Artemisia Gentileschi

Baroque female artist Artemisia Gentileschi painted strong Biblical women during the 17th century in Italy. Despite discrimination and sexual violence that she faced during her time, she managed to be successful for her day as a artist.  In the 1970's, feminist scholars rediscovered her work and brought her pieces to light which are now widely reproduced. These pieces include "Judith Beheading Holofernes" and "Susanna and the Elders."

Self Portrait of Gentileshi

A painter's daughter, Gentileshi was trained in her father's workshop due to the refused admission to the art academy because she was a woman. Her father saw great potential in his daughter and had private lessons given to her. Tassi, her private teacher, would later deflower her (around age 17-19) and promised to marry her. Once her father learned of this, he brought Tassi to trail for rape, and although he was convicted, he received a suspended sentence (1612).

"Judith Beheading Holofernes"

During this trail, her name was ultimately ruined and she was ultimately married off quietly and moved to Florence, where she became the first woman accepted into the Accadmia delle Arti del Disegno (Academy of the Arts of Drawing). Success followed her here, her career producing many paintings of powerful women from Christianity, history and mythology. She worked in many Italian cities and even painted in England for a time.

"Susanna and the Elders"

It is believed that Gentileshi used art to express her anger from the trial. "Judith Beheading Holofernes," shows a beautiful Israeli woman cutting off the head of the invading general Holofernes. Her realistic and sometimes Caravaggio influenced style, shows dramatic contrasts between light and dark while offering a strong, female viewpoint, unlike anything of her time.

She is now considered the patron saint of women artist.

To learn more about the trails:

"Artemisia Gentileschi Biography." Bio.com. A&E Networks Television, 1996. Web. 15 Mar. 2014. <http://www.biography.com/people/artemisia-gentileschi-9308725>.

Gunnell, Barbara. "The Rape of Artemisia." The Independent. Independent Digital News and Media, 4 July 1993. Web. 12 Mar. 2014.

Yau, John. "10 Facts You May Not Know About Artemisia Gentileschi." Hyperallergic RSS. Hyperallergic RSS, 2009. Web. 17 Mar. 2014. <http://hyperallergic.com/75376/10-facts-you-may-not-know-about-artemisia-gentileschi/>.

Caravaggio's Style

Due to it's easily recognizable elements of realism, contrast of bold black and light, and the emphasis on co-extensive space, the Caravaggio style of painting became a pattern of painting which other artists soon followed.

Early still life with fruit (1517-1610)

Caravaggio's first know paintings were of still life and of nature. Often mistakes in proportion happened. In 1595, however, Cardinal del Monte welcomed Caravaggio into his court. Caravaggio took advantage of this connection and gained more influential commissions form Rome's wealthiest patrons. During this time, the artists made darker paintings filled with more characters in religious scenes.

The Inspiration of Saint Matthew

From 1600 to 1606, Caravaggio burst into the Roman art scene due to his first major commission: the decoration of the Contarelli Chapel. Despite his temper, problems with the law and increasing price tags, Caravaggio saw commissions pour in.

The Madonna with Child with St. Anne

After murdering in 1606, Caravaggio fled Rome. During this time, his paintings grew even darker, more grim, and unsettling.

Due to his intense level of realism, Caravaggio's work wasn't greatly appreciated by his peers. His attention to detail, from dirty fingernails to bruises upon sacred personages was not befitting for that time.

The Crucifixion of St. Peter

Caravaggio's style of painting did take off however. The dramatic method of contracting dark from light made many of his works very recognizable. The extension of action, or co-extensive space method, made the viewer a part of the scene. During his time and centuries after, Caravaggio's style was harshly criticized for their brute naturalism, overly dramatic effects, and less sophisticated techniques. However, Caravaggio's ability to depict religious scenes in a more human and approachable light could not be unappreciated during that time. Pilgrims of poor backgrounds could finally connect to religious beings in a way that otherwise, they couldn't before.

Helpful Links:
Khan. "Caravaggio Biography." Artble: The Home of Passionate Art Lovers. Khan Academy, 2013. Web. 10 Mar. 2014.

Khan. "Caravaggio's Deposition, or Entombment." -Smarthistory. Khan Academy, n.d. Web. 17 Mar. 2014. <http://smarthistory.khanacademy.org/caravaggio.html>.

"Still Life - Caravaggio (Michelangelo Merisi Da Caravaggio) - Gallery- Web Gallery of Art." Still Life with Fruit - Carvaggio (Michelangelo Merisi Da Caravaggio) - Gallery - Web Gallery of Art. All Art, 2014. Web. 10 Mar. 2014.

The Swing: France's Pursuit of Pleasure

After the death of King Louis XIV (1715), there was a great shift from the "Grand Manner" art form to the new Rococo. Versailles was abandoned by the aristocracy, who sought to regain their personal preference, ideals, and styles, which King Louis had controlled up until this point. The aristocracy moved to Paris and began living lives of complete luxury (for they controlled 90% of Frances wealth and governmental power) and often were involved in romantic intrigue instead of actual work.

