Non-Western Art: Saudi Arabia

Wall painting by Fatimah Faye'e Alalmai, Saudi Arabia, 2016

         Al-Qatt Al-Asiri is an ancient art form in the Asiri, or southern region of Saudi Arabia that is still being practiced today. These murals can be found at the entrance of a home, or even throughout the living areas and are typically painted by females. Women in the Asiri region are traditionally responsible for plastering and painting their homes' walls, corridors, and ceilings. The complexity of the design as well as variations of paint colors can also show the status of wealth, with the more affluent families having access to richer colors and skilled, trained linework (KSA). With poorer homes decorated in basic straight, simple lines in red, green, yellow, and brown. (Wikipedia 1). The Women of the house invite family and friends to join and they pass their knowledge and skills from generation to generation.   It became quite competitive, with women in the same town trying to outdo one another with their skilled paintings. 

    Originally the paints were made from various materials found outside such as clay, grass, and flowers. Gypsum was used as a base. Brushes were created from goat hair. Now in modern times synthetic paints and brushes are used. Holidays or family gatherings are a time when the paintings are re-touched from fading or wear. It has since extended from interior walls to canvases, pottery, and various painted trinkets painted by women as a source of income. 

    Unfortunately, since these paintings are created by many women decorating their homes, the majority of the works accessed online are not credited. Fatimah Faye'e Alalmai, however, is a well-known artist and teacher of this specific art form and her training sessions have become very popular in the region. She trains students for 10 days per course and while it is traditionally done by women, men have also begun to learn the art as well. I really enjoy her designs, and her use of bold, happy colors. She plans out her designs, as you can see in the light pencil marks above, yet they still have a simple, freehand feel to them. The geometric shapes are inspired by the nature surrounding the area such as rocks, trees, and mountains. Repeating patterns are a key element in this style of art. 

Untitled wall paintings by Fatima Abou Gahas, Saudi Arabia, dates unkown.

    Another famous artist of the Asiri province was Fatima Abou Gahas. Fatima's mother painted the interior of their home and taught her daughter to paint as decoration, but Fatima became a widow with four young children and began to paint as a source of income. (wikipedia 2) This led her to become very well known, and she also taught this skill in workshops. Fatima did not use any guide or pre-planned designs. She said the therapeutic spontaneous painting allowed God to flow through her. I personally love the free-hand style and homemade feel to these designs. The repeating patterns and colors bring a sense of stability and comfort. The layers add to the stability, giving a sense of foundation to the works. 

    Luckily, Al-Qatt Al-Asiri is influencing other forms of art such as fashion design. Mamzi, a high-end clothing brand by Mariam Abdelghany has launched a modern line inspired by this traditional art. They keep with the traditional bold black outline and geometric shapes. The colors are natural, reflecting the traditional sources of paint pigments against the white gypsum.

Outfit designed by Maraim Abdelghany, Egypt, June 2021.

I have also included a short video I found quite informative and easy to watch with some great examples of modern Al-Qatt Al-Asiri:

Bibliography:

KSA's World Heritage List - Al-Qatt Al-Asiri (ksaforunesco.org)

Al-Qatt Al-Asiri - Wikipedia

Fatima Abou Gahas - Wikipedia

Al-Qatt Al-Asiri | Intangible Heritage - UNESCO Multimedia Archives

Post Modern Art: The Influence of Social Media

    When the topic of photo realism came up in this week's content, my mind immediately went to Dylan Eakin. I stumbled upon his art through the social media platform TikTok last year and was overwhelmed by his talent. He truly tricks the eye into thinking we are looking at photographs of people but works exclusively with charcoal. I started following his channel and greatly enjoyed listening to him talk about his work, and seeing his expressions made me feel an even deeper connection than when I just saw the pieces without commentary. I especially love the portrait of his father (second photo uploaded here) and the emotional connection he has to the drawing.

Nothing But A Foundation, by Dylan Eakin, 2022, New York

    This is a photo, right? Nope! Can you believe this is charcoal? The texture in the sweater sleeve and the way he draws it with the fabric loose and bunched adds to the realistic effect. The bold, imperfect lines of her tattoos and the shading within them are the opposite of what the artist himself is creating. The saturation and realness of her freckle placement are flawless. The lines he creates for the knuckles are a huge focus for me because I often hear artists struggle with drawing or painting hands.  I especially love the just out-of-focus backgrounds Eakin creates in his portraits, mimicking the focus of a camera lens. Raw emotion pours from this piece, and I can almost feel the subject's frustration and exhaustion. 

