Study and learn about a new piece of art each week

I’ve been slacking with this goal as of late..but that’s all going to change now. It’s a HUGE undertaking, but I want to learn as much as I can about Michelangelo’s The Sistine Chapel. I’m going to have to break up my research and complete it a little bit at a time…hey, I’m crazy, but not that crazy! It will all come in due time. I’m really excited actually!

I’ve found a map of the ceiling of the Chapel. I will use it to better explain which of the sections I am talking about.

Here’s what I have so far:

Painted at the height of his career, The Sistine Chapel remains one of, if not the most, revered works of art. Completed in 4 years with the help of little, if any assistance, (Michelangelo was unsatisfied with their work and decided instead to work alone) this grand undertaking can make even the most ambitious person seem lazy; for how can someone say that there is little time to complete anything when he did all that in 4 years?

The chapel is divided into 6 main parts: the center panels, the prophets and sibyls, the four corner frescos, the ancestors, the story of Christ, the Last Judgment. Each section tells a story and each are connected. The ceiling itself if made up of the first four parts, whereby the center is divided in 9 sections and each of the larger are flanked by alternating prophets and sibyls. The four corners visually and contextually link the sides and the ceiling together while the 8 niches above the rooms’ windows depict the ancestors of Christ.

Beginning with the center panels, and working our way out, we will be better able to understand the connection behind Michelangelo’s ceiling. The center panels tell the story of life and are actually meant to be read in reverse chronological order from the original entrance, beginning with the Drunkenness of Noah (1) and ending with the Separation of Light and Dark (9). However, the current entrance from which viewers enter is actually on the other side (the alter wall where The Last Judgement is painted), therefore the reading of the ceiling is in reverse from that which Michelangelo had intended. These center panels are divided into three sections once more, with The Life of Noah (1, 2, 3), The Story of Adam and Eve (4, 5, 6), and The Creation Story (7, 8, 9).

Flood (2): It is said that Michelangelo began this enormous project by painting the second of the center panels, also known as the Flood. Incidentally this panel gave him the most trouble, as mold formed on the fresco and it was necessary for him to redo a number of parts. However, the sheer complexity of the scene was also troublesome as he tried to fit all of the figures within the parameters of the panel, while taking into account the scenes perspective and the viewer who would eventually have to be able to read it all from over twenty meters below. The scene is to be read from left to right, like a book, where it trails further into the distance and ends with the outstretched had of Noah.

The Drunkenness of Noah (1): The second of his completed works is read first in the sequence while the remaining panels generally comply with their excitation and the order in which they are to be read. The Drunkenness of Noah depicts a dual scene: Noah tilling the land (seen on the left) in preparation for planting vines which he eventually harvests, makes wine from and stores in the large vat in the center. It is from this wine that Noah drinks from and gets drunk (there is a jug and cup beside him) only to eventually fall asleep naked. People have hypothesized that this could have been the first time that grapes had been fermented and therefore the potency, having been unknown to him, caused Noah to remove his clothes from the warming of his body and fell asleep from the drowsy effects – anyone who’s had their first glass or two of red might be able to attest to this!

Sacrifice of Noah (3): The chronological order of when this scene took place has been under scrutiny. Some have argued that it had taken place after Noah and the ark touched land after the flood, while others have said that it in fact depicts a sacrifice taking place before their departure. What we notice, however, is the symbolism that is evident in the painting. In the background we notice a side section of the ark (on the visual right) and four animals that represent those saved from the flood: an ox and an ass (which represent the nativity), a horse (a emblem of the Church, perhaps in reference to St. Paul?) and an elephant (wisdom), who’s trunk peaks out from behind. Noah, depicted with the long white beard, stands pointing to the heavens, identifying where the rain will/ has come from and where the smoke will rise to, while his three sons depicted in heroic nudity carry out the sacrifice. The remaining figures are understood to be the wives of Noah’s sons, however, the masculine qualities of the individual carrying firewood on the right could hardly be misunderstood as that of a woman, even if Michelangelo often used male models to paint from.

I have decided to research the work of Ansel Adams, who is quite possibly the most famous American Landscape photographer. I’ve seen, studied and read about his works before…but considering his work is being exhibited at the AGO – along with the work of Alfred Eisenstaedt – and the fact that some of his work has influenced and inspired my own, I have decided to look more closely at one of my favourites. Aspens, Northern New Mexico, 1958.

