Showing posts with label visual art. Show all posts
Showing posts with label visual art. Show all posts

Thursday, October 1, 2009

Who is Andy Warhol?

From the review What is an Andy Warhol in the NY Review of Books.

...Warhol realized that you don't need to make art for an audience brought up on film and television in the way Kenneth Clark defined art. [Marilyn Monroe] and [Warhol] grasped that in the modern world, presentation counts for more than substance. The less you do, the greater may be the impact....

A silk-screened image is flat, and without depth or volume. This perfectly suited Warhol because in painting Marilyn Monroe he wasn't painting a woman of flesh, blood, and psychological complexity but a publicity photograph of a commodity created in a Hollywood studio. As Colin Clark's anecdote suggests, you can't look at Warhol's Marilyn in the same way that you look at a painting by Rembrandt or Titian because Warhol isn't interested in any of the things those artists were—the representation of material reality, the exploration of character, or the creation of pictorial illusion.

Warhol asked different questions about art. How does it differ from any other commodity? What value do we place on originality, invention, rarity, and the uniqueness of the art object? To do this he revisited long-neglected artistic genres such as history painting in his disaster series, still life in his soup cans and Brillo boxes, and the society portrait in Ethel Scull Thirty-Six Times. Though Warhol isn't always seen as a conceptual artist, his most perceptive critic, Arthur C. Danto, calls him "the nearest thing to a philosophical genius the history of art has produced."

[In the Red Self Portraits (1965)] Warhol presents himself as insolent and impassive, in the take-it-or-leave-it stance of the hustler or gangster. Out of register, like a color TV on the blink, the person in the portrait is a new kind of human being, one trapped in some fathomless, unreal televisual space, without physical mass or emotional depth. The dead, unseeing eyes in the self-portrait suggest that he was perfectly serious when he said, "If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There's nothing behind it."

Thursday, June 12, 2008

Our Lady, the Bride of Christ

Coronation in Santa Maria in Trastevere
The Bride of Christ

Leva eius sub capite meo et dextera illius amplexabit me
Veni electa mea, ponam in te thronum meam
(Our Lady: His left hand should be under my head, and his right hand should embrace me)
(Our Lord: Come my chosen one, I shall place thee on my throne)

Wednesday, June 11, 2008

God and Woman: The Annunciation

Correggio, c 1522-25 (drawing for fresco now faded)
Titian, c 1555-62

gods and Mortal Women: Danae

Correggio, c 1531
Titian, c 1545

Titian, c 1554

gods and Mortal Women: Io

Correggio, c 1532

Friday, May 18, 2007

Botticelli and the Virgin


Sandro Botticelli (Alessandro Filipepi) died on 17 May 1510. Most people are quite familiar with his non-religious (pagan!!!) works, so here are a few photos of his religious works, centering on the Madonna - it is May, after all. Above is the Madonna of the Magnificat (1480-3) tempera on panel.




The Annunication (c 1481), fresco




The Annunciation (c. 1485) , tempera and gold on panel




The Cestello Annunciation (c 1490), tempera on panel




The Annunciation
(c 1500), tempera on panel




Detail of the Christ Child in Madonna of the Pomegranate (1487),
tempera on panel

Monday, March 26, 2007

Saying Your Prayers


I first learned of the Annunciation from “My Catholic Devotions,” a book that had pastel-colored pictures depicting the mysteries of the rosary. My mother let us look at the pictures while reciting our Hail Mary’s, so we memorized words and images.


I was compiling quotes from George Balanchine on religion and I realized how right he was about one thing: children have to learn faith when they’re young, or they will never have it. Adult converts can have something – a turning over of mind and heart to the Lord, but the natural belief in the supernatural, the nearness of transcendence, the ritual will always be somewhat off. Can adult converts really have the suspicions that children can: that dragonfly wings sound like what one’s guardian angel’s wings sound like, or that the movement of the wind was the Mother of the Lord sighing just for you to hear it, or that the sun beaming through the window was Christ Himself wishing you a personal Good Morning? Perhaps, but adults have to struggle against skepticism to believe in it; it all comes so naturally to children. This is where the importance of the example of St. Anne and St. Joachim comes in – could Mary have believed Gabriel without those saints as parents? As a child, I believed that if I were silent enough, I could hear my guardian angel hovering around me. She had wings and was a bit naughty – if I sat in complete silence, the sound of the air conditioner coming on at the exact same moment as I appealed to her was her form of communication. Was I a crazy child who didn’t understand probability and coincidence?

Religion is first learned in the home. It matters not that you take your children to Mass every Sunday if you don’t pray with them two or three times a day, and if they don’t see YOU praying several times a day. But it’s not just the indoctrination they need; it is also the feel of the rhythm of prayer in their lives. These have to be absorbed when we are sponges, before the second-guessing. It’s striking to me that when I pray, there are prayers I can only say aloud, or at least only when moving my lips. These are the prayers that I learned not from the printed page, but from my mother’s lips, the ones I gradually learned to recite with her. There are certain prayers my mother says back-to-back, like the Hail Holy Queen and the Memorare, that now strike me as overdoing it, if saying prayers to Mary can be overdone. (Why not at least insert the Prayer to St. Michael between them for a little diversion, Mom?) And yet this is what I do every time too. I also find it impossible to say certain prayers while reading them – I get lost in the text itself and the meaning - the visceral and spiritual sensation - disappears.


