About My Museum - My Museum gives an inside on "The Many Lives of Western Post Renaissance Art". During this period there was a large amount of increased exploration, scientific advancements, growing religious tensions due to Protestant Reformation, and intellectual thoughts flourishing. My Museum gives an inside look at the different art styles that were brought to life during this period of time, that sometimes were can still see around till today. There is also more freedom and change that is shown in the artwork, like change of expressions that subjects made and more movement. Movement and expression is - to me - able to give the artwork more personality, which was looked upon greatly around these times. With expression, they were very much used to being shown off with a serious personality and character, so the amount of smile and laughter and movement is captured a lot during the Western Post Renaissance Art period. Children and animals are also captured a lot as well during this time and given a lot of color and movement, rather than just the serious and common pose or angle that was done a lot.
Statement - There is art everywhere we go, so much inspiration captured, ideas created, motivation fueled. With my museum, I wish for visitors to not only see the different emotion that is shown in the art, but also be able to feel it. To be able to see it and be able to picture themselves with those emotions and what they mean. When you are able to feel a picture and the idea and thought process behind it, it definitely gives the artwork more meaning. Although my museum states it is on the "many lives", that does not only refer to a person. There is life in everything and I think when you shine a light on all, even the smallest of details, it gives even more life to the personality.
ROOM I. THE bright WORLD OF ROCOCO
This room is dedicated to showing the life of the style "Rococo". The term was first used by Jean Mondon in his "Premier Livre de forme rocquaille et cartel" (First book of Rococo Form and Setting) (1736), including illustrations that depicted the style used in architecture and interior design. The term derives from the French rocaille, which means "shell work, pebble-work," used to describe High Renaissance fountains or garden grottos that used seashells and pebbles, embedded in stucco, and created an elaborate decorative effect. Rococo art and architecture carried a strong detail and sense of theatricality and drama, influenced greatly by stage design. The theatric influence can be seen in artwork and objects, woven into various environments, creating fully immersive atmospheres. Detail-work was also included and had flourished during this period. Genre paintings, such as, works denoting outdoor pastimes, erotic paintings alive with a sense of whimsical hedonism, Arcadian landscapes, and the "celebrity" portraits that positioned ordinary people in the roles of notable historical or allegorical characters, were popular ways to represent the Rococo period's bold and joyous lust for life. This style had combines this aesthetic with themes of sensual love and nature and had quickly spread to the rest of France, Germany, Austria, England, and other European countries.
The Thanksgiving of Noah, Giovanni Battista Gaulli
The Toilet of Venus, Francois Boucher
Nature morte avec oiceux morts et cerises, Jean-Baptiste Oudry
The Lesson of Love, Antoine Watteau
The Thanksgiving of Noah (c.1700), Giovanni Battista Gaulli
(Form) - This painting is one of three versions in which Gaulli represented Noah's offering to God after the Flood. Gaulli created this scene of colorful and bright mountainous Italian landscape that recalls his native city, Genoa. He uses sculptural like treatment for the drapery and expressive use of color that's seen in the robes worn by Noah and his sons. Giovanni also demonstrates a study of anatomy in the bodies of Noah's three sons as they lead animals from the ark to the alter. In this scene, it shows Noah and his family at the alter they built for burnt sacrifices in thanksgiving to mark the survival after the great flood. Their expressions give the artwork that theatrical feel that the style Rococo carries, and with that theme of love and nature with bright and colorful use of colors all around.
The Toilet of Venus (1751), Francois Boucher
(Form) (Context) - Francois Boucher executed this painting for Madame de Pompadour, who was the powerful, official mistress of Louis XV and Boucher's most significant patron for nearly two decades. Boucher captures their depiction of the goddess of lover adorning herself with the help of putti encapsulates key features associated with this movement. The artwork includes different pieces such as overt theatricality, voluptuous flesh, and an asymmetrical inclusion of luxurious furniture, fabric, flowers, and pearls. This work was originally inserted into the carved and painted wood-panel walls of her Château de Bellevue, the construction of which prompted many commissions that had became a textbook example of Rococo art. The artwork uses that sensual love theme with although not bright colors, they are pastel which gives it that sweet feeling.
Nature morte avec oiseux morts et cerises (1712), Jean-Baptiste Oudry
(Form) - In this art, luminescent cherries are included to exude the vitality of life. Oudry applies a glow from the core of the cherries - possibly being interpreted as a celebration of life. If you look closely to the part of the cherries closest to the birds, they seem to be dying - possibly symbolizing a loss of spirit. To balance out the bright, light meaning of the cherries, Oudry places three dead birds - symbolizing the inevitability of every living creature's demise. The butterflies, wasps, and other different insects roaming around show a renowned short life-span a reminder of our own mortality. Although the scene not as joyful and loving as other work, it still contains a light theme, shining light all over and not in just one spot. The cherries are given that bright red color, and even the birds, not alive, still have those highlights on colors on them.