“Aspens, Northern New Mexico” [horizontal]
From Portfolio VII, Plate 6, Edition 49/115
Negative Date: 1958
Print Date: 1976
20” x 24”
AA/1453

Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and the wonder surrounding him.
- Ansel Adams

When one thinks of photography, the name Ansel Adams is sure to pop up. How could it not? He is most notably remembered for his fantastic large-scale masterpieces of the American landscape, which often times reflected his love for nature and the environment. His passion for both his craft and his country, in conjunction with his mastery of technical and visual skill, propelled him to the highest acclaim during his lifetime and beyond. One of his most respectable undertakings was in 1941, when he was hired by the Secretary of the Interior to photograph lands and Native Americans. Adams had intended on making thirty-six photographic murals to hang on the walls of the Department. His hope was that the powerful images, which were to be hung in an “emotionally progressive sequence”, would positively influence congressmen, lobbyists, and government officials. While his vision was never completed due to a turn of events and the commencement of WWII, he was able to make many impressive photographs because of that project. Having once said, “It is horrifying that we have to fight our own government to save the environment”, I realize that this very statement is still relevant. It reminds me that while even today, as the state of our environment is in major flux, it seems that anyone who tries to defend, support or speak-up for environmental sustainability is the butt of a joke on some late night talk show-Al Gore included.

This brings me back to Aspens, Northern New Mexico, 1958., which is a perfect example of Adams’ ability to take a seemingly mundane scene in nature and make it spectacular…to allow us to see the glowing splendor of hope and the beauty of the forest. It’s said that the shot was taken in the mountains north of Santa Fe, in the early morning on a crisp autumn day. He describes the photograph as being that of a “cool and aloof and rather stately” aspen grove who is the highlight of this relatively intricate shot. Adams was well known for “making” photographs, rather then simply “taking” them. To him photographs were more then just something that was captured on film; photographs had to be coaxed out onto paper with the help of a knowledgeable hand and a good set of contrast filters. He would often dodge or burn (while this site is for digital photography the process is the same), his images in order to achieve the proper tonal variations that he had envisioned. It’s no surprise then that he used filters to enhance the general contrast of the scene and allow the stately aspen to glow as it does. The white tree trunks, which reflect the surrounding light, stand out against the dark forest background, and in so doing they allow the viewer to venture deep into the forest. Measuring 20” x 24”, this photographs size alone demands my respect, as only someone who has ever tried to meticulously develop a photograph can truly understand the amount of skill and patience such a work requires.
Much of Adams’ work had influenced my own experiences in photography; from my hikes in the woods to my altered perception of darkroom techniques, I’ve learned that photography is a powerful media for sharing ideas. May we all remember his vision of nature and may we all seek to protect it.

A little quote that I thought was very interesting:
The negative is comparable to the composer’s score and the print to its performance. Each performance differs in subtle ways. -Ansel Adams

Ok…I had done some reserach on it a few weeks ago…but I’ve finally decided on Eros, the statue from the Piccadilly Circus memorial fountain, also known as The Angel of Christian Charity.

Having gone to London this summer I was amazed at how much history and art there was to see…can you believe that the major galleries have FREE admission?! That’s awesome! Anyway…my friend and I had gone to see all of the usual touristy stuff – my sincerest apologies to all Londoners – we had a grand ol’ time and made a pit-stop to Piccadilly Circus…actually funny side story, just before we arrived in the center of the square I noticed some guys t-shit, “You say tomato, I say fuck you”, I was dying! Had to go back and ask him for a pic – so as I was saying, we hung out at the base of the fountain and enjoyed the moment till we were on our way again…but I wondered what it was about that place that made people just ‘hang out’…and what about that beautiful fountain? Or that fantastic sculpture?!

So let’s investigate…

The Shaftesbury Memorial Fountain in Piccadilly Circus was built in 1893 to commemorate Anthony Ashley Cooper, the 7th Earl of Shaftsbury, for all of his charitable acts of kindness. During WWII the statue on top had been removed, as to avoid damage, I’m assuming, but was returned to its rightful perch in 1948, however, when it was returned its bow was fixed pointing to the south where originally it pointed north. Also, in the late 1980’s the entire fountain had been moved off from the centre of the crossroads, at the beginning of Shaftesbury Avenue, to its current location at the southwest corner.

