Art Blog - Art In History

This post is another in my series on the origins of modern art, and my last, at least for a while: I'm not sure who is listening. I hope the title at least is intriguing. I could easily have called it "Modern Art and the Problem of Style", but this title seems sexier! The problem with a sexy title is of course the letdown. What is the innocence whose loss I see as a major impetus toward modern art? It is the innocence of the artist of his place in the history of art. The villain is historical awareness, and the consequent impossibility of producing art "innocently", without the burden of an everpresent knowledge of one's artistic past. This became a huge concern in the 19th century in Europe… Continue reading… 5 comments

The moment at the beginning of the 20th century when artists made the lead to pure non-representational art is a fascinating one. It is the culmination of a number of trends over the previous 100-200 years, each interesting in itself, and together creating a uniquely self-aware moment in art. First, I would like to register my complaint about the term "abstract", which has come to be applied indiscriminately to non-representational art. The term describes very well the process which led up to the leap, but is misleading when applied to "pure abstraction". Abstraction implies a process of generalizing and simplifying from the specific; it presumes a reality from which essentials are being drawn… Continue reading… 4 comments

Over the course of the 18th century there was a remarkable change in attitudes toward nature, discoverable in all the arts, especially literature, painting and landscape architecture. It culminated in the Romantic landscape tradition in Europe and America in the 19th century, the golden age of landscape painting. It marked a major change in the relationship of man to nature. Romantic landscape covers the gamut between the Pastoral - inhabited landscape: comfortable and relatively tame, with shepherds and peasants - and the Sublime - wild nature: vast and powerful, inspiring terror and awe. The Pastoral was not a sea change in attitude… Continue reading… 6 comments

This post is in some ways a response to Gary's post on Raphael's "Descent from the Cross". I agree that Raphael represents a perfect moment in the High Renaissance: fully realized, harmonious and sublime. I then had to ask myself why, of the great masters of his time, he is the least interesting to me. I decided the answer lay in the limitations of perfection itself. "In praise of Imperfection" is a bit misleading; this post is more in praise of striving, of asking the questions instead of finding the final answer. For the Renaissance, the primary questions were those raised by Humanism, both in the arts and in thought in general (Gallileo, Copernicus, and of course Leonardo)… Continue reading… 4 comments

I'm getting into this idea of successive "French Revolutions"; it's a bit too neat, but it reveals some interesting patterns. The first (David) was primarily a social/political revolution, with Neo-classicism as the engine. The second (Delacroix) was primarily artistic, a reaction against the strictures of Neo-classicism, though it clearly had its social side as well. With Courbet we will see again a primarily social/political revolution, that took Realism as its engine. The fourth would be Manet, whom I've already discussed, and his revolution once again is in the realm of art. The lead image is Courbet's "manifesto", titled "The Studio: a Real Allegory"… Continue reading… 1 comment

So at last I am getting to Delacroix, as promised several weeks ago. Though in fact, I am going to feature Delacroix and his great rival Ingres, inheritor of the Mantle of David as the defender of classical orthodoxy. As I've said before, I think the art of this period is vastly enriched by its context in history, both social and aesthetic. I've called the period the "second French revolution"; in fact, in Paris at least, it was a period of continual upheaval. The Parisian populace took to the streets at the least provocation, tearing up the coblestones and bringing the city to a halt. Delacroix's "Liberty Leading the people" marks the major uprising in 1830. In fact, so ungovernable was the city that in mid century Housmann was commissioned to build the great Parisian avenues..… Continue reading… 1 comment

My most recent blog featured the work of Caravaggio, an artist whose inventions were remarkable and whose influence was enormous, way out of proportion to his brief working life. At that time I mentioned that my next blog would be about another artist whose work was influenced by Caravaggio: the spanish master Diego Velazquez. I am leading off with an image which is not typical of his best know work, but which shows how strongly he was influenced by Caravaggio, and how much farther he was able to carry his realism. The "Watercarrier of Seville" is one of my favorite works. It has the presence of a caravaggio - massive figures close to the front - but with a subtlety which Caravaggio never acheived in his tumultuous career… Continue reading… 3 comments

In my piece on Monet I said that, while he was not as resonant for me as Manet or Cezanne, he was an artist whose inventions were so powerful that all later European artists had to react in some way to their implications. I realize that I have left behind another artist about whom the same can be said: Caravaggio. Coming at a time when the schism in the Christian church was dominating the European political and social scene, and when the implications of Renaissance naturalism were opening new avenues of artistic exploration, Caravaggio, in is short career, was a towering force. Caravaggio had three great inventions. The first was to abandon the idealizing classicism of the Italian Renaissance in favor of an uncompromising realism… Continue reading… 3 comments

I'm going to go back 100 years or so to an artist I passed over: Goya. In the spectrum of artists from those of structure to those of feeling, Goya is definitely the latter. But what is remarkable is the way he anticipated the romantics and 20th century expressionists, working at the height of the Enlightenment. The Enlightment thinkers of the 18th century believed in the ultimate and inevitable perfectability of man through reason. They largely ignored the existence and power of the bestial side of man, a fatal mistake. The Greeks were wiser: thouogh they elevated reason as man's great gift, they never forgat the other side of his nature. Their image was of the horse and rider - today the Id and Ego - and understood the need to respect and control the bestial side… Continue reading… 1 comment

I'm coming back around to where I started, which was with Cezanne...and more generally with late 19th century European painting. I find more to excite me in that period than in any other. As I think about the Impressionists, and the generations that followed, I definitely learn something about myself and what satisfies my artistic soul. I like structure. I am more excited by Degas and Manet, the two artists who had an "academic" training, than I am by most of Monet, and I like Monet better than Renoir. I can feel the lightness and joy of Renoir's work, its wonderful softness, but ultimately it leaves me wanting more. In Degas' work, the feeling of carelessness in framing belies the artfulness behind it… Continue reading… 5 comments

The decision to include Leonardo is not based on the impact of the work on me viscerally and emotionally; in fact, on one level you could say he is not a "favorite" artist at all. It is more that I stand in awe of what he accomplished as an artist, while so much of his energies and imagination were focussed on other things. And of course, after a piece on Michelangelo, it is only proper to give Leonardo equal time. Michelangelo and Leonardo were the towering figures of the Renaissance until the younger Raphael rose to join them, great rivals, driving each other to greater heights… Continue reading… 3 comments

In England at the end of the 18th century, a new kind of patronage emerged which was to have an enormous effect on the careers of artists lucky enough to fall under its favor. This was the practice of English gentlemen, taking the grand tour to the mediterranean, to bring along with them an artist to document their trip, much as today we might bring a camera. In some cases, if the gentleman had a passion for antiquity, the trip would feature Greek and Roman sites; from such expeditions we have exquisite detailed drawings of temples and sculpture. In other cases, where the patron had a romantic passion for landscape, there would be a detour into the Alps and a concentration on the scenic beauties of the Italian landscape. William Beckwith was of the latter frame of mind… Continue reading… 0 comments

This article is inspired by a video recently posted on Youtube, which I found fascinating as an artist, as an art historian, and as a sometime computer programmer. Created by eggman913, who also has made another video called "Picasso", Women In Art is its own masterpiece. Watch the video and then come back to read my comments. Click here to watch the video . (Be patient, it does take several seconds to load.) … Continue reading… 4 comments