The lesson of love (1716), Antoine Watteau
(Form) (Context) - In this soft, light-hearted artwork, done by Jean-Antoine Watteau, he captures a gentle afternoon; filled with a cloudy blue sky. He captures light from the sun in the artwork, not harsh at all, but very softly and almost in pastel like colors. Three ladies in pastel colored dresses, around two gentlemen reading a letter, possibly a love letter considering the title of the artwork. This type of work is very common in Watteau's pieces. Watteau was considered the master of 'fetes galantes', and was born on the 10th of October 1684 in Valenciennes but had soon settled in Paris where he then painted genre scenes for rich bankers and dealers. Although, a great load of Watteau's work was similar to this, soft, sweet, and calm, it was to distract him of his reality. He lacked clients and had very fragile health, dying of consumption at the early age of 37 years young, just five years after the creation of this painting. Even with health opposite of his artwork, he painted the simple pleasures of life that was filled with no worries; where shepherds go hand-in-hand with their shepherdesses, sweet scents and colors, along with the vibrant music feel roaming around the artwork. With this in mind, there probably was a hint of sadness somewhere in the artwork but one would have to dissect it considering that he covered it with joy instead. He might've known the great pleasures of life we all love and hope for, but sadly he also knew the short lasting time we can be given.
ROOM II : A SPREAD OF THE STYLE BAROQUE
This room is dedicated to showing the life of the style "Baroque". The style disseminated throughout Europe, which was primarily led by the Pope in Rome and Catholic rulers in Italy, France, Spain, and the Flanders. It quickly spread to France, northern Italy, Spain, and Portugal, then to Austria and then southern Germany. Baroque had created images for religious worship back to the public world after it had been banned for it's glorification of the ethereal and ideal. Some of the defining characteristics of the style were: real or implied movement, an attempt to represent infinity, an emphasis on light and its effects, and focus on the theatrical. There were a variety of techniques that were introduced or developed by Baroque artists to be able to accomplish those effects. The style was able to be understood by those common people with the effect of encouraging awe for the church. Baroque churches had become a great and pivotal example of emphasis on the glory of Catholicism with designs that incorporated a large central space with a dome or cupola high overhead, that allowed light to illuminate space from below. Those domes had become a central symbolic feature of baroque architecture illustrating the union between the heavens and the earths.
A Church Interior, Frans Francken the Younger
The Laughing Youth, Annibale Carracci
The Ecstasy of Stacy Catherine, Agostine Carracci
Assumption of the Virgin, Guido Reni
A CHURCH INTERIOR, FRANS FRANCKEN THE YOUNGER
(Context) - Baroque architecture was often used for visual and theatrical effects and had been designed for the viewer to be in awe and shock. Inside the church would be characterized by dramatic, intricate sculptures, lavish decorations, rich paintings, and a huge emphasis on creating an emotional and surprise experience for many worshippers with use of opulent details and theatrical lighting casted from the outside. The interior was really designed to inspire devotion and actively engage sense rather than it just be a place for worship.
THE LAUGHING YOUTH (1583), ANNIBALE CARRACCI
(Context) (Form) - The Laughing Youth - a portrait - captures a young man in a moment of laughter and gives a glimpse into the artist's interest in caricature. The portrait of the young man, dressed in dark suit and light hat, in a sort-of awkward manner. The work stands against a yellow-ish background which is helpful for the viewer focus their attention on the mans face, whose keen, and realistic expression brought out with a sombre palette of colors. His smile is interesting consider the background information from past period times, where as though, any other expression that wasn't not a still-straight and serious face, was taken negatively. Having your portrait done, a face of seriousness showed your wealth as large and power as high, where as the young man's smile would depict him as poor and a drunk.
THE ECSTASY OF SAINT CATHERINE (1590), AGOSTINO CARRACCI
(Context) (Form) - The artwork, which depicts the moment when Saint Catherine of Siena experiences a divine vision and spiritual ecstasy. The work is seen being characterized by its dynamic compositions, use of dramatic lights and shadows, and the expressions captured the intensity of spiritual fervor, that reflects the core principles of Baroque art.The art is often interpreted as a reflection of the Counter-Reformation emphasis on personal piety and of direct experiences with God. Saint Catherine's intense expression on her face and pose can be seen as a deep emotional connection and devotion, which aligns with the Catholic Church's efforts to inspire father among its followers. It reflects the Baroque style of focusing on creating that immersive and emotional experience for views, drawing them into the moment of spiritual ecstasy.