Sequences of Fantasy Violence, Frightening Images, and Brief Mild Language, Dylan Eakin, 2019, New York

    Again, Eakin keeps the subject at close range, further showing his incredible talent. The texture in his whiskers and the pores of his skin is so life-like that I have to stare at this piece to find areas that suggest it in fact is not a photograph. The pieces of this drawing that stand out to me the most are the bifocal lines in the glasses, as well as the clear nose pieces on his frames. Its little details such as those really deceive my mind. I enjoy the color or perhaps lack thereof with his charcoal drawings. I would love to see him work with color, but I feel the black and white hues add to the realness factor.

    TikTok struck again by introducing me to Fabiano Millani, a Brazilian artist who has, in my opinion, improved his art greatly in the past few years. His honey series made my jaw drop when I first saw the paintings. I included photos of Millani posing with his works, and it truly makes me laugh because he is the one that doesn't look real, almost as if he is photoshopped into the photo of the model. Millani now owns a studio where he teaches 60 students per month the techniques of hyper-realism. The majority of Millani's portraits are oil paint on canvas (Flynn).

Untitled Oil Painting, Fabiano Millani, May 2021, Brazil

    Texture is everything with the next two paintings. I especially love how the honey drapes over the brows and eyelashes, with highlights in all the right areas. I feel like I can reach out and touch the sticky substance through my screen. Brush strokes, where? Milani blends his strokes seamlessly giving that photoshopped feel to his painting. The value and tones definitely give a 3-dimensional shape to this painting, pushing the realism further.

Untitled Oil Painting on Canvas, Fabiano Millani, October 2020, Brazil

    Check out that color! The flesh tones are incredibly warm and true. The highlights of the eyeshadow give a metallic shine to the eyelids, and I think I'm looking at a photo in a magazine. I love the depth of the background, which at first glance is just black, but if you look closely there are hints of lighter color forming an ear. Again, the texture of the honey is extremely realistic with drips and a sticky overlay of the eyebrow hair and eyelashes.

     Social media is tailored to show you more. More of what you like, more subjects similar to what you already follow, newer artists. The algorithms work, and while part of that terrifies me, it also is extremely clever and beneficial. I love being able to open apps such as TikTok and Instagram and be shown new amazing artists daily. On the flip side of this, artists get to share their works with the entire world at just the press of a few buttons. "This is the first time the essentially bourgeois world of art has belonged to the people. We need to make it count,” (Magazine) the graffiti artist Banksy said, and he is completely right. No longer is the art world only being run by the elite, but people of all walks of life can showcase their work and find their way into exhibits that 100 years ago would be almost impossible. 

Photon Split, by Melanie Farris, June 2019, Austin, Texas

    Op Art is not something I usually gravitate to, however knowing this artist is working by hand and not digital art makes me appreciate it much more. This takes incredible patience and skill. I love the combination of warm colors against black and gray. The linework on this piece is so incredibly precise, and I really enjoy the crossing patterns. There's a beautiful balance here and I would love to own this painting.

Untitled Mural, by Melanie Farris, October 2020, Barbara Jordan Elementary School, Austin, Texas

    There's something inviting about the color sequence of rainbows. I think this was a perfect design for the entrance of a school, the arrow-like lines extending from the front doors, welcoming all who enter. The color really makes the black and gray portrait pop against the background. I enjoy the contrast of the portrait lines, soft and blended, with natural shadows and highlights against the solid color blocking lines.

    Artists like Melanie Farris of Austin, Texas are making their mark in the art world through social media outreach while also showcasing their artwork locally. Farris's Instagram page is flooded with her beautiful Op Art, from which she uses rulers and paint, and not digital media to produce her hypnotizing designs. Farris said she is a self-taught artist, using mostly YouTube videos to learn her skills (Art of Austin).  Farris's work has been in several exhibits including Art For The People gallery according to her Facebook page, where she writes " And I can’t stress this enough, art is meant to be seen IN PERSON- not on your phone!". I couldn't agree with her more. While social media is opening up huge doors for artists to showcase their work, and art lovers to find new styles they enjoy, I can't help but think it comes at a cost. Seeing artwork in person is such an emotional experience. Seeing the brush strokes, texture, size, and true colors can only happen when viewed in person. 

