Non Western Blog: Korean Art - Joseon Period

The early Joseon period is marked by a distinct body of work that vividly illustrates renowned sceneries and locations in China, infused with literary significance and rich nostalgic associations. While this theme was recognized and adapted during the Goryeo dynasty, it reached unprecedented levels of popularity in the fifteenth and sixteenth centuries, with the majority of surviving paintings hailing from this latter period. The early Joseon scrolls and screens depicting the Eight Views are definitive examples of Korean transformations of this classic theme, showcasing landscapes with broader interpretations. A significant number of these landscapes are crafted in the An Gyeon style, named after the most celebrated and influential landscapist of the early Joseon period. Key characteristics of the An Gyeon style include distinctive cloud-like mountain forms and elegantly rendered pine trees.

            Shin Yun-bok, Boat Party on the Clear River, 1758

Shin Yun-bok

Shin Yun-bok, known as Hyewon, stands out as one of the foremost genre painters of the Joseon period. His genre paintings are unapologetically explicit, showcasing young scholars and noblemen reveling in the company of kisaeng, professional female entertainers. Beyond genre art, Shin excelled in landscapes in the literati style, masterfully portraying birds, animals, and calligraphy. His iconic painting, Boat Party on the Clear River, created in 1758, powerfully serves as an erotic protest against the oppressive Confucian society of Joseon, boldly expressing a desire for individual freedom and personal rebellion. Through his delicate and flowing brushstrokes and exquisite color palette, Shin infuses his genre paintings with a profound sophistication and atmosphere that demands attention.

                                Kim Hong-do, Danwondo, 1784

Kim Hong-do

During the Joseon period, Kim Hong-do, known as Danwon, emerged as a master of genre painting who excelled in a diverse range of artistic styles, including landscape painting, historical portraits, Daoist imagery, as well as bird and flower and Buddhist themes. His iconic work, Danwondo, compellingly captures the melancholic twists and turns of life. It vividly portrays the various facets of daily existence, showcasing ordinary people engaged in work or leisure while also conveying the nuanced sentiments between men and women. While his style may appear somewhat rough and unrefined, the deliberate brushstrokes and restrained color palette create a striking authenticity that is unmistakably impactful.

           Jeong Seon, Geumgangjeondo, Gyeomjae, 1734
  

 Jeong Seon

Another prominent painter of the Joseon period was Jeong Seon, who significantly shaped the landscape of Korean art. His work was heavily influenced by both the Southern and Northern schools of Chinese painting, characterized by an idealistic, unrealistic, and dreamlike quality. Jeong Seon’s innovative approach merged realistic perspectives with metaphysical truths, giving rise to the concept of "true-view landscape" painting. His masterpiece, Geumangjeondo, created in 1734, is based on precise sketches of Mount Geumgang. In this painting, he expertly arranges rocky and earthen mountains in a Taiji formation, capturing the entirety of the mountain from a bird's-eye perspective in a single composition. This piece is a foundational work in Korean landscape painting. Jeong Seon's distinctive technique, which involved applying the brush vertically, further emphasizes his unique style and solidifies his legacy in the art world.

The talent of these Korean artists in landscape painting is truly exceptional, showcasing their mastery of technique and a deep understanding of nature's beauty. Each painting brings to life the rich textures and vibrant colors of the Korean landscape, evoking a sense of serenity and connection to the outdoors. I envision creating a special area in my home that celebrates Korean art, where I can display all three of these stunning pieces. This collection would not only enhance my living space but also serve as a constant reminder of the beauty and artistry of Korean culture.

Bibliography

Jeon, Seong Ho. “Giants of Joseon Art: 3 Korean Painters You Must Know.” Best of Korea, 28 June 2024, https://bestofkorea.com/giants-of-joseon-art-3-korean-artists-you-must-know/#:~:text=Jeong%20Seon%2C%20Kim%20Hong-do%2C%20and%20Shin%20Yun-bok%20are,marking%20an%20important%20era%20of%20Korean%20painting%20history.

Lee, Soyoung. “Art of the Korean Renaissance, 1400–1600: Essay: The Metropolitan Museum of Art: Heilbrunn Timeline of Art History.” The Met’s Heilbrunn Timeline of Art History, 1 Jan. 2010, https://www.metmuseum.org/toah/hd/kore/hd_kore.htm

The National Museum of Korea, "Kim Hongdo, album of genre paintings," in Smarthistory, August 19, 2022, accessed December 1, 2024, https://smarthistory.org/kim-hongdo-album-of-genre-paintings/

Mid Modern Era: Abstract Expressionism

 There were many different art styles emerged during the mid modern era, and Abstract Expressionism was clearly one of them. Abstract Expressionism developed in the context of diverse overlapping sources and inspirations. The crisis of World War II and its aftermath are the key to understanding the concerns of the Abstract Expressionists. Many young artists, troubled by man's dark side and anxiously aware of human irrationality and vulnerability, wanted to express their concerns in a new art of meaning and substance.

     Jackson Pollock, Autumn Rhythm (Number 30), 1950

    Jackson Pollock, Mural, 1943

Jackson Pollock

Abstract Expressionist painter Jackson Pollock was one of the leading figures addressing issues of angst and anxiety, which were prevalent in the post-World War II era. His famous painting, "Autumn Rhythm (Number 30)," was created in his studio—a small barn behind his house in East Hampton. This period marked a high point in modern art, as artists began to move away from representing nature, which had been central to art-making for centuries. Pollock was interested in creating purely abstract forms. He used house paint, allowing it to seep into and stain the canvas rather than merely applying it to the surface. His work includes splashes that resemble dots and others that evoke the feeling of a night sky.

Another magnificent piece by Pollock is the "Mural." He painted this while working as a janitor and handyman at the Museum of Non-Objective Art. It was during this time that Peggy Guggenheim recognized his talent and introduced him to the art patron who would later champion his career. In this work, Pollock employed his signature drip technique, placing the canvas flat on the studio floor while flicking paint in what appeared to be a haphazard manner. However, the drips always flowed downward, suggesting that the canvas was initially standing upright. He regarded this painting as a moment of liberation, pushing beyond the restrictive traditions of easