15th Century Italy: Masaccio's Expulsion of Adam and Eve

One painting from fifteenth century Italy that I found particularly interesting is called the Expulsion of Adam and Eve from Paradise by Masaccio. This painting immediately sparks a sense of rejection and vulnerability in the viewer from the effect of the nakedness of Adam and Eve and the body language that they possess. The elements that intensify this reaction were commonly used in Italian painting during the Early Renaissance.

With the rise of the Renaissance came naturalism. In the Expulsion, we see that the proportions of Adam and Eve are very life-like. The way Adam is hunched over while Eve tilts her head back in despair is quite naturalistic and contrasts the stiff poses that we studied in ancient art. Masaccio was building his figures off of their bone structure to get an idea of the actual body mass, instead of focusing on the details solely on the surface of the figures, like Flemish painters. For instance, the figures’ knees and Adam’s arms pulling in from his shoulders are very human-like. Another thing that stuck out to me is Adam’s hair. Southern European artists tended to stylize things like hair, in little ringlets and swirls, going back to the classical look. In this painting, however, Adam’s hair is more impressionistic. It’s natural in the way the light source is casting shadows upon his tangled locks, the viewer can get a sense of the texture and waviness of his hair. More unnaturally, line is utilized at the left side of the painting perhaps to show God’s disappointment as he shouts at them from his throne to leave The Garden of Eden because of their sinful lifestyle.

Furthermore, atmospheric perspective became a popular method of implying space in painting. Here, the viewer can see that there is space behind the two figures given by the illusion of mountains in the background. The foreground color is a bit darker and as it recedes into the background the color becomes lighter to describe that the mountains are farther away. Another technique used in this painting to emphasize depth is the foreshortening of the angel. The viewer can see the upper body of the angel, but because her lower body is farther back in space, we can only see the shape of her right leg pulled forward under the fabric of her dress.

This painting is so appealing to me specifically because of Eve. Masaccio’s modest depiction of her is appropriate for this situation because after she and Adam were kicked out of Eden, they walked away mourning and covering themselves in fear of being seen naked. This is similar to the Venus. I find the “pudica” venus of the Renaissance extremely fascinating and Eve is the epitome of her. For her sin, God bestowed her with the discomfort and embarrassment of being nude. No longer is she free to roam around top less but she feels as if she is being watched and therefore covers herself. This draws more attention to Eve’s sexuality and idealizes her body which is a frequent image created in Italian painting. Naturally, the arousal created by the image of the pudica venus, or in this case Eve, is ideal.    

                The first thing that caught my attention in this painting was the visible sections of variations of blue in the sky. This leads me to believe that this is a wet fresco painting because most artists used this format often. The sections of blues indicate that Masaccio had to paint quickly in different sections one at a time.    

                All in all, Masaccio’s painting is a great example of some of the most commonly used formal elements in Italian painting in the fifteenth century. The viewer sees evidence of the religion and culture through the narrative.  We see the illusion of space created through atmospheric perspective and light and most prominently, naturalism coupled with idealism to duplicate nature and create the ideal in celebration of the human form. 

15th Century Europe: The Renaissance

The fifteenth century brought forth brilliant artists in Northern Europe who created astounding pieces of work that is still praised to this day. This was the Renaissance period. These Northern European artists were inspired by Aristotle’s ideas presented on practicality, which led them to mainly focus on naturalism. Artists wanted to translate a sense of reality in their paintings directly from the world we live in. For years before this time, artists had focused on the stylization of characters and their subject matter, but in the fifteenth century it was quite the opposite. Artists recreated exactly what they saw and kept images true to their real-life forms.

                Other highly valued ideas during the Renaissance were Catholicism, portraiture, humanism, and the invention of the printing press. Catholicism played an important role in northern Europe during this time and it is shown through most of the works created. For example, the great altarpieces of Ghent and Portinairi were painted by Jan van Eyck and Hugo van der Goes, two of the greatest artists of this time. Although graven images and idolatry were frowned upon by Catholics, Eyck was accepted by the courts for his personal skill and fame. Also, people believed in sacred space in that objects of sacred representation would enter the soul when they saw them.

                Portraits were all the rage in fifteenth century Europe and were thought to reveal deep spiritual desires. Jan van Eyck was regarded as one of the greatest artists of all time and was the artists of several portraits. In fact, it was special to be painted by Eyck himself. (More about Eyck later) Eyck especially, expressed exact details of whom he was painting. Every wrinkle, every follicle of hair, every reflection was painted with the most extreme focus on detail, which is the main reason why the Renaissance is so artistically valued.