Overall, I believe social media platforms greatly benefit the art world. While it definitely has its drawbacks such as copyright issues, unwanted criticism of artists, and a sense of detachment from the pieces, the positive impact it has had on artists and art lovers cannot be argued. This is a new age in the art and technology worlds that seem to be growing harmoniously.

Bibligography:

Magazine, S., 2013. The Story Behind Banksy | Arts & Culture| Smithsonian Magazine

Flynn, E., 2021 Hyperrealism by Fabiano Millani - Magzoid - Luxury Magazine Leading the Creative Space of MENA Region | Art, Culture, Business, Industry Veterans, Fashion, Luxury, Lifestyle

2021 Melanie Farris - Art of Austin

Early Modern Art: The Influence of African Americans

     During the 1920-1930s New York City was exploding with culture and diversity. One of the more historic movements was the Harlem Renaissance, a resurgence of African American art, theatre, dance, and politics. Harlem was built with the intention of being an upper-class white neighborhood, however with rapid overdevelopment throughout Manhattan, a lot of the buildings sat empty (History). This prompted landlords to offer housing to middle-class black families, with some protest from the white residents. This however subsided as the white families moved out, and Harlem became the hub for African Americans in NYC.

    Louis Armstrong rocked the jazz scene in Harlem, while writers like Langston Hughes found themselves being published in mainstream magazines. While music, poetry, and novels were the foundation for this socio-economic influence, African American art also made a large impact that stretched far beyond the community of Harlem.

Black Belt by Archibald Motley, Chicago 1934.

    The reach of the Harlem Renaissance is seen in the painting Black Belt. This is a scene from Chicago nightlife, showing a bustling crowd on a lively street. There is a variety of characters in the painting from embraced lovers to an elderly man, a police officer, and even diners in a restaurant or club. Archibald Motley explained that he tried to paint black characters from memories of scenes he witnessed on the street (Black Artists). This painting was made to depict an area in Chicago known as Bronzeville which was a predominantly black community.

    The night-time scene is alive with color but doesn't depict strong details in the character's faces, leaving some to the imagination. We can however make out expressions on their faces such as a woman smiling next to a man, or the central figure looking burdened with his face cast down and hands in his pockets. I especially love the viewpoint here because it feels as though I myself am in this crowd, looking into the street and witnessing the life that seems to be radiating from the streets. The use of color to show light coming from the streetlights and headlights is especially lovely, as they even appear to illuminate a pedestrian's legs as she crosses the road. One part that throws me off a little is the lack of horizon from the street to the sky, and it seems as though one of the cars is driving off into the stars. It gives me the feeling that the rest of the world has melted away and nothing but this section of street matters in the moment, like this, is the center of the world. I would love to see this art piece hanging in a jazz club or similar setting, as it gives a romantic, lively feel when I look at it.

The Migration Series Panel 3, By Jacob Lawrence, New York, 1941

    Jacob Lawrence painted sixty panels in his Migration of the Negros series. The one I've shown here is panel number 3 out of that series. He worked on all sixty simultaneously and captioned each, titling them with only their number. Number three's caption reads: "From every Southern town migrants left by the hundreds to travel north" (The Art Story). Lawrence wanted to tell a story with his panels, so he did extensive research and even used eye-witness accounts to create his exhibit (The Art Story). The large migration of black families from the southern United States to the north happened from the 1910s-1970s, many settling in urban areas with large black communities such as Harlem (Archives).

    The painting shows a group of African Americans on a journey carrying their belongings, their bodies heavy, and some of their faces downcast and desperate. The figures however are grouped in a pyramid shape which depicts strength and unity among them. Birds can be seen flying overhead in the same direction as them, to show a sense of hope with freedom awaiting north. Lawrence used bold color blocks and straight lines on the figures, with the landscape and birds, and even the sky has a more curved design. I believe the brown, rolling hills are meant to be seen as the difficult journey they had to make. I appreciate the storytelling and meaning behind the project, but I will admit the art is not really my style. Still, I would love to view all of the panels collectively in an open-air art park.