The statue, also known as The Angel of Christian Charity, undoubtedly because of Mr. A. A. Cooper, was sculpted by Alfred Gilbert. It has come to be known quite commonly as Eros, after the mythical Greek ‘God of Love’. However, the interesting thing is that the sculpture is actually that of Eros’ twin brother, Anteros, at least that’s what the records of Westminster City Council says. He was made to be a playmate for Eros and is supposed to be depicted as similar to Eros in every way, but with long hair and butterfly wings. The story is that Gilbert had already sculpted a statue of Anteros when he was commissioned for the fountain. He had chosen to reproduce the same subject, who as ‘The God of Selfless Love’ was an appropriate representation of the Earl that it was in honour of. Gilbert described Anteros (the anti-eros), as portraying “reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant”. Actually, upon looking at the sculpture, we see that the mature male figure with butterfly-type rounded wings does not reflect the typical iconographic Eros, who is usually a young child or cherub with wings that are typically either small and attached to the upper shoulder blades or long and thin, like angel wings – neither of which is represented in the memorial statue. It has been said that the model for the sculpture was a 16-year-old Italian boy, whose name seems to have been lost in history. While the final statue is not that of a young child, but rather of a mature man, one could still argue that this is simply a depiction of the aged Eros – as he had later come to be represented as a youthful man – however, his wings help to reveal his true identity. Upon really looking at the shape of the wings of the sculpture, one can notice that the wings are rounded both at the top, and in particular, at the bottom, again like that of a butterfly and unlike the typical representation of Eros, whose wings are usually one long section. In all of my searching I could find few representations of both Eros and Anteros in one picture – often times the twins are shown fighting and battling each other – kind of like real and infatuated love.

Upon completion the memorial fountain had received numerous complaints as some felt it was disrespectful to the Earl both because of its location in a vulgar part of town (the theatre district), along with the fact that a nude, sensual figure had been used. It was during this time that the alternate title of The Angel of Christian Charity was given, as it was “the nearest approximation that could be invented in the Christian pantheon for the role of Anteros in the Greek.” Unfortunately the name never stuck and when the original name came back, it came back in the shortened form of Eros.

Oddly enough, during his life-time Gilbert had this to say of his famous sculpture, ‘There is more than £3,000 worth of copper. Take it down, melt it, and turn it into pence and give it to the unfortunate people who nightly find a resting place on the Thames Embankment, to the everlasting shame and disgrace of the greatest metropolis in the world’.

Pretty cool I think!

Images:
William Bouguereau, A Young Girl Defending Herself Against Eros, 1880
William Bouguereau, The Abduction of Psyche, 1895

so far I don’t seem to be doing so well with this goal…but I swear that it’s been on my mind. Gotta’ get to it!

Years ago, while flipping through an art text, I was captivated by the sweet and delicate nature of Francesco Hayez’s, Il Bacio (The Kiss). Maybe it’s the way her satin dress seems so real that I could just reach out and touch the heavy folds of fabric, or maybe it’s the way he holds her face just so, either way I’m fascinated enough to want to learn more about it.

This was a very difficult piece to find information on…in fact it took up the better part of two weeks of what spare time I had to find what little I did…if you know of any more info, please pass it on. Thanks :)

1859
Oil on canvas, 112×88 cm
Pinacoteca di Brera, Milan

Quite possibly one of Francesco’s most famous paintings, perhaps even one of the most famous depictions of a kiss, (others include a painting by Gustav Klimt and sculptures by Auguste Rodin and Constantin Brancusi) the painting has become one of the symbols of Italian Romanticism. Hayez, born in Milan, studied with Francisco Magiotto and later with Teodoro Matteini. He lived both in Rome and Naples before he was appointed director of the Academy of Brera.

While my research lead a lengthy trail, I had finally got hold of some concrete information. It has been said that Hayez was greatly influenced by Giuseppe Verdi, the famous Italian composer best known for his opera’s. Perhaps Hayez felt a connection towards this fellow Milanese and he therefore sought to recognize him in a special way. While I found no direct connection between any of Verdi’s operas and Il Bacio, it is said that often his paintings “sprang from the sentimental and melodramatic strand of medieval costume drama that Verdi so beautifully captured in his operas.” The closest that I got to actually finding an opera that may have inspired this sweet painting was La Traviata. I am, however, in no way convinced that the painting was based on such a story. La Traviata was and is still one of Verdi’s most famous opera’s…perhaps even one of the most well known opera’s in general (I’m going to go and watch it in January now…I’m intrigued).

The painting is interesting to me on a few levels. I am initially taken back by the realism of the painting as well as the sweet innocence of the kiss. It is as though we are watching a quick but incredibly intimate moment between two lovers as they share one more sweet kiss before the young man must flee. With his foot placed atop the first step of the dark and secluded stairwell, one gets the impression that he is in the process of leaving before he is caught in a place that he should not be. Perhaps they are in the dark, back corner of some castle, the only place that they could meet in secret and safety. The shadow that lurks in the background through the doorframe speaks to the idea that someone is coming, someone who cannot find him there. Like any lover who is torn by the idea of leaving their other, he leans in for one more kiss, cradling her head and touching his lips to hers. It is interesting to notice, that while she also leans in and clutches his shoulder, her eyes are open throughout the kiss (enlarged version). While not a traditional depiction of a passionate kiss, which I think is usually given with eyes closed, I find that keeping ones eyes open increases the sensuality…(if you’ve ever done it, you know what I mean). Although I still do not know much about this work it keeps a special place in my heart.

La Madonna della Sedia is a fantastic work of art that brings back many memories. I remember having a copy of it in my room growing up, and I very much enjoyed having it around for many years as I moved it from wall to wall whenever I redecorated. Although it no longer hangs on my room walls…actually, I’m not sure where I’ve stored it!...I’m now somewhat surprised that I had kept it around for as long as I did. I guess I expected that I would have grown out of liking it much earlier. I also remember the feeling of awe that I had when I had seen it in the flesh while visiting the Pitti Palace in Florence in 2004 with my brothers. It’s much larger than I had anticipated it to be and its beauty and precision are extraordinary.

Here is what I found out about it:

Oil on wood, diameter 71 cm

Painted by Raffaello Sanzio, or better known simply as Raphael, sometime between 1510 and 1514, Madonna della Sedia (Madonna of the Chair) is just one of his many depictions of homage to the Madonna. In my opinion, having lost his own mother at a very young age inspired him to seek condolence in what the Madonna represents; the loving and nurturing mother that he never had. Said to have been painted in Rome, it made its way to Florence where it became part of the famous and powerful Medici Family collection. It has been in the Pitti Palace since the 18th century, after being reclaimed in 1815 from the Napoleonic troops who had taken it in 1799.

The legend behind this unbelievably famous depiction of the Madonna is a rather interesting and lovely one:

“Centuries ago, there dwelt among the Italian hills near Rome a venerable hermit, whom the people called Father Bernardo. During a terrible storm his life was saved by Mary, the beautiful daughter of a wine-dresser, and by an old oak-tree in whose branches he had taken refuge; so he prayed to God to distinguish them in some way. Years passed away, the hermit died, and the oak-tree was converted into casks for Mary’s father. One day Mary was sitting by one of these casks playing with her children, the elder of whom ran towards her with a stick made into the shape of a cross. Raphael had long been seeking a model for a picture of the Virgin and Child; just then he passed by, and seeing the group, stopped and drew them on the smooth cover of the wine cask. This he took away with him, and on it painted the Madonna della Sedia. Thus was the blessing and desire of the old hermit realized, and Mary and the oak were distinguished for all time.” [Mrs. Clement, “Christian Symbols and Stories of the Saints,” pp. 213-4.] (here is a great little side read)

The tale, which from my understanding is of German origin, varies slightly in its details. It has also been said that the hermit escaped into the refuge of the branches of the tree and was rescued by the daughter of a vintner because he was being attacked by a pack of wolves. Also, rather than praying to God that the young girl and tree be distinguished, he himself prophesied it. A particularly lovely aspect to one of the versions is that the hermit refers to both the oak tree and the young girl as his daughters. The versions are essentially the same however, adding substance to the stories authenticity. A rather interesting aspect to this story is that it has inspired everything from poems to paintings to more recently, clipart! Assumingly, German artist Johann Michael Wittmer was inspired enough by this story to use it as the moment in which to capture Raphael, as it had become popular during the nineteenth century to paint the lives of famous artists. Properly titled Raplael’s First Sketch of the ‘Madonna della Sedia’, the painting depicts the famous artist capturing the mother and her children on the bottom of a wine barrel, while Rome peeks through the loggia to the left, perhaps giving evidence to the paintings origin.

The Madonna della Sedia strikes a remarkable resemblance to another of Raphael’s paintings, Madonna della Tenda(Madonna of the Curtain, which is in the background and drawn to one side). As in most of Raphael’s paintings of the Madonna, Saint John is placed to the right and looks on with adoring eyes. The former work, however, seems to lack the intimacy between Madonna, Christ and viewer that the Sedia expresses. Although there is a more playful relationship between the three figures in the Tenda, the overall composition of the round, or ‘tondo’ painting adds to the clutching embrace between the two main figures as their closeness is magnified by the confined frame. The use of the round composition also highlights the connection between mother and child, which is the very essence of the painting. The cylindrical arrangement of arms culminates at the center of the painting where mother and child are tightly connected. It is not apparent as to which of the two was painted first, but through observing both paintings one can see Raphael’s experimentation in style and growth as an artist.

The Madonna della Sedia remains as one of Raphael’s most famous works for good reason. Its colour arrangements and clever composition add to its prestige while its emotional subject matter speaks to the heart; which couldn’t make for a more perfect painting in my eyes.

...is all of the art work that I was exposed to. There were so many fascinating pieces that made me think, that related to history…that intrigued me. I want to keep learning about all of the things that I didn’t have the chance to explore then. So…I was thinking that every week I would pick a work, old or new, classic or modern, famous or unknown, and study it…it’s history, story, technique, inspiration…basically as much as I can about it. I think it’ll be fun…and nostalgic!