Introduction to Avant-Guarde: Manet

Art created in the nineteenth century created a new category of art called the Avant-Guarde. This is a term first associated with art by Saint Simon, who encouraged artists to create works that motivated society to do things for the greater good. The term Avant-Guarde was originally used to describe the soldiers in the French military who were ahead of the troops. After its association with art, it was coined to identify artists who went beyond others and challenged the artistic standards governed by the Academy. Avant-Guarde is connected with art that is seen as revolutionary, or innovative. Artists considered to be part of this were those who challenged traditional conventions such as realism and illusionism, which is what the Academy holds in high regards.

            Manet is a great example of Avant-Guarde painting. In fact, in 1960 Clement Greenberg, author of the “Modernist Painting” essay, claimed that Manet’s work began the Modernist movement. Greenberg argued that nineteenth century painting started to “purify” itself and get rid of the more traditional elements of art such as illusionism; it simply becomes nothing more than paint on a canvas. One of Manet’s most controversial paintings is Le Dejeuner sur L’herbe. First of all, it is obvious that Manet has broken away from traditional conventions with his technique. Paintings of the sixteenth and seventeenth centuries, for example, were smooth and the paint was well blended and varnished several times. Manet, on the other hand, left his brush strokes visible because he wanted his painting to look flat, to diminish perspective. Manet has given the viewer a reference to the art world with his incorporation of a nude woman. However, alongside the woman are two modern clothed men. This sparks a bit of confusion in the viewer. The men’s style of clothing suggests that this scene takes place in modern day, and that this is a representation of an everyday occurrence. What is so strange is that these characteristics of the naked woman and the men are casually combined into one painting. What is interesting about the naked woman is that she is facing the two men as if engaging in conversation, but she is turned gazing at the viewer as if to include them in the scene. Another element of the Academy’s tradition that Manet ruins is the illusionism of depth. For example, the woman in the water behind the picnic does not appear as far away as the artist is suggesting. In order for the image to make sense spatially, she would have to be much smaller in proportion to the three people in the foreground. In conclusion, Manet’s painting Le Dejeuner sur L’herbe is a perfect example of an Avant-Guarde painting because of his modern approach to subject matter and technique that goes against traditional conventions established by the Academy.       

My Favorite Style within Renaissance Art

I have studied art from the Renaissance period in previous courses. However one aspect of European art that intrigued me in this class was Mannerism. I had never heard the term before taking this class and it was a pleasure to learn about something new and interesting!

                I am an oil painter and I am so fascinated with the Mannerist style because I feel that I have a connection with the strangeness of some works. I completed my first oil painting in high school and most of my inspiration was drawn from Renaissance artists. Though, as an artist, I’ve evolved into more of a surrealist which explains why I enjoy mannerism so much because that seemed to be the ‘Surrealism’ period of the Renaissance.  I love looking at a piece of work and being forced to ask questions. For example, when I first saw the painting Madonna with the Long Neck by Parmigianino, I had several questions going through my head. I wondered why the artist made the child’s body so large and why the Madonna’s head was so tiny, not to mention the un-functional pillar in the background. I couldn’t take my eyes off of this piece because it was so interesting to me. Parmigianino made his figures so realistic in terms of texture and color, which is why the proportions in this composition are so bothersome to look at. For example, if the baby’s head, hands and feet were covered, he would look normal because of the musculature and subtleties that the artist captured. One of my favorite parts of the piece, though, is the set of pillars lined up in the background. Parmigianino has completely de-functionalized classically derived architectural form which is shocking at first glance and makes the piece that much more unpredictable.   

                Another work that held my attention was Allegory with Venus and Cupid by Bronzino. This painting appears to be completely bizarre to most of its viewers and to me it seems a bit overwhelming. However, I am so attracted to this piece because of its strange ability to hypnotize the viewer into believing that the imagery is acceptable. The situation depicted in this painting is disturbing and uncomfortable but is redeemed by its unique characteristics and different taste that makes the viewer want to analyze every part of it. I am obsessed with the awkward poses that Bronzino has trapped the figures in. I even find a bit of humor looking at this painting simply because the inappropriate behavior between Cupid and Venus is unsettling as it is, but then to the right of them, a young child is running up about the throw flower petals at them as if celebrating their relationship. It is so absurd, I love it!

                In my own work, I tend to exaggerate details and color. I am attracted to vibrant and unnatural color while utilizing true-to-life characteristics. As did the mannerist artists, I am inspired by naturalistic and classical artistic styles, but I exaggerate them while keeping the imagery believable.