Self Portrait by Malvin Gray Johnson, New York City, 1934

    Malvin G. Johnson was born in North Carolina but moved to New York City with his family, where he studied at the National Academy of Design (Illustration History). Johnson served in World War I, halting his education, however, he returned to the academy in 1923. Between 1925-1934 Johnson worked as an artist, participating in exhibits in the Waldorf-Astoria Hotel and even winning the Otto H. Khan prize from the Harmon Foundation (Illustration History). In 1934 he joined the Public Works of Art Project which paid a monthly stipend to artists as part of President Roosevelt's New Deal (Arts and Culture).

    Malvin Johnson's self-portrait is rich in color and dimension. He made himself the focal point, with an art easel at his side, and African masks just behind his shoulder, he shows the viewer he is confident in his identity as a black artist. The warm tones give an inviting feeling, as though he is saying "look into my life for a moment", further drawing the viewer in. The space has a distinct focus, but also gives a cramped feeling with his belongings so close together, as though his living space was small, showing the struggle of artists in large cities at the time. I quite enjoy how the brush strokes of his skin are blended, giving a soft texture to it and making it stand out against the background. I would love to see this painting and some of his other works such as "Brothers" in an exhibit in NYC.

Bibliography:

Harlem Renaissance - Definition, Artists & How It Started - HISTORY

Black Belt – Black Artists in the Museum (black-artists-in-the-museum.com)

Harlem Renaissance Art Overview | TheArtStory

The Great Migration (1910-1970) | National Archives

Self-Portrait - Malvin Gray Johnson — Google Arts & Culture

Romantic Era

 The Romantic Era had a burst of new art techniques, architectural design, sciences, and much more. The huge expansion of knowledge and land exploration greatly influenced new artists and gave rise to beautiful landscape paintings, realistic paintings, and photography. There are several styles of painting during the Romantic Era and I will be focusing on two types: one I enjoy, and one I'm less fond of. 

    The first type I'd like to explore is the Art Nouveau style. This "new art" was popular between 1890-1910 throughout Europe and the U.S. and was brought about as a sort of rebellion against the structured study of art at the time. Artists were expected to attend school and learn techniques to create symmetry and straight lines, whereas this new style was meant to flow from the artist in organic lines (Brittanica). This art wasn't just created in paintings, but can be found in architecture, glass, jewelry, interior design, and posters. I especially love the curvature of the architecture and interior design lines of windows and doorways. This style gives a whimsical feel to buildings and sets them apart from the traditional buildings of that time period.

    

Casa Batlló, designed by 1904-1906, Barcelona, Spain.

This is one of my favorite Art Nouveau buildings and it is a dream of mine to see it in person one day. Josep Batlló owned the building and almost had it demolished before Antoni Gaudí convinced him to keep it erect but change the design. Batlló gave Gaudí full creative freedom which resulted in a new facade, as well as interior (Casa Batlló).

    This building is full of color and light, its curves and exterior paint are greatly influenced by nature. Gaudí used recycled materials, stone, glass, and ceramics to build this marine-like masterpiece (Casa Batlló). On the main floor are slender bone-shaped columns. On the ascending floors, cast-iron balcony railings take the shape of masks. The roof, which you, unfortunately, cannot see in most full photos due to sheer size, is a bold, colorful array of scale-shaped tiles, curving like the waves of the sea. Antoni Gaudí never explained his work and didn't draw plans for his design. There are obvious marine and ocean influences, but ultimately interpretation is left to the viewer of this magnificent work of art. Some even compare the roof to the back of a dragon, rising to the sky. I, personally see the ocean influence with the scales, repeated use of blues and greens, and fluid-like windows with the exterior and interior surfaces being a sand-like texture and color. With Barcelona being a coastal city, I think his intention was to merge the land and sea, creating a playful blend of the two. Every design element of this building has an organic, natural influence which shows it's truly done in the Art Nouveau style. 