There are phrases that I’ve always thought of as tongue twisters: “that we may be made worthy of the Promises of Christ,” yet I can’t imagine changing it to something simpler (“It’s easier in Latin!” a certain person is no doubt thinking right now.) In CCD class in junior high school, besides doing poor remedial Catholic catechesis, our ‘teachers’ (I use the term loosely) would give us tests: recite the Our Father, Hail Mary, and Glory Be. Most of my fellow CCD attendants didn’t know these prayers and neither did their parents, suggesting that the wheels were off in Protestant America before Vatican II, except in those places where Catholicism had firmly taken root. Our CCD teachers would also teach us an “easy” version of the Act of Contrition that went something like this: “God, I am sorry for my sins. Please forgive me, and help me to avoid sinning again.” That’s no way to instill Catholic guilt! Even worse, it misses the meditation on one’s sins that the older version features: “…but most of all because it offends You, My God, Who are all good and deserving of all my love.” I think it got dumbed down out of fear people didn’t understand the words they were saying, and could be more reflective if the text were easier. Who cares? Formal prayer isn’t about getting all the words right, or about understanding everything you are saying (if that were true, most of my formal prayers from the time I could speak to the age of seven were for naught). It’s about creating an atmosphere like an enclosed aquarium, separate from the real world, that you can fly or swim around in for several minutes, a place where the mundane and pedestrian do not have entrance. It’s not about getting the words right, it’s about getting the spirit.


A.V. has a problem with Low (Laudes) Sunday becoming Divine Mercy Sunday by decree of John Paul II. I’m not about to get into a liturgical argument with A.V. - I don’t pick fights I can’t win – but I have always liked the Divine Mercy Chaplet. My mom is a Third Order Carmelite, and so she’d bring all manner of prayer cards and third class relics home with her from meetings. I remember learning the Divine Mercy prayers fairly early on and I think we Catholics know a good prayer when we hear it. My mom would also sometimes have to glue and sew Brown Scapulars, and every now and then I would help her do so. It was fun to ‘have the inside track’ on those religious items that people, believing in the promises of Our Lady to St. Simon Stock, devoutly wear. But it was also wonderful to know that these religious items were touched again and again by human hands, touched with love and fingers pressed on the image on the front. I would ask my mom if the promises applied to even those who didn't believe, and she'd respond, "Only God knows...why do you ask so many questions?"

The favorite prayer of both my mother and grandmother is the Prayer of St. Francis of Assisi: “Lord, make me an instrument of your peace...” I was too much of a warmonger, too much in the “life is injustice, and that’s wrong” vein to say this devoutly; I needed prayers that would inspire me to win or that guarantee some form of win. But I was at least not so stupid to have not loved these lines:

O Divine Master, grant that I may not so much seek to be consoled as to console;
to be understood as to understand;
to be loved as t
o love.

For it is in giving that we receive;
it is in pardoning that we are pardoned;
and it is in dying that we are born to eternal life.


Paintings are works of Francisco de Zubarán (1598-1662),
The Annunciation (1638-9), The Archangel Gabriel (1631-2), The Holy House at Nazareth (1630), Agnus Dei (1635) and St. Francis Kneeling (1635-9).

Friday, March 2, 2007

Paul Gauguin (1848-1903)

Self-Portrait, 1893-4

I first discovered Gauguin's work in college and he became a favorite. A post-Impressionist, Gauguin's use of curving, distinct lines with bold colors (Cloisonnism) creates a strong visual impact, as does his use of exaggerated proportions. And because I have to bring everything back to ballet, Gauguin became a proponent of primitivism in art, with the ballet "Le Sacre du printemps" being a primary work of this artistic movement. If one ever gets to see the original 1913 choreography by Vaslav Nijinsky with recreations of the sets and costumes of Nicholas Roerich (The Joffrey Ballet has a revival every decade or so), to the famous pounding Stravinsky score, one can see how the shapes of the bodies, the movements (strong lines, turned in, bent arms and legs) and the earthy colors used on the costumes contrasting with the post-impressionist pastoral scenes of the sets reflects this artistic period.


Vision After the Sermon, 1888

(From two letters to Vincent Van Gogh, Pont-Aven, September 1888)
...Yes, you are right to want painting to have a coloring evocative of poetic ideas, and in that sense I agree with you, although with one difference. I am not acquainted with any poetic ideas - I'm probably missing a sense. I find everything poetic, and it is in the deepest recesses of my heart, that are sometimes mysterious, that I glimpse poetry. Forms and color brought into harmony produce poetry by themselves. Without allowing myself to be distracted by the subject, contemplation of a painting by another artist induces in me a feeling, a poetical state that becomes more intense the more the painter's intellectual powers emanate from it....

