http://library.artstor.org.ezp.lib.cwu.edu/library/iv2.html?parent=true

Information obtained from Artstor archives.

http://books.google.com/books?id=AhQKAGt9sSsC&pg=PA45&lpg=PA45&dq=Erigone+clodion&source=bl&ots=u_nB_XA9QW&sig=5RY2lz67lEXypEQrgTcdesNPIfs&hl=en&sa=X&ei=5sROT6KEIc_MmAWcisWjCg&ved=0CB8Q6AEwAA#v=onepage&q=Erigone%20clodion&f=false

http://www.art-directory.info/fine-art/claude-michel-clodion-1738/

This beautiful piece by artist, Claude Michel Clodion whom was born on December 20, 1738 is one of classical lines and renaissance ideals. A sculpture that is supposed to  represent the position of fall in the seasonal calendar. We come to understand this in the book written by Micheael Preston Worleys. It is entitled “Pierre Julien: sculptor to Queen Marie-Antoinette”

and was written in 2003. He makes the statement “Clodion’s Erigone exists in three verisions: terracottas in the Stockhom museum (1777) and the Petit palais, Paris, signed and dated 1783, as well as a life-size plaster version in the Chateau of Maisons-Laffitte., finished 1782.” He goes on to inform the reader that this in one of the four seasons and commonly known as autumn. It has reminders that hearken back to the renaissance piece the birth of Venus.

The symbolism of the shell in the background and the sea monsters in the upper corners of the piece bring the sea and its bounty as well as its dangers to life. This very classical beauty is carved from white marble in an alcove of a perfect archway. The architecture that this statue stands with is a minimalist work of art showing off our lovely Venus to her best light.  She seems to be holding back the potential disaster while offering the rewards to be had.

Anatomically correct and yet still a work of idealism. We seem to see a goddess that is both at rest while her face is showing worry and contemplation. The cloth that is being used to cover her innocence is fighting a losing battle. It appears tattered and tore as if the god’s demanded to know her intimately as she is both covered and yet revealing her underline form.

Clodion created this piece to be tucked away in “In a niche in the summer dining room of the Comte d'Arto”, according to the libraries information on this piece in their collection. I tried to find out more about this piece what I discovered is that this artist is very well known and traded. After his death on March 28^th, 1814 in Paris his use of rococo era while supported by the patronage of the King. This was a very interesting paper to write. I learned that Clodion worked in many satyrs in his work with beautiful nude female forms. He seems to be saying the female is delicate and should be treated as such. For without the strength of men she should be overcome by the evils of the world and cease to exist.

week 8 David

One of the most visually important differences between these two sculptures of David is in the face. Bernini’s David is a study of concentration. His is a stern and forceful personality with a face that shows how important the connection of his weapon to his enemy is. We see the look of near anger as he has already measured up his opponent and is now in the process of attack. Michelangelo’s David has the serene face of one that has nothing to worry about. Relaxed and at ease with his situation, perhaps we are seeing David before he even is aware that he will face the giant Goliath.

Another difference is in the attempt to give a sense of decency to the physical form of the two sculptures. Michelangelo’s David is seen in all of his glory. A youth with a healthy body beautiful in face and form. There is no attempt to cover up the genitalia of David here by his carver. Bernini’s David is blessed that a stray bit of cloth has come to his rescue to protect his dignity.

In addition there is the color of the marble used. Bernini has chosen a stone that seems dirty giving his statue more of the feeling of common men. This is no pristine youth he does not spend his time away from the sun and enjoying the pleasures of the baths. Michelangelo’s youth is nearly perfectly white as if to say that he is blameless and perfection before God. Obviously a vision of idealized perfection this David invites the stares of his admirers.

These differences combined with movement implied in Bernini’s statue are differences in how people in the baroque period were looking to make art and religion reflect the reality of life. Yes, artists still used idealized bodies and they still worked on items for the church however they also used movement among other things to get the viewer involved. Bernini’s David captures our attention and keeps it as we become invested in the unwinding of his body that will never come. In his work we are watching the past come to life.

Michelangelo’s David is a handsome youth created to stand on top of the cathedral. We admire the sheer size of the statue and the perfection of his smooth body. The very stance of this statue says I am in no hurry. He commands attention and it is hard as the viewer not to pay the attention demanded. The renaissance has been kind to this David as he is the perfect specimen of idealism.

Week 6 Protestant Reformation

As discussed during the lecture protestant reformation brought with it an ideal that no idol or image of the gods should be made. This caused the artist to turn to the everyday day lives of men and turning of the seasons to bring forth new portraits of daily life to the patron. We now see large scale paintings such as those created by Bruegel the Elder in his cycles of the Months for this blog let’s stick with "Return of The Hunters". Here there is no deliberate portrayal of God's person rather we are given the grand view of a snow covered landscape in which the humans are just actors in the scene. Here is God’s grandeur being harvested and consumed by men.

Instead of having iconic images of the bible displayed in churches and homes men began to fill their need for art with landscapes with men at work and play. In this painting we see the layout of a valley from the crest of a hill. We see hunters headed home with their bounty on their back with their faithful companions at hand. On the far left of the scene there are people tending to an outdoor fire where a pig is being prepared after being butchered and down in the valley there are children sledding the right hand lower corner. Our eyes are led by the row of trees down to the town and the lakes that have fishermen and skaters. The carriage is headed to the far side of town and from there we can see the road that if followed will led back into the wilderness. The birds in the sleeping trees, bright snow, and distance seem to say the road is long but the journey is worth it.

This painting also says a great deal about the gifts God has given without the iconic images that we have come to expect when Catholicism was the only religion. In that time period we would have seen images of the crucifixion, saints, the virgin, heaven, and the torments of hell. There are no angels. There is no hint that the worst is coming your way only a message that if you work hard you will be rewarded. The triumphant hunters seem to say we have persevered and have come away with the bounty due to us.

This is about the plight of man as well. It says if you live your life according to all that is right you will be blessed. Although this is winter it would seem from the animals and people involved in the landscape that this is a time of plenty. The stores have been laid in for the hard times and the harvesting that is done currently is for enjoyment and pleasure so long as we do not forget to be frugal the hard bite of winter can be overcome. We are seeing the lesson of moral behavior being connected with having all we need and being grateful for what we have. While leaving the idols and images of the goddesses/gods and saints behind.

Week 5 Mannerism Entombment and Madonna

For this blog I have chosen to analyze Pontormo’s Entombment and Parmigianino’s Madonna with the Long Neck. Both of these paintings express mannerism in the way that the people are manipulated to express human emotions.  The expression of the characters within the paintings along with little or no visual support gives the artist the ability to touch the soul of the viewer.

In Pontormo’s Entombment the face of Christ is smooth and at rest his hands are marked from the cross and yet the famed framed work is nowhere to be seen.  The weight of his body is supported by two men whom bear his weight in their faces that reveal shock and pain. The loss of her son is very evident on the face of Mother Mary. The surrounding figures show their sadness and concern for Mary as they attend to her and body of Christ. The presentation of his body to his mother is a strong scene of emotional distress. The only real support that we see given to the figures in the paintings come from the feet of the three figures in the foreground of the scene. In addition the two women shown with their backs to the viewer seem to say the dead are gone it is time to attend to the living.

While the Madonna with the Long Neck by Parmigianino shows a background that is set in a space that provides ground to stand on but little in the way of scenery. We see a column that does not belong and a representation of a man interrupted in reading from a scroll.  In the foreground we see Mary with the Christ child in her lap in a deep sleep. There is the look of adoration in the face of the young boy on the far left while gazing at the face of Mary. Her face shows a deep love for her son while she shows off the sleeping child. Mary’s body is out of proportion giving her the physical proportions of woman whom is larger on bottom than on top. We see a small boy in apparent contemplation. While the remaining children seem crammed in together and are looking out at the viewer and beyond.

Each of these paintings give the viewer the point of view of the artist and their impression of the scene they are painting. Human manners and the expression of the faces of the models cause the viewer to have a more visceral response to the paintings. In viewing the Entombment you can feel the loss of the son of Mary and the effect it had on his mother and her attendants. While in the Madonna we can see the adoration of the mother and the son. In addition we see the artists ability to create support where support does not exist. Mannerism is evident in how the artist manipulated the characters and their scenes to affect the emotional response of the viewer.