ASSUMPTION OF THE VIRGIN (1580), GUIDO RENI
(Content) - The work of the Assumption of the Virgin, had become an outstanding addition to the early oeuvre of the artist and likely a small altarpiece for a private oratory. It had become a painting theme and a Catholic doctrine that became important in the 17th century after the Counter Reformation. The Catholic doctrine had stated that the Virgin Mary's body was physically moved into heaven after her death, although, many Catholics believed it happened after a normal death and others believe she was still alive during those events. The theme had become important, seen as representation of the relationship between heaven and earth. The meaning of the artwork was to be a sign of what Christ has accomplish, and that there is a guarantee of the resurrection of all faithful.
ROOM III. THE STYLE OF TENEBRISM ALL AROUND
This room is dedicated to showing the life of the style "Tenebrism". Tenebrism, derived from tenebroso, which is an Italian word meaning "dark, murky, gloomy", is used with dramatic contrasts between light and dark. Paintings with black areas and deep shadows were intensely illuminated, typically from a single light source. This style was more compositional, using deep darkness as a sort of negative space, while shining intense light in other areas creating what's known as "dramatic illumination". The style, usually indentified with Caravaggio because of his ability to have mastered the technique but also made its "spotlight" effect a great characteristic of his work, was also used earlier by artist Albrecht Durer and the Mannerist Tinotoretto and El Greco. The style term was often applied to the works of Jusepe de Fibera, Francisco Ribalta, and many other 17th century Spanish artists. It was also associated with the 17th century "candlelight tradition", which describes night scenes that were illuminated by a single candle which is seen in other artists work.
Narcissus, Caravaggio
Magdalena Ante El Sepulcro De Cristo, Francesco Ribalta
Sacrifice of Isaac, Caravaggio
Adoration of the Child, Gerard van Honthorst
Narcissus (c.1599), Caravaggio
(Content) - The life behind the artwork of Narcissus comes form Greco-roman mythology. Most popular version is from Ovid's Metamorphosis 3.5, which is where Caravaggio's interpretation is taken. As a young boy, Narcissus's mother had taken him to the blind prophet, Tiresias, to have his fortune told. It was predicted that "If he but fails to recognize himself, a long life he may have, beneath the sun." But, unfortunately for him, he recognized himself too soon, declining even multitudes of young ladies, but was to meet a worthy match for himself when he came across his own reflection in a pool. He ended up falling madly in love with himself. He stayed beside this reflection in vain, neglecting the need to eat or drink. In result, his death, but even then his body was transformed into a beautiful yellow follow, that still continues to carry his name. Caravaggio brings the events with a dark melancholy.
Magdalena Ante El Sepulcro De Cristo (c.1612), Francesco Ribalta
(Content) (Form) - On this artwork of "Magdalena Ante El Sepulcro De Cristo", Ribalta adapts the figure of the Magdalena, which seems to focus on her emotional state while visiting Jesus' tomb after his crucifixion. Portrayed with a distraught expression, it's meant to reflected the Gospel story of the resurerction. Ribalta is known for the dramatic effect and intensely emotional Baroque style, which in this piece can be seen with the exaggerated gestures and her facial features, giving off deep despair. This painting has been taken as a classic example of Magdalena in art, highlighting the expression of grief and pivotal moment of the resurrection.
Sacrifice of Isaac (c.1598), Caravaggio
(Content) - This piece, one of a few, created by Caravaggio, illustrates the Old Testament passage where God subjected Abraham to a test of obedience by giving him the orders of sacrificing his only son, Isaac. The moment is depicted, by Caravaggio, showing the crucial moment of this story and just as the old Abraham is about to sacrifice his son, he is then blocked by an angel sent by the Lord. "Do not lay your hand on the boy or do anything to him! For now I know that you fear God, seeing you have not withheld your son, your only son, from me" , is what God's messenger says to Abraham (Genesis XXII, v.12), as he points to ram to be sacrificed in place of his son.
Adoration of the Child (c.1620), Gerard van Honthorst
(Context) - In this art piece, Dutch painter Gerard Van Honthorst, captures the Virgin, two angels, and St. Joseph surrounding the newborn's body. A light spreading from the baby's body softens each feature, especially the Virgin (right side). St. Joseph can me seen leaning over and looking at the child with an expression of both joy and love. The angels just as joyful, staring into a gaze of the child, with blushed cheeks and soft curls giving a more natural and childlike face to them. All expression are very natural, and this can be because many painters often used their apprentices as models for their artwork.