This style of living is scene in "The Swing" by Fragonard (1767) quite easily. As with most Rococo paintings, there is an quick understanding of this work. The overall idea is that a young couple trick an elderly man to push the woman in a swing so that her lover (who hides in the bushes) can see up her skirt! This lack of seriousness, like Baroque paintings, caused most Enlightenment thinkers to condemn such paintings since it doesn't show human behavior at its most noble.

A viewer's eye is instantly drawn to the bright pink in the middle of the canvas at first glance. We see a woman, riding a swing, and completely engulfed in pastel pink lace, floral, and swirling fabric. Her stockings exposed, she flips a pick slipper into the air, expressing complete interest in the moment. She is being pushed by a elderly gentlemen, who is most likely completely innocent to the lover's plot, on her left side. Her eyes meet with her lover's, who hides in overgrown rose bushes. A little fence barely controls these roses where the man hides, but gives us a clue that he isn't supposed to be there.

Above the hiding man, a statue of a cupid quiets the viewer with a "hush" and his finger over his lips. Two cupids (under the woman's left arm) cuddle, but give a scowl upon their faces.

Perhaps the most interesting piece is the yapping dog, a sign of infidelity. Could the shadowed man, the one pushing the woman, really be the woman's husband? Is there about to be a romantic interest with the man in the bushes or has it already happened?

Overall, this Rococo piece is full of symbolism, not only expressing the ideals of the aristocracy during this period, but showing the illicit spontaneity and overabundance that would latter cause the French Revolution and the uprising of the rest of the country's people.

Helpful Links:

Duffy, Stephen et al., The Wallace Collection, London: Scala Publishers Ltd. 2011.

Harris, Beth. "Fragonard's The Swing." Rococo. Khan Academy, 2005. Web. 07 Mar. 2014.

"The Swing." Artable: The Home of Passinate Art Lovers. Artble, 2014. Web. 07 Mar. 2014.

Florals, Frills, and Lace: Rococo Fashion in France

 Rococo Fashioned Women: Notice pastels, floral patterns, and flowers 

Three things are needed to have fashion; a society with enough influence to carry out fashion ideals, information transferring abilities, and a need or desire for that fashionable item.

Beginning in the 18th century, France had a shift in culture known as the Enlightenment. This new ideal of valuing reason over authority caused new forms of art, culture, and fashion. Up to this point, Versailles was the hub of fashion information, but the Enlightenment caused Paris to become a culture center. Educated bourgeoisie gained influence and power during this time, so when new fashion arose, it not only affected the royals and aristocrats, but also middle and lower classes as well.

Madame Pompadour: Notice the full flowing skirt silhouette and powered white hair

One of the greatest figures in Rococo fashions was Louis XV's mistress Madame Pompadour. By adoring herself in pastel colors, floral patterns, and the light, happy styles which became Rococo, she made Rococo clothing fashionable for that time.

Marie Antoinette in "chemise a la reine" designed for her country house. The dress was designed for easy movement due to no corset and was based off the "chemise" or lady's underwear of the time. Pagoda sleeves based off of oriental designs were popular. 

Fashion designers gained influence during this era and fashion magazines emerged to capture the imagination (and money) of all classes with their colorful, hand painted illustrations. The new silhouette for women developed and the pannier (wide hoop under the skirt) became the staple in women's fashion. Corsets tightly constrict waists to bring contrast to the wide skirts. Plunging necklines and open front skirts which displayed petticoat underneath became popular as well. Hair was powered with wheat meal and flour, which caused outrage to the lower classes as bread prices increased.

The Watteau gown had a loose back which became part of the full skirt and

 a tight bodice. The women above in the floral navy shows this example.

Men's fashion really just became variations of a coat, waistcoat, and breeches. The waistcoat was the most decorative. Coats became more fashioned to the body and lace jabots were tied around the neck. In men's fashion, tailoring became the way to emphasis wealth and power, thus a tailored suit became the status symbol without all of the flowers, lace, and bows that women had in Rococo fashion. "Macaronis"  or lavish French men were especially fashionable in dress. 

Fashion also played a large role in the French Revolution. The Tricolor - red, white, and blue- on rosettes, skirts, and breeches became a sign of the Revolutionaries. The Sans-Culottes, or "without breeches" became the lower class Revolutionaries (they were trousers instead due to the un-tailored nature of this clothing article). Extravagant gowns or suits became dangerous to wear because it became the sign of an aristocrat, which the Revolutionaries despised.

Tricolor Cockade

The Rococo fashion era largely ended during the French Revolution, yet its contrasting themes created a diverse fashion like none before. The quest for simplicity yet extravagance, light colors vs. heavy materials, the bourgeoisie and the aristocrats...these contrast made up what became the Rococo fashion and culture of this particular style during this time. 

