throughout the world, including the Mori Art Museum in Tokyo Japan. He shows frequently in New York and has been accepted based on the playful nature of his work as well as the soulful commentary even as it comes to the garish display of rainbow colors. Through the use of distortion, he is able to create concepts that act as commentary while still maintaining accessibility to his audience (Artnet, 2016).

Off Base, 2012. Jules de Balincourt. Acylic on Board (Artnet, 2016).

Regional – 1900s

Diego Rivera was known as a Mexican muralist who explored regional themes concerning his Mexican heritage in the aftermath of the Mexican Revolution. Although he was well known for having a chaotic relationship with Freda Kahlo, he was also involved in Marxist politics that were helping to frame the next evolution of social construction within Mexico during the revolution. The work that he did was not limited to his Mexican heritage. He also did a series of paintings for Detroit which were regionally relevant. This work was funded by the Ford Company which likely wanted to capitalize on the fame he had created through the work he did related to the images of Mexico.

Between 1929 in 1935 Rivera was involved in a mural that was intended to tell story of the ancestry of Mexican people from their roots to the modern period of time. The mural provided an opportunity for national pride to resume after the problems of war had passed. In his painting The Flower Carrier, (1935), he was able to make a commentary on the laborers work that he had witnessed within the region of his birth. The posture of the man in the picture is bent against the overwhelming weight of the flowers that he carries. To the use of bold contrasts an intense color, he is able to create a powerful image, but is softened by the rounded geometric shapes that create the bodies and the natural elements. The strap around the shoulders of the man carries the weight, which is actively portrayed within the painting. There is some belief that “the enormous basket strapped to the man’s back is representative of the encumbrances of an untrained worker in a modern, capitalistic world” (Diego Rivera, 2016).

The painting is clearly related to a specific locationwhich is symbolized by the clothing and style of the painting. However, the symbolism can be translated across cultures even as it addresses specific problems related to Mexican labor and culture.

The Flower Carrier (Cargodor de Flores), 1935. Diego Rivera. Oil on Canvas (Diegao Rivera, 2016).

Economic – 1800s

The 19th century photographer John Thomson captured images that reflected realism that was going on in painting, while also being able to make a commentary on current events. In his work The Crawlers, 1876-1877 he is commenting on the Crawlers of St. Giles who were typically older women who were living in poverty due to the vices they had indulged in early in life. They were considered women who were destroyed, their poverty overwhelming every other aspect of their life and leaving them without “even the energy to beg” (Thomson & Smith, 1994, p. 108). The photograph is very explicit in describing the nature and state of the woman’s life, leaving no doubt in the viewer that she is in despair.

The use of shadow and light provide a sense of place and time for this photograph. Although the photograph is lit well enough to be able to see every detail, the composition is still set in a very dark, dismal place where the decay of urban life is very accessible. The contrast between a woman who was older and at the end of her hope while she holds a child who is only just beginning in the same atmosphere creates a sense of deep despair in which the state of poverty is continued from one generation to the next. The economic status of this woman is clearly defined in her posture as well as her surroundings, and the hope of the child being able to overcome this same fate does not seem to be available.

This commentary on the state of poverty and the nature of hopelessness and despair suggests that action should be taken. However, the viewer become so entrenched in that despair that there seems to be no hope. As the woman leans against the edge of the wall, she seems weary and there does not seem to be any way in which to change the fate of the child either. This commentary on poverty is a part of the realistic view that Thomson took in his photography.

The Crawlers, 1876-1877. John Thomson. Photography. (Wikipedia, 2016)

Technological – 1700s

Although it would be easy to look to the Industrial Revolution, or even the 20th or 21st century to find paintings of a technological nature, this painting by Marie Christine, the sister of Marie Antoinette, shows her using a spinning wheel that is intricately re-created so that the technology of the tool can be understood by the viewer. This is a self-portrait that was painted by the sister of the famous queen, who was an archduchess herself. The interesting thing about portrait is that she shows herself in clothing that is more common. She is at work, rather than indulging in the aristocratic heritage that placed her in a high position within the court. Rather than portray herself in leisure, she portrayed herself working, wearing an apron over her dress which is actually rather modest for the day (Weber, 2007).

This provides an interesting context for the way in which technology is portrayed during this time. This would have been painted during the Enlightenment, a time when the medieval structures of society were passing and new ideas about the importance of individuals was beginning to emerge. Within two decades, France would be completely revolutionized in terms of their political culture. Meanwhile, the use of tools and technology as a means of furthering economic goals became an important part of the cultural belief system. Continuing urbanization as well as the beginning of industrialization was supporting capitalism and the new merchant class. Therefore, the archduchess doing a self-portrait of project that used technology and placed her outside of the aristocratic indulgences seems appropriate in terms of the environment in which it was painted. Even though the time period also was one in which there were a great deal of extravagances, this painting is an indication that the development of technologies related to work were becoming a part of the lives of everyone. Even the aristocrats were understanding the importance of technology and tools in terms of modern life.

Archduchess Maria Christine, Self Portrait, 1765. Oil on Canvas (Wikipedia, 2016)

Religious – 1400s

During the Renaissance some of the most expressive religious paintings could be found in Italian patronage of artists for the purpose of spreading religious passion through the use of art. Leonardo da Vinci began his education as a painter under the Florentine master Andrea del Verrocchio who was primarily given patronage by Lorenzo and Piero de Medici. Many of the works that were commissioned during this time period were intended to extend the reach of the power of the church through overwhelming works of art. The intense beauty of the painting was could provide an emotional boost to the message that was being sent from the leaders of the Catholic Church, and the work of da Vinci was very powerful for this purpose (Nuland, 2005).

Although primarily a painter, Leonardo da Vinci was interested in a wide range of different subjects which led some to consider him the ultimate example of the Renaissance spirit. He was interested in everything from anatomy and botany, to creating designs for both submarines and helicopters. One of his most popular paintings is the Mona Lisa (1503-1517) which has been adapted to countless pop-culture images and therefore has lasted throughout time is an important and influential piece of art in Western culture. However, one of his earlier works is highly representative of religious art of the 15th century. Vergine delle Rocce (1483-1486) is one of the most expressive, realistic, and important religious paintings in history. There are two versions of this painting, with one in the Louvre in Paris and the other in the National Gallery in London. The painting is quite large, measuring over 6 feet high and both were originally painted on wood. However, the painting that currently sits in the loop was transferred to campus.

One of the most important aspects of this painting is the use of sfumato. This technique was a favorite of da Vinci and eventually was referred to as “Leonardo’s smoke”, which referred to the use of subtle shading and should of atmospheric light into shadow.

Vergine delle Rocce (Louvre), Leonardo da Vinci, 1483-1486. Oil on Canvas (Wikipedia, 2016)

Ethnic

Ethnic paintings relate directly to a population subgroup in which common traditions and belief systems have an influence on the themes within the art. Egyptian art that has been discovered through archaeological exploration and falls 1000 years before the common era can be seen for the way in which it portrays many of the aspects of the Egyptian culture. The limestone bust of Nefertiti was found in 1912 by an archaeologist from Germany named Ludvig Borschardt in a place that was not far from Tell el –Amarna. It was found in a workshop that was attributed to an ancient sculptor by the name of Thutmose, and it was then smuggled out of Egypt and placed in a Berlin museum. The best is dated at approximately 1345 BCE and the work is attributed to Thutmose (Kidder & Oppenheimer, 2006).

The Bust of Nefertiti is a portrayal of an incredibly beautiful woman. The name Nefertiti means “the beautiful one is come” (Kidder & Oppenheimer, 2006, p. 10). The sculpture is almost perfect, despite being over 3500 years old. There is some chipping on the earlobes, along with an unfinished eye, but for the most part she is perfect. She even appears to retain some of the paint that would been used on most sculptures during the time. She is representative of the time during which the Pharaoh Akhenaton ruled. She would have been his wife, and together they had worked to remake society so that the sun god Aten would be served. From the delicacy of her features to the manner of her headdress, she represents the ethnicity of the Egyptians during a time when a very specific cultural shift was been attempted. Akhenaton and his court were not successful, however. Therefore, the culture that is represented by this bust is also one that is unrealized. There is speculation that her personal heritage may have been different, but she represents Egyptian aesthetic.

Bust of Nefertiti, 1345 BCE. Limestone (Wikipedia, 2016)

Gender – 200 AD

An important part of the ideal of Greek sculpture was the concept of androgyny. The concept is to have gender ambiguity, in which both sides of gender, the male and female, are represented. There is a certain amount of uncertainty about the gender of the subjects. According to Camille Paglia, a feminist writer who examined the issue of androgyny, said that “the mixing of masculine and feminine characteristics… An androgynous person does not fit cleanly into the typical masculine and feminine gender identities of their society” (Verso, 2009). What occurs when androgyny is used in artistic expression is the end result of the cancellation of male concentration. In other words, the focus on the dominance of the male gender is obscured by the mixing of both the male and the female.

This piece of sculpture was likely an Italian creation, but may have been copied off of the Greek original. The concept of androgyny was a part of the Greek ideal, utilizing strong draw lines on female characters as well as soft features on males. Mixing the genders created a certain amount of freedom in terms of identification. In this sculpture of Dionysus, the very feminine face is placed on a nude body of what could be a very young man. Dionysus is a God of pleasure. The use of an androgynous figure suggests that he is neither male nor female, and yet he is both. Therefore, he is the example of all pleasures rather than just focused on either the male or female.

This sculpture is dated 200 A.D., and was found in Italy. In the 18th century, the arms and legs were restored so that he would be whole, but his origins have been dated much earlier of course. There is no known sculptor, and therefore he is one of many pieces of sculpture that have yet to be identified or given a place of origin.

Sculpture of Dionysus, 200 AD. Unknown. Marble (Wikipedia, 2016)

Generational – 37,000 BCE

Found in a cave on the Indonesian island of Sulawesi, this cave painting has changed ideas about the origins of art. This painting was found in Indonesia, and has some of the oldest paintings that have been dated thus far. Artists created the outlines of hands by blowing paint around hands to create an outline. The cave also has figures of humans and pictures of wild animals of the type that are only found on the island, as the oldest paintings are 40,000 while the most recent are 27,000 years old (Ghosh, 2014). However, what is interesting to note is that the size of the hands so that both adults and children were used to create the artwork. Just looking at the picture provides an idea that this piece of artwork was created through both interaction between adults and children, meaning that this was a generational activity.

Is this painting has significance in terms of showing how very old the concept of painting has been in human experience, it also shows that artwork belongs to no specific generation. The outlines of the hands show that specific individuals participated, and because of the size of these hands it is reasonable to suggest that not all of these individuals were adults. Therefore, the activity of painting needs painting can be considered generational in the sense that it involved adults of various ages as well as children. Of course, there is no way to really know what was being commemorated by outlining hands. If nothing else, it is a commentary on existence. Outlining a hand is unique format of identification, which basically states “I was here”. The participation of multiple generations shows that this was an act of continuation. Because these paintings evolved over 13,000 years, that act of generating existence was perpetuated through many generations contributed to the paintings.

Cave Painting, 37,000 BCE. Unknown. Paint on stone (Ghosh, 2014)