ROOM IIII. LIFE DURING THE STYLE OF Orientalism
This room is dedicated to showing the life of the style "Orientalism". Orientalism disseminated and had reinforced a large range of stereotypes that were associated with Eastern cultures. It typically showed regards to a lack of 'civilized' behavior and showed differences in morality, sexual practices, and character of the inhabitants. There are many examples of Orientalist artwork being infused with colors like oranges, reds, and golds, as well as decorative details and partnered with the use of light and shadow to create that sense of dusty heat Westerners would tend to associate with the view of the Orient. One key genre of Orientalism is the harem picture. Male artist were denied access to actual seraglios and had to rely on their own imagination to depict opulent interiors and women, many who were Western in appearance. Orientalism also influenced architecture and design. Imagination was a key element in this Orientalist art pieces, and the work created during this style showed that artist were able to capture what they imagine and made it an imaginary reality.
Harem Scene with the Sultan, Jean Baptiste Vanmour
The Women of Algiers in their Apartment, Eugene Delacroix
Pelt Merchant of Cairo, Jean-Leon Gerome
Pasha Having His Mistress's Portrait Painted, Charles-Andre van Loo (Carle van Loo)
Pelt merchant of cairo (1869), jean-leon gerome
(Context) (Form) - In this piece, showing a young merchant sitting down in the streets of Cairo, while draped in a tiger pelt, with a helmet in his hands. The artwork gives a look into Gerome's fascination with textures, colors, and the narratives of foreign lands, blending that realism look with romanticized elements. Gerome often traveled around to North Africa and the Middle East, and would bring inspiration from those places for scenes that depicted exotic cultures through a Western lens. From the tiger felt symbolizing wealth and exoticism, to the stance showing confidence, to the colors chosen such as the warm vibrant orange right in center, Gerome shows his ability of attention to light and color, and even the surrounding atmosphere of where the artwork is inspired by.
The duke of morny's apartment (1831 - 1832), eugene delacroix
(Context) (Form) - In this piece, Delacroix gives us a look into his mastery in the use of color and light, and being able to define characteristics that embody the essence of Romanticism. The painting including very rich composition. We not only get to see a look into the social status with the use of the objects placed in the setting but also an idea of the period in time in which the work is set, a period of great transformation in French society. It shows us lot's of details to work with to create that sort of, idea on the subject, such as the chandeliers, furniture, and even the pieces on the wall, giving prop to Delacroix in his great attention to detail focus. The room filled with vibrant colors, even with the combination of warm and cool tones. Although we don't get any subjects included in the artwork, the setting in which he captures can give us a sense of how they subject may be like just by keeping in mind those details. Delacroix is known for being able to capture emotion and passion, but even in a piece like this, he still manages to give a sense of feeling to it.
the women of algiers in their apartment (1834), eugene delacroix
(Context) - In this piece, Delacroix uses his time in Morocco and a visit to a Muslim Harem. He had also toured Morocco with King Louis-Philippe's representative of the Sultan and had been refreshed by the culture and it's vast difference to the French. He saw brightly colored, flowing costumes, Arabs and the women they were with, and many horses that were very captivating to Delacroix and later included in other pieces of his artwork to reflect scenes of the Orient. Muslim Harem was also very guarded so it had been difficult to enter one. Delacroix was lucky to have met a man who owned a private harem and allowed for him to enter and stay for some time and even permission to paint several watercolor sketches. After his trip was over and his return home, Delacroix painted this piece to sort of depict the serenity and sacredness to the outside world.
harem scene with the sultan (1730), jean baptiste vanmour
(Content) - In this piece, it's supposed to refer to a fictional or historical take on a scene within a private spot of a Sultan, which is a Muslim ruler. In this private place is where he interacts with women, typically the women would either be wives and concubines. They spot was secluded and very highly controlled, often filled with luxury emphasis and showing off "power", to let the audience know the dynamic between the Sultan and the women that were under his authority. Only the Sultan, his guards, and the women were allowed access in this private domain. Due to the nature of harem, there were typically many depictions (lots in fiction), that showcased a sensual undertone.
Exit Message
And now, we have now came to an end of our journey through the museum of Western Post Renaissance Art. I hope you will leave this museum with a greater understanding and on a few of the styles of art that flourished during these times. Not only the styles, but those in the artwork, including even the smallest of details. There are so much going on in the world that we don't get to see the light in everything, but I hope that while taking a walk through this museum you were able to see and feel that light I wished to shine on the different artwork during this period of time.