Final Reflection

Upon nearing the end of this class, I thought I'd write one last blog reflecting on the semester.

     I've found this class has really helped me appreciate and understand my favorite artists from other classes I've taken previously. Although I knew my favorite Baroque and Romantic artists took strong influence and often quoted the Renaissance masters, this class has really helped me to understand the meaning and significance of these imitations.
     It's been incredible to consider the sheer intelligence and creativity of Michelangelo, Raphael, and Leonardo. For me, they were the most interesting. Studying their masterpieces makes me want to go back to Italy as soon as possible so I can observe their work with deepened appreciation.
     As a few of you might already know, I'm a film major and my area of interest is set design. Taking art history courses really broadens my visual vocabulary and helps me to assimilate ideas for different productions. This class is no exception I did a set for a play this semester and I was really struggling with the arrangement of the furniture. I needed the space to be able to retain a sense of chaos within a structure of stability. I remembered Leonardo's Adoration of the Magi and decided a circle inscribed within a triangle was the way to go.  I can't wait to incorporate a weird mannerist color scheme into a design someday. I just need the right opportunity to come along.
     Reading everyones blogs and having discussions in class has truly been enjoyable for me and given me plenty of inspiration and ideas so thank you! Good luck on the test and Happy Holidays everybody!

The Choice between Virtue and Vice-Veronese

     This piece by Veronese was part of the same aforementioned series by Veronese commissioned by Rudolf II, the Holy Roman Emperor.
     The painting shows a man struggling between allegorical personifications of Virtue and Vice. Virtue, on the left, is seated atop a worldly bust amongst statue. The art she is surrounded by represents a sense of civilization and order. The entablature engraved on the structure says, " Honor and Virtue flourish after death. Vice, is marked by a treacherous landscape at her command. She aggressively pulls at the man's garments and rips his tights at the bottom.
     I think this is a relatable subject for us as we get through finals week. As the temptations of winter break approach, academics, order, and moderation must be kept in check.

Wisdom and Strength- Veronese

     This painting was made under the same commission as Venus and Mars for the Holy Roman Emperor Rudolf II of Prague. It has switched owners many times since its creation. Since its' creation in Venice in 1576, it went to Prague where it remained until 1612. The piece was then looted by Queen Christina's army and taken to Sweden where it remained from 1649-1654. The painting traveled through Brussels on its way to Rome where it was owned by 3 different owners ending with a Cardinal. In 1721 the painting made its way to Paris until 1780,  only to make it back to Brussels in 1791 and return to Paris in 1792. The piece remained in (or just outside of) London until 1911when it was transported to New York City. In 1912 Wisdom and Strength by Paolo Veronese was obtained by Henry Clay Frick. It resides today in New York City as part of this collection. Pretty "Frickin" awesome.

     I find it incredible that a piece that has endured so much political turmoil has persevered in the condition it has and that its ownership is so well accounted for. It is somewhat inspiring to think that through all the worldly conflict since 1576, an appreciation of beauty and the arts has always been upheld by someone, somewhere and because of that, we are able to enjoy and account for masterpieces like this.

     The painting is of a woman, the personification of wisdom,  adorned in delicate pink and light blue drapery looking upwards towards the heavens as Hercules, the epitome of strength admires her. He is humbled in her presence and even slumps to draw attention away from his physical perfection, so as to emphasize the superiority of wisdom.

     The contract Veronese obeyed has been lost, but one can assume these pieces represented virtues the Holy Roman Emperor would strive to uphold.

     This piece is a reminder to not be seduced by vanity or excess in any form, for wisdom is always of more value.

     Veronese rendered this masterpiece with the same painterly opulence he is known for. While the extravagance and attention to material detail would not be considered appropriate for Christian subject matter, it was acceptable in the depiction of pagan subjects.

     Unlike previous pieces I've highlighted on this blog, this painting doesn't feature a multitude of figures. The three figures we are given, however, are extraordinary. The light cascades down wisdom, highlighting every luminous detail of her complexion and dress. The chiaroscuro Hercules emerges from is rich and beastly as he also seems to emerge from a crude taxidermy fur. The sky is typical of Veronese. It is impossibly colorful as it plays into a lush and beautiful landscape. This piece is truly a wonder. I can only imagine the effect it must have in person.