Zodiac by Alphonse Mucha, Paris, France 1896

    The graphic art designed by Alphonse Mucha has influenced many artists since the 1800s and even still influences the world of comic books today (Pop Culture and Comics). This piece is full of flowing scroll-like shapes, repeating patterns, and natural plants. There are obvious layers to this piece, but the subjects do not remain within their own frame, spilling out into the other layers like the hair stretching beyond its confinement. The warm colors and curved lines are comforting and pleasing to observe. The Art Nouveau color palette typically consists of muted blues, olive, and warm reds and browns as seen here (Indonesia Design). The bold outline of the woman's head, and frame around her give dimension to the art. A halo-like design around her head houses the zodiac signs. This particular graphic style initially made me think of tarot cards. I love the layered structure and eclectic design of this piece.

    Mucha was born in the Czech Republic but studied in Munich, Germany, and eventually moved to Paris, France where the streets were covered with posters, where he gained his inspiration (Vectornator). Mucha used the Art Nouveau aesthetics such as floral lines and sensual, natural forms. The expansion of sciences is clearly shown here with the zodiac signs and the heavy use of vines and fruit. This particular piece, Zodiac, was initially designed for a calendar, however, it was also used as a decorative panel and became his most popular poster (Alphonse Mucha). With the background information on this poster, I believe the intentions were to depict unity with the signs aligned together in one space and to inspire good intentions or good fortune with the ornate headpiece. 

    The second style of this period I would like to discuss is Romanticism. Contrary to its name, romance or the sense of love is not the theme of this style. Romance in the sense of glorification is what we see within the arts (Thought Co). Ideas, emotions, and sensations were the focus of these works, with spiritualism guiding the way. The goal of Romantic paintings was to evoke emotions and the two paintings I've chosen to spotlight are prime examples of this. 

The 3rd of May 1808, or "The Executions". Francisco Goya, Madrid, Spain 1814.

    This painting depicts a scene of Napoleon's soldiers executing patriots of Madrid by firing squad (Museo del Prado). The French soldiers have their backs to us, faces obscured, and posture purposed. The rebels facing us are in chaos. Some already lying dead on the ground, some covering their faces from the scene before them, and one man is the focal point with his arms in the air and despair on his face. The background is dark, suggesting the execution is being held at night, and the painter gives the illusion of light illuminating the rebels, which suggests they are the heroes or supported side of the fight. The one with arms raised is donned in white, representing purity or innocence and his arm's positioning is similar to the execution of Christ.

    The 3rd of May 1808 has been called the world's first modern painting (Smart History). Francisco Goya had previously been somewhat sympathetic to the French; however, this historic event brought about intense emotions and made a large impression on him (Smart History). Like a lot of Romantic-style paintings, this evokes strong negative emotions with its gruesome, bloody war scene. Though I do not enjoy the feelings brought about by it, I can appreciate the skill of the artist. The viewpoint draws your attention away from the antihero and forces you to see the massacre for what it was. The use of color to illuminate the patriots brings focus to them. The lines used to depict French soldiers are strong and intentional. Goya really brought the real atrocities of war to light by showing a massacre instead of a battle scene and inspired many artists with his work.

The Slave Ship by JMW Turner, England, 1840

    The final painting brings about intense emotions, further substantiating my distaste for Romantic-style paintings. This piece was inspired by the Zong Massacre in 1781, where a slave ship captain threw 133 slaves overboard in order to collect insurance money. The painting was initially titled “Slavers Throwing overboard the Dead and Dying—Typhoon coming on” (Joy of Museums). Turner's painting coincided with a meeting of the British Anti-Slavery Society in 1840. Slavery had already been abolished in England, but Abolitionist supporters wanted it to be banned worldwide.

    This scene is truly haunting, with a tumultuous sea, fire-like sunset, and a slave ship in the background. The truly horrifying image in this painting is the group of bodies and outstretched arms being pummeled by the waves. The blue and gray clouds to the left show a dark impending storm approaching. I look at this painting and all I see is suffering and despair, which I'm sure was the intention of the painter, as he wanted to speak out and bring attention to the inhumane treatment of the slaves.

    Turner was just 14 when he entered The Royal Academy of Art. He became known for his indistinct figures and watercolors. He really emphasized colors, as did most Romantic painters (Joy of Museums). His use of reds and oranges to create this fire in the sky sunset is truly breathtaking. The only straight lines found in the painting are those of the ship's masts, and there is no distinct horizon, further showing the chaos of the scene. The brush strokes are also rough, and not delicate, giving a sense of fast movement in the scene. Overall, he was very successful in his attempt to elicit emotions and even displayed a poem he wrote next to this painting: 

“Aloft all hands, strike the top-masts and belay;

Yon angry setting sun and fierce-edged clouds

Declare the Typhon’s coming.