...I have just painted a religious picture, very badly done but it interested me and I like it. I wanted to give it to the church of Pont-Aven. Naturally they don't want it.

A group of Breton women are praying, their costumes very intense black. The coifs very luminous yellowy-white. The two coifs to the right are like monstrous helmets. An apple tree cuts across the canvas, dark purple with its foliage drawn in masses like emerald green clouds with patches of green and sun yellow. The ground (pure vermilion). In the church it darkens and becomes a browny red.

The angel is dressed in ultramarine blue and Jacob in bottle green. The angel's wings pure chrome yellow 1. The angel's hair chrome 2 and the feet flesh orange. I think I have achieved in the figures a great simplicity, rustic and superstitious. The whole thing very severe....

The Green Christ/Breton Calvary, 1889

(From a letter to Vincent Van Gogh, Le Pouldu, October 1889)
...Seeing this every day fills me with a sensation of struggle for survival, of melancholy and acquiesence in implacable laws. I am attempting to put this sensation down on canvas, not by chance, but quite deliberately, perhaps by exaggerating certain rigidities of posture, certain dark colors, etc...All this is perhaps mannered but what is natural in art? Ever since the most distant times, everything in art has been completely deliberate, a product of convention...in art, truth is what a person feels in the state of mind he happens to be in. Those who wish to or are able to can dream. Let those who wish to or are able to abandon themselves to their dreams. And dreams always come from the reality of nature. A savage will never see in his dreams a man dressed like a Parisian - etc....

(From a letter to Theo Van Gogh, Le Pouldu, November 1889)
...I'm seeking to express a general state rather than a single thought, and at the same time to make another person's eye experience an indefinite, never-ending impression. To suggest suffering does not mean to specify what sort of suffering; purity in general is what I am seeking to express, not a particular kind of purity. Literature is one (and painting another). In consequence, the thought is suggested but not explained...

It's the same with the painting of the 3 stone women holding Christ. Brittany, simple superstition and desolation. The hill is guarded by a line of cows arranged in the form of the calvary. I've tried to make everything in this picture express belief and passive suffering in the traditional religious style, as well as the power of nature with its great scream. I am wrong not to be good enough to express it better - but I am not wrong to conceive it...

You know that I have Indian blood, Inca blood in me, and it's reflected in everything I do. It's the basis of my personality; I try to confront rotten civilization with something more natural, based on savagery...


D'où venons nous? Que sommes nous? Où allons nous?/Where Do We Come From? What Are We? Where Are We Going?, 1897-98

(From a letter to Andre Fontainas, Tahiti, March 1899)
Color, which is vibration just as music is, is able to attain what is most universal yet at the same time most elusive in nature: its inner force.

Here near my cabin, in complete silence, amid the intoxicating perfumes of nature, I dream of violent harmonies. A delight enhanced by I know not what sacred horror I divine in the infinite. An aroma of long-vanquished joy that I breathe in the present. Animal figures rigid as statues, with something indescribably solemn and religious in the rhythm of their pose, in their strange immobility. In eyes that dream, the troubled surface of an unfathomable enigma.
...In praise of certain pictures that I considered unimportant you exclaim, 'If only Gauguin were always like that!' But I don't want to be always like that.
...To go back to the panel [Where do we come from]: the idol is there not as a literary symbol, but as a statue, yet perhaps less of a statue than the animal figures, less animal also, an integral part, in my dream before my cabin, of the whole of nature, dominating our primitive soul, the unearthly consolation of our sufferings to the extent that they are vague and incomprehensible before the mystery of our origin and of our future.

And all this sings with sadness in my soul and in my design while I paint and dream at the same time with no tangible allegory within my reach - due perhaps to a lack of literary education.

Awakening with my work finished, I ask myself 'Where do we come from? What are we? Where are we going?' A thought which no longer has anything to do with the canvas, expressed in words quite apart on the wall that surround it. Not a title but a signature.

Mahana No Atua/ The Day of the God, 1894

(From a letter to Charles Morice, Atuona, Hiva-Oa, 1903)
...You were mistaken one day when you said I was wrong to say that I am a savage. For it is true: I am a savage. And civilized people suspect this, for in my works there is nothing so surprising and baffling as this 'savage in spite of myself' aspect. That is why it is initimable....In art we have just undergone a very long period of aberration due to physics, mechanical chemistry, and the study of nature. Artists have lost all their savagery, all their instincts, one might say their imagination, and so they have wandered down every kind of path in order to find the undisciplined crowds and feel frightened, lost as it were, when they are alone. That is why solitude is not to be recommended to everyone, for you have to be strong in order to bear it and act alone. Everything I learned from other people merely stood in my way. Thus I can say: no one taught me anything. On the other hand, it is true that I know so little! But I prefer that little, which is of my own creation. And who knows whether that little, when put to use by others, will not become something big?...

(Letters in "Gauguin by Himself" edited by Belinda Thomson, 2001)