                Artistic status was also a crucial element during the Renaissance. Most artists relied on the help from joining a guild. The guild system allowed artists to find work and gain more recognition. The only downside was that those fine artists were put in the same group as craftsmen an were therefore referred to as such. Because of this, a sort of tension developed between artists wanting to be recognized and not be associated as craftsmen. For example, if an artist achieved a high status in a guild, that artist was still in a lower status outside of the guild because he was a craftsman. To become a “master,” or great artist in the guild, one must create his/her masterpiece, in which it meets the standard of quality. Few artists, however, were able to build a reputation on their own without the help of a guild. One artist in particular, was Jan van Eyck. He was the court painter for Phillip the Good, a Duke of Burgundy. Eyck supposedly went on secret missions as ambassador for the Duke and painted portraits of prospective spouses for him. Eyck was so skillful that his clients were not based on the court’s decision and was free to work for whomever he wished. Jan van Eyck was aware of his greatness and often celebrated his achievements in several paintings. For instance, his own self portrait is a representation of his self-awareness and the red turban around his head is a symbol seen in other works he has done. Also, Eyck includes signatures in his paintings, also dates, personal mottos and even reflections of himself.      

                During the Renaissance, art became somewhat of a luxury object. Works were shared internationally and artists were appointed to the courts of royalty. Because of this, some art seemed to have the same expensive look and elegant style. This repetition of style consisted of using thin layers of oil paint, the placement of hidden symbols, perspective and careful attention to detail. Most importantly, though, was the lack of stylization and idealistic qualities with more focus on naturalistic qualities. For example, the Northern artist Claus Sleuter sculpted a work that is today called the Well of Moses. In this piece, Moses appears to be very life-like and real. Sleuter carved his face with deep wrinkles and thick skin. In contrast to this, southern artist Michelangelo’s version of Moses is much more idealistic and has great muscles implied underneath his clothing which seems much less natural.

                I find the Renaissance extremely interesting and I am very impressed with Jan van Eyck’s work. Examining his paintings make me realize how much time it must have taken him to paint these wonderful pieces and why they are so prized!       

  

My Thoughts on the Renaissance

The Renaissance was a period of incredible growth in Europe that rose in the fifteenth century. After the middle, or “dark” ages Europeans thought of this era as the rebirth of humanity full of art and literature that grew from classical elements from their ancestors and Christianity to pull them from decline.

The majority of Renaissance art appear to be based on religion, science or self devotion. The Virgin Mary and her child Jesus Christ seem to be the star models in hundreds of paintings from this time. The exquisite portraiture, which became a huge part of the Renaissance, is due to the wealthy families able to show off their prized portraits. Every detail in every portrait was executed with an almost unattractive realistic quality. One big thing I noticed about art in the Renaissance was the use of background. Italian artists wanted to portray realistic qualities in their art not only with objects and people, but with space. With the advancements in science and education, the mathematical system of linear perspective became the best invention. Space was not solely implied by overlap at this point; artists used foreshortening, placement and change in scale to express a three dimensional space. Art had become so realistic and accurately depicted that our culture today still praises it. During the Renaissance, education and scientific discoveries were all the rage. Artist and inventor, Leonardo Da Vinci, has gone down in history for many things. For example, his fascination with the human body led him to create a proportion scale for the human body that was used in art. I am extremely captivated by human anatomy as well and Da Vinci has always been an inspiration to me. I am looking forward to learning more about this time period!        

My Favorite Part

Before this quarter, I have never studied ancient art. I enjoyed every time period that we went through, but I was most interested in prehistoric art.

For example, the Venus of Willendorf was quite astonishing in the sense that even in the beginnings of human kind; prehistoric people were already advanced enough to carve her from a chunk of limestone. This was before any technology existed, and since sculptures such as this are some of the only evidence of prehistoric human life, these people must have been more intelligent than most of us believe. There are several debates on what these carvings were used for. One of the possibilities that appeals to me is that these little sculptures were intended to be used as fertility idols and perhaps education of feminine hygiene. I am particularly intrigued by the statuette’s lack of feet and facial features. Also, her voluptuous shape seems rather unsuitable for the time period of hunters and gatherers. I found the idea that pregnant women may have used their own bodies as a model very appealing. As if they observed each side looking down and as a result, it creates this obese effect. The Venus itself is quite interesting in shape and size; however I think I am more curious about its historical context. Where is it from? How did they carve the limestone? Were they using a model? Did they carry it around with them everywhere as an idol?