Before it sweeps your decks, throw overboard

The dead and dying – ne’er heed their chains

Hope, Hope, fallacious Hope!

Where is thy market now?”

    

Bibliography:

Art Nouveau | History, Characteristics, Artists, & Facts | Britannica

The history of Casa Batlló | Casa Batlló (casabatllo.es)

Art Nouveau Movement (1890-1910), Explained (indonesiadesign.com)

Alphonse Mucha and the History of Art Nouveau (vectornator.io)

Zodiac by Alphonse Mucha

Romanticism in Art History From 1800-1880 (thoughtco.com)

The 3rd of May 1808 in Madrid, or “The Executions” - The Collection - Museo Nacional del Prado (museodelprado.es)

Francisco Goya, The Third of May, 1808 – Smarthistory

"The Slave Ship" by J. M. W. Turner – Joy of Museums Virtual Tours

Classical Era: Revolution and Art in the 1700s

    During the 1700s both the French and English countries went through revolutions. The drastic changes made during this period greatly influenced the art being produced at the time. Artistically and commercially, America was isolated for a long period due to the Revolution. There was little artwork created as the battles raged, and artists left to study abroad. Once Independence from Britain came, America, as a new country with a young generation, became very patriotic and their art demonstrated it.    

     Many paintings, illustrations, and other art reflected victorious battle scenes, and the building of a new, determined country. In addition to printed art, the patriotism flowed through the streets, as well as inside homes with flags, bald eagles, and national seals being proudly displayed (Met Museum). Neoclassical designs also started to make an appearance in architecture, giving rise to the "antique" cabinetry we still see in America today (Met Museum). The three pieces of art I've chosen for this blog are related to the American Revolution, specifically in the New York, New Jersey, and Pennsylvania areas where many of the historical events took place. 

Penn's Treaty with the Indians, Benjamin West 1771-72. 

    Penn's Treaty, sometimes known as the Treaty of Shackamaxon was signed in 1682. This was a treaty between William Penn, founder of Pennsylvania, and Tamanend of the Lenape tribe (History101). William Penn was a Quaker who wanted to settle on native land but still treat them respectfully and share the land use. This idea soon faded as colonists became greedy and ownership of land was a very divided topic. The role of Native Americans was crucial to the colonies and even changed the way wars were fought, as the Native Americans taught the colonists new tactics in small battles. A fact I found surprising was that most of the Native Americans that chose to participate in the revolution, fought on the side of the Crown (Battlefields). The British wanted to restrict land settlements, while settlers wanted to continue to expand, encroaching on Native Territories. 

    This piece by Benjamin West shows a peaceful scene along the Delaware River, with discussions between Penn and the Lenape. In the background, you can see new settlements being constructed, as well as teepee-like structures to the right, suggesting the sharing of land and harmonious coexistence. The colonists are seen presenting gifts of fabric, while the natives have laid their weapons down. There are several characters in the painting with open arms, also suggesting a welcoming feel. While I do enjoy the warmness of this piece, I do not think I would own it.

    The painting was commissioned by Thomas Penn, the son of William Penn. West was also a Quaker and used a neoclassical style for this piece to suggest harmony (Pafa). West was born in Pennsylvania but eventually moved to London where he was appointed official history painter by King George III. Benjamin West never returned to the colonies, but he claimed he learned color mixing from the Native Americans which I find very interesting.

Vue de la Nouvelle Yorck, Balthasar Friedrich Leizelt, 1775

    The German artist Balthasar Friedrich Leizelt created this engraving of New York Harbor in 1775. I felt this is an important piece of art for the period as it shows merchants and trade ships in the harbor which were responsible for a very large portion of the goods coming to the colonies. In August of 1776, British forces invaded Manhattan Island and defeated George Washington's troops. This led to the British occupying New York City for seven years (Mount Vernon). 

    I have found several renditions of this artwork, with varying color combinations which I can only assume is due to it being printed by different presses. Red seems to be a very prominent color in all of them however, I have been unsuccessful in finding the reasoning behind this since the scene was before the invasion of the British. Perhaps it was simply used to draw attention to multiple points of view as it has been used throughout the history of art, though this is just a guess.

    The scene shows a busy harbor, alive with men and women in rowboats, construction on a large trade ship, and even horses loading goods. This was a very important port to control during the war, as it was one of the largest ports in the colonies. New York City became the central base for British troops during the revolution, which led to thousands of soldiers and Loyalists flooding the city. Unfortunately, this ultimately led to overcrowding and hunger, causing British forces to house captured rebels in prison ships in the harbor (Bowery Boys History).

    Since this work of art was created before the invasion, it does not elicit feelings of overcrowding and hunger, but instead shows how New York City was thriving with commerce in the early 1700s. It is inspiring as it shows men hard at work, building up a great city. I would not own a copy of this piece, but since it is an engraving and not a painting, I would very much like to see it in person in a museum in New York,

George Washington at the Battle of Princeton, Charles Wilson Peale, 1779-1781. Painted in Philadelphia, PA

    Another Pennsylvania artist, Charles Wilson Peale created this painting for the State of Pennsylvania to commemorate the victories of the Continental Army in New Jersey. The Battles of Princeton and Trenton were turning points in the war (Reenact Mag). George Washington and his troops crossed the Delaware River on Christmas 1776. They defeated British troops at Trenton the following day, then a week later on January 3rd won the Battle of Princeton (History). These battles were in response to the British force's attack in Manhattan in November 1776, taking 2,000 Continental soldiers prisoner. The battles were a great accomplishment, showing Washington could unite soldiers from different colonies to fight the war (History). 

    The State of Pennsylvania commissioned this piece, thinking it would inspire young men to "do what is right for the nation" and prompt positive social change (Reenact Mag). They were right in their thinking, as the painting's popularity created the demand for many replicas, and copies were sold across the colonies. 

    George Washington stands tall as the focal point of the painting. The American flag soars above his head to the right, with flags from the British forces bundled at his feet. In the background, you can see British troops being taken prisoner and led off the battlefield (Yale Art Gallery). Washington is portrayed as relaxed, yet stoic in demeanor with his hand placed upon the British general's canon. I especially enjoy the fact that despite just engaging in battle, General Washington is neatly put together. Would I own a copy of this painting? Probably not, but I do appreciate the history behind it.

Bibliography:

Treaty of Penn with Native Americans - NYC in 1771 (history101.nyc)

Roles of Native Americans during the Revolution | American Battlefield Trust (battlefields.org)

Benjamin West, "Penn's Treaty with the Indians" (1771-72) | PAFA - Pennsylvania Academy of the Fine Arts

British Occupation of New York City · George Washington's Mount Vernon

New York City during the Revolutionary War: Besieged and occupied by the British (1776-1783) - The Bowery Boys: New York City History (boweryboyshistory.com)

7 Paintings that Define the Revolutionary War - Re-enact: Lifestyle, History, War Stories, and Events for Re-enactment Enthusiasts (reenactmag.com)

Battles of Trenton and Princeton - Facts, Location & Importance - HISTORY

George Washington at the Battle of Princeton | Yale University Art Gallery

Baroque Analysis

The Laughing Violinist by Gerrit Van Honthorst 1624, the Netherlands (Sothebys).

    When searching for Renaissance art last week, I stumbled upon this painting by Honthorst. I smiled and my spirit lifted as soon as I saw it. I soon realized that it was in fact not a product of the Renaissance but made a mental note to use it for our Baroque assignment. The warmness of the subject's face, the dramatic expression, and the brightness in his eyes make an instant connection with the viewer. Since the Renaissance, music in art was associated with love, or sex (Jeeves) and that seems to play a big role in this particular piece. The gesture with his arms suggests something vulgar or sexual in nature, with his focus on an audience of his joke who is out of view in the portrait. 

     Honthorst was Dutch but traveled to Italy to study Caravaggio, who influenced his work quite drastically (Visual Art Corks 1). He also used the methods of his teacher, like illumination by portraying artificial light. They both used paint to show shadows and bring light into the scene to create a sense of realism. He was regarded as the artist who brought this new style of art to the Netherlands (Sothebys). Honthorst created genre paintings, and The Laughing Violinist is one of several in a series portraying emotional musicians. While searching for articles on the painting, it was often confused for another more popular painting of his titled The Happy Violinist. The thing I like most about this particular piece of the series (The Laughing Violinist) is that you can almost hear his laughter, and I giggle at trying to guess what he's suggesting. 