Peter Watson, Wisdom and Strength, (New York: Doubleday Dell Publishing Group, 1989).

Venus and Mars- Veronese

     This piece is part of a series of seven paintings commissioned by Emperor Rudolf II of Prague. The pieces were executed between 1576 and 1584. All of the pieces are allegorical and mythological in nature. It is suspected that Rudolf II was mentally ill and possibly schizophrenic. This may be the cause of the series' seemingly obsessive interest in sexuality, but I'm not personally convinced that mental illness is necessarily the reason for a man's interest in female nudity and sensuality.

     I found this piece initially interesting due to the strange pose of Venus and the gentle rendering of Mars. Mars is the God of war and due to his universal cruelty, is hated by all. The exception to his cruelty can be found in Venus, who he falls in love with. He isn't a popular subject in art with the exception of sometimes being depicted as a war enthusiast who is tamed by love.

     Homer was the fist to write about the adultery between Mars and Venus. Mars was promptly punished by a jealous husband. In the renaissance this became a popular subject for allegorists. The simple anecdote was used to express the moral of love conquering even the most brutal man.

     Cupid joins the two in a knot of love. Mars is made docile by this bond. 

     I find the color scheme of this piece to be memorizing. It seems to achieve coolness and warmth simultaneously. I can't decide which one is dominate. 

Peter Watson, Wisdom and Strength, (New York: Doubleday Dell Publishing Group, 1989).

Apotheosis of Venice 1585

     This piece is located in on the ceiling of the Hall of The Great Council in the Doge's Palace. It was a public commission featuring the allegorical female figure of Venice being crowned by two victories. Around her, sit other allegories. This piece is noteworthy because it's use of light and space is an indicator of the baroque period to come.
     The allegory of Vencie is also the Virgin Mary. She is portrayed in the clouds as a means to show her victory over the pope and city states and her residence in Heaven. The Rape of Europa is depicted on the lower level. To elaborate, the story is as follows: Zues was in love with Europa. He disguised himself as a bull in Europa's father's field and as Europa went to ride the bull, he swam to the island of Crete and she became the first queen of the island. In Veronese's painting, this is a metaphor for the preservation of the arts.
     Upon studying this painting, I find it mesmerizing. Every time I glance at it, I notice a new figure or interesting detail.  The vivacious animals, colorful skies, and variation of figures are all typical of Veronese as I have explained in previous entries. This may be my favorite piece thus far by Veronese due to the likeness it has to Baroque painting. It is obvious that Veronese has a specific command of dramatic colors to cause his figures to simultaneously complement and diverge from one another. It's essential separation in to three registers eludes to organization, without being too obvious in a classical manor.
     As many others have noted before myself, it is hard to identify the focal point  in many Veronese pieces. Without reading up, I would never have taken allegory or even the mythological story from this. Admittedly, I still struggle to make sense of the bottom scene. When I look at the piece, I see above all else, a multitude of complementary color palettes and plentiful  intriguing figures.

Discussion 7

     I always enjoy discussions on what is widely held as high and low art. It is truly an interesting topic of discussion. It seems to me that ideas of high and low art are obviously subject to variation in individual taste, yet art history seems to try, desperately, to define what is worthy of high praise and what is not worthy of scholarly approval.
     It seems to me, that in the world of art history, everything that is a departure from classicism before the 19th century is considered a digression from what is true, beautiful, and worth high praise. Antiquity always seems to be what artists and scholars alike come back to over and over again. Although I can recognize and appreciate what the ancients did as incredible, beautiful and true in their own rite, I believe that variations from antiquity such as Mannerism are an evolution.
     Mannerism departs from classicism by glorifying color, putting figures in various positions, and departing from anatomical accuracy. This all contributes to the idea of art for arts' sake. This is an important issue to my research project because Veronese was often accused of digressing from the spirituality of his subjects.
     Mannerism offers us a unique approach at anatomy. While artist's incorporated all the knowledge of antiquity, they also invented their own mode of artistic and spiritual expression that should be valued as an artistic evolution subsequent to antiquity rather than a problematic digression from accuracy.