Other works of art that I found most interesting are the cave paintings. I am so amazed at how talented prehistoric people were. For example, the cave paintings at Lascaux, France are so captivating. The walls are so high; I am curious how they even got up there. Not to mention how people were able to crawl and climb through the dark, narrow caves where some paintings are located. One thing I found really interesting is the silhouette of a handprint next to the painting of the dotted horse. The fact that they blew pigment from a straw to get this airbrush effect is astounding. My guess to why that person’s handprint is there is that it was intended to be a signature, or form of identity. I am also curious if the stories portrayed in some of these paintings are memories of true events. For example, one of the Lascaux paintings demonstrates a man lying dead in front of a bison with its intestines hanging out of its stomach. I also find it interesting that prehistoric people probably painted these figures without any model or picture, purely from imagination. It was fun to explore these different possibilities in class. Because this piece is so ancient and there is no proof of origin and no recorded history, no one really knows the answers, we just have theories. I find this very fascinating.  

Byzantine and Early Medieval Art

The artists of the Byzantine and early Medieval period focused less on natural or realistic properties in their art and more on the stylization of their subject and the piece as a whole. This was done to evoke specific emotions and feelings in the viewer. Two pieces from this period that demonstrate this quite well are the Crucifixion (Stokstad 250) and the Virgin and Child with Saints and Angels (Stokstad 245).

The Crucifixion is an eleventh century mosaic from the Church of the Dormition of Daphni, Greece. This work demonstrates the death of Jesus Christ on the cross as Mary and the apostle John mourn below him. The background appears to be of gold which creates the illusion of another world, or some empty space. However, the flowers at the foot of the cross may represent life or keep the viewer grounded in the material world. Mary and John’s movements almost seem restrained with the way that they are posed. Perhaps this was done to impose feelings in the viewer to strengthen their means of worship and prayer. Also, the top of the mosaic has been worn away, but perhaps angels were above the cross praying for him, which could imply the power and importance of prayer as well. Something I noticed immediately that is very unrealistic was the blood and water spewing out of Christ’s right side as if it was a fountain. It seems like the Virgin Mary is reaching out to catch his holy blood. This reminds me of communion in a Christian church, when one takes the blood and body of Christ in worship to thank him for his sacrifice. This could also attribute to baptismal rites. Another subject that is heavily stylized is the skull laying in the foreground; the nose is shaped as a sharp triangle and it shows only three teeth. This skull is said to symbolize Golgotha, which is where the crucifixion supposedly happened outside of ancient Jerusalem. The blood dripping down from Jesus’ feet onto the skull demonstrate the belief that he was the new Adam, and that his sacrifice saved all of the people from the corruption and sins of Adam and Eve. For example, in I Corinthians 15:22, Paul wrote, “For just as in Adam all die, so too in Christ shall all be brought to life”. The purpose of this mosaic was to help devout Christians establish an emotional and intellectual connection with the divine power through worship and meditaiton.

    

Christians in the early Byzantine period used painted panels of Mary, Christ and the Saints to aid them in prayer during worshiping services. These were known as icons. The Virgin and Child with Saints and Angels is an icon from the second half of the sixth century. Mary, who was also known as Theotokos, which is Greek for “the bearer of God”, is centered and surrounded by two saints and two angels. She was known as a forgiving and powerful mother, also referring her to the Seat of Wisdom. Mary is holding Jesus in her lap as she sits on a golden throne. Other depictions such as this one perhaps imply that she is the Throne of Solomon. There are two angels behind Mary and Jesus looking upward toward the Heavens; neither four of them are looking straight forward. The two saints, on the other hand, are gazing right at the viewer. These men, known as George (right) and Theodore (left), were brave and courageous saints who exemplify the happiness of the Church instead of paganism. These two saints appear to be the only stylized aspects of the painting. Their garments completely hide the human form underneath them. There is no sense of depth or dimensionality achieved and they are completely motionless. Perhaps their intense stares and crosses at hand are meant to intimidate the viewer into staying faithful to God. Their stiff and long posture gives off a sense of security while their peering eyes and blank faces demand conditional respect and devotion to God.       