    Baroque artists were controversial throughout Europe, especially in Italy. In 1517 the Protestant Reformation began with Martin Luther nailing the 95-point manifesto on the door of the All Saints Church in Germany (Visual Art Corks 2). This eventually led to the Catholics forming the Council of Trent in 1545. This emphasized the differences between Protestant and Catholic art. Protestant art often depicted common people in everyday scenes. They avoided large biblical scenes such as the crucifixion, images of saints, and paintings of the clergy, whereas Catholic artists frequently painted these scenes. Honthorst's genre paintings were exactly what the Catholics didn't want. 

    I really enjoy the dark values used in the background to give form to the subject. This plays perfectly with the lighter paints used to show light and shadows within the portrait. I also noticed a slight movement in the painting, with the sleeve of his undershirt poking up out of the top of his sleeve, and the wrinkles in the fabric near his elbow crease, suggesting he is moving his left arm up while pulling down with his right hand.

    I think my favorite element about this piece though is the color. The bold blue and bright gold really catch your eye and make the painting stand out. I think the dark background truly showcases the figure in the portrait, while the clothing color choices make him seem approachable (blue), yet excessive (gold). I would love to own a copy of this and would most likely put it in a dining or lounge area, keeping with the social feel.

Bibliography:

(#31) Gerrit van Honthorst (sothebys.com)

Gerrit van Honthorst: Genre-Painter, Utrecht School, Follower of Caravaggio (visual-arts-cork.com) 

The Serious and the Smirk: The Smile in Portraiture – The Public Domain Review (jeeves)

Protestant Reformation Art: Characteristics, History (visual-arts-cork.com)

Renaissance Art Analysis

Primavera by Sandro Botticelli c.1480

    Sandro Botticelli created the painting titled Primavera between 1470 and 1480 in Italy, though the exact location is unclear (Wikipedia). Primavera is an Italian word meaning Spring, which becomes obvious as you scan the painting, noticing the various flowers and plant life in bloom. There are at least 138 species of flowers that have been identified in the painting (Uffizi). The painting has a mixture of  mythological creatures, as well as the goddess Venus in the center. 

When looking at the painting from right to left, you can see the progression of spring with the winds blowing in, and fruit appearing on the trees. There is also a strong depiction of fertility among the female figures with seemingly pregnant bellies. Zephyrus, the god of the west wind who is painted in blue tones, is embracing a Nymph named Chloris who then transforms into Flora, the goddess of spring (Uffizi).

Venus is dressed in a way suggesting marriage, with a modest hairstyle and attire.  Venus has in her company the Three Graces, Pleasure, Chastity, and Beauty who are holding hands and dressed in sheer clothing (Wide Walls 2020). One of the Graces is being shot at with an arrow by a blindfolded cupid. To the far left, we can see Mercury who is the messenger of the gods donning his winged sandals. He is also known as the god of May, while Venus is known as the goddess of April, further suggesting the progression of spring. 

This artwork was part of a collection found hung in the house of Lorenzo di Pierfrancesco de Medici who was a cousin of Lorenzo the Magnificent. This is not surprising, since it is rumored to have been a present for his wedding in 1482, though this has not been confirmed (Wikipedia). Historians link symbols in the artwork to the Medici family such as the orange groves which are found on the family crest, laurel trees, and flames on the clothing of Mercury and Venus which is a symbol of medicine.

The art now hangs in the Uffizi Gallery in Florence, Italy. While I do enjoy this painting and am intrigued by the mythology captured in it, I do not believe I would own a copy. I'd love to see it in person, hanging in a gallery since it is quite a large piece. I love the warm tones of the figures and the soft flow of fabrics. The dark contrasting background keeps your eyes focused on the details of the figures and gives dimension to the piece. Primavera is truly a Renaissance work of art with its characteristics of being privately owned, having a non-religious theme, the depth of the painting, and a depiction of the rebirth of naturalism.

  

Bibliography:

Wikipedia Primavera (Botticelli) - Wikipedia

The Uffizi Gallery Spring by Botticelli | Artworks | Uffizi Galleries

Wide Walls What You Need To Know About Botticelli’s Primavera | Widewalls