Helpful Links: 

"History Of Fashion - Rococo. " History of Fashion - Rococo. N.p., 2007. Web. 06 Mar. 2014.

Tortora, Phyllis G., and Keith Eubank. Survey  of Historic Costume: A History of Western Dress. New York: Fairchild Publications, 1998. Print.

West, Abigail. "History of Costume." History of Costume. Word Press, 12, May 2014. Web. 06 Mar. 2014.

The Sun King

Sun King Golden Emblem 

French King, Louis XIV, reigned from 1643-1715, bringing absolute monarchy to its greatest height. With the building of Versailles, Louis XIV controlled  his court, their wishes, monies, and powers to the best of his ability...and mostly, he controlled them absolutely. His court was moved completely to Versailles on May 6, 1682.

Versailles, Air View

Early in his life, Louis XIV saw a civil war which would cause the royal family to be driven out of Paris. It is believed that this civil war brought Louis XIV poverty, misfortune, fear, and lack of trust in Paris, its nobles, or its common people.

King Louis XIV Painting 

Upon the dealt of the chief minister, Louis XIV declared himself chief minister and ended the "reign of the cardinal-ministers." From this point on, Louis XIV would control his government until his death.

Hall of Mirrors, Versailles

Yet gaining control over France wasn't as easy at this might sound thus far. First, Louis XIV put elaborate displays of his sovereignty at the Palace at Versailles. He committed other royal's time with his daily rituals of getting out of bed, eating meals, and strolling through gardens, which became huge theatrical productions. It became fashionable and expected for royalty to have these elaborate schedules, which other noblemen would vie to help with.

Second, Louis XIV used centralized government to create domestic tranquility, which was much appreciated after years of war with almost every other country in Europe and a civil war. Upper bourgeoisie were awarded positions of power, but were moved to Versailles to keep any of them from gaining regional power.

Thirdly, he wanted to have "one king, one law, one faith." He raged endless war with Protestant institutions in the attempt to create religious unity in France.

Fountain in the Versailles Gardens 

For Louis XVI, unity was everything to France, but years of war would cost the country in the end. His decline happened after revoking the Protestant minority's right to worship by his Edict of Fontainebleau. Many of the Huguenot's (Protestants), which constituted the industrious segment of French society, left the country, taking skills and wealth with them. His intolerance helped unite the Protestants of Europe against the Sun King.

Helpful Link:

Pegard, Catherine. "NewsEvents." Shows at Versailles. Public and Private Companies Throughout France, n.d. Web. 17 Mar. 2014. <http://en.chateauversailles.fr/news-/events/shows/shows-at-versailles/programme/operas-1#artaserse>.

 Stingrad, Elena. "Minority." Louis XIV. N.p., 26 Nov. 07. Web. 04 Mar. 2014.

The Pieta: Michelangelo's Unproportional Piece

The Pieta, 1498-1500

Housed in St. Peter's Basilica in the Vatican City, the Pieta, first was commissioned for the French cardinal Jean de Billheres. This sculpture, which was going to be the cardinal's funeral monument, was later moved to its current location due to its masterpiece. This famous Renaissance sculpture was the only piece ever signed by Michelangelo. 

This art work depicts the body of Jesus laying in the lap of Mother Mary after his Crucifixion. It's an important piece due to its design as the drapery of Mary's dress, to the base, widens in a pyramidal shape. The figures are out of proportion, even though the image appears very natural. Within this sculpture, Mary is young, Jesus's crucifixion is limited to very small marks and wound, and their faces seem almost calm. Michelangelo didn't wish to show death, but "religious vision of abandonment and a serene face of the Son." 

Quite a bit of damage has come to this sculpture over the years. Due to moving, Mary lost four fingers. On May 21, 1972, a geologist named Laszlo Toth attacked the sculpture with a hammer, causing the most damage the sculpture has had yet. Displaced marble was picked up by onlookers and not all the pieces have been returned, including Mary's nose, which was replaced with a piece from her back. The Pieta is now behind bullet-proof glass panel. 

I believe that this piece was attacked due to its religious connotation, yet could it simply have been attacked due to its historical significance and beauty? 

Helpful Links: 

"Michelangelo's Pieta." ItalianRenaissance.org. N.P., n.d. Web. 17 Feb. 2014. 

Khan. "Michelangelo's Pieta." The Pieta. Khan Academy, n.d. Web. 17 Mar. 2014. <http://smarthistory.khanacademy.org/michelangelo-pieta.html>.

Pullella, Philip. "Vatican Marks Anniversary of 1972 Attack on Michelangelo's Pieta." Reuters. Thomson Reuters, 21 May 2013. Web. 17 Mar. 2014. <http://www.reuters.com/article/2013/05/21/us-vatican-pieta-idUSBRE94K0KU20130521>.

Edward Hopper's New York by Carter Foster

Early Sunday Morning and Nighthawks