Propagandistic Sculpture in Roman History

At the start of the Common Era, Roman leaders used imperial portraits of themselves as a source of propaganda. Two sculptures in particular that reveal this quality are the bust of Commodus as Hercules and the Portrait Head of Caracalla.

Commodus Aurelius reigned from 180 CE to 192 CE after his father Marcus Aurelius. Although Marcus was an attentive and powerful conquer, these characteristics did not succeed to his son’s rule. Commodus had no sense of political authority, or social skills. He treated himself to luxury and thought very highly of himself. As one can see, Commodus is crowned with the head of the Nemean lion, has Hercules’ club and is holding the golden apples of the Garden of Hesperides.  Also, the ringlets of his loose curly hair are a classic example of Greek portraits, thus implying he was a god. This proves that he believed to be the manifestation of the god Jupider and the epitome of Hercules. He was really feeling cocky when he wanted to acquire consulship presented in a gladiator’s ensemble, which in turn led to his arranged death by his mistress and affiliates. His conceited personality and flamboyant attire go along perfectly with the stylized body build portrayed in the statue. The meaning of Commodus’s statue is aimed towards the Roman people. He was conceited and his ego seemed to be larger than his political popularity.

The other figure of Caracalla on the other hand was tough as nails but needn’t express it with extravagant things. The high contrast and intensity of his eyes alone gives him a strong sense of authority and power. Caracalla and his brother, Geta, shared the co-emperor position. However, Caracalla wanted the power all to himself so he killed his brother and became emperor of Rome from 211 CE to his death in 217 CE. This clearly demonstrates his selfish and dominating habits from the get-go. The angry expression and hardness of his face depicts his lack of tolerance for anything that disturbs his authority. His short and well-trimmed hair gives him a solid and ready-to-fight appearance. He guarded the Empire and confronted enemies with control and stern authority. This is what makes his statue more widely understood among others; he wanted to be seen as a powerful leader and to have an influence over everyone, including his enemies.

These two statues are similar in a sense that they both try to portray strength and power, however, Commodus is bluffing and Caracalla is the real power-house. These figures also represent a shift in the constitution of imperial rule from a previous ruler such as the peaceful Agustus to the firm grip of Caracalla.     

Our Perception of Grecian Sculpture

Just a few hundred years before Common Era, Greek artists sculpted white marble to create life-like statues of people. Historians and scholars claim that these statues were painted instead of leaving them white, which, due to age, is how we see them today. When art historian Joachim Winckelmann presented the idea of “good taste” during the eighteenth century, he gave the impression that art in its simplest form is the most beautiful. He was convinced that the Greek people intentionally left their sculptures paint-less and praised the Greek artists for their pure and simple style. According to Winckelmann, less is more.

I feel that this idea brings us to think that the art we view from thousands of years ago is how the artists intended it to look then. We can study art in its state today, but we also need to look further back to figure out how it looked when it was made. Paint, for example, may flake off over time. It seems unrealistic that a piece of art can look the same for thousands of years without any sign of corrosion or damage. Understanding the history of the piece is going to help us learn about the Greek style and how we as human beings have developed new artistic techniques over time.

Greek art is notorious for appearing naturalistic. However, they used the paint to give their work a more natural look. The Greeks rendered the human body perfectly and I think the paint may have distracted from the beauty of the form in a way that wouldn’t be pleasing, especially with the use of busy patterns and primary colors. After seeing the reconstructions of the Peplos Kore and the Archer, I think that they would seem more realistic with paint, but I do not like the color choice so much. I love bright and vibrant colors, but they almost seem too doll-like. I never realized that these old sculptures were originally painted until now. I believed that the Greeks left these statues as white marble to emphasize the power of the gods, as if they were not human. I agree with Winckelmann in the sense that the pure unpainted marble makes the statues more beautiful.  The fact that the remains of Grecian art are so old and precious gives them an angelic and immortal kind of vibe when I see them today. Most of the sculptures are nude and the viewer can see the figure in great detail. It is almost as if the sculptures have a natural glow without paint. I am extremely fascinated with the human body so seeing these great sculptures without color allows me to see how the light hits the curves of the human body. For example, the sculpture of the Dying Warrior demonstrates the muscles throughout a man’s body. The high contrast of the highlights and shadows in his abdomen and face are really eye catching and I love the vividness of it. I cannot get this effect as much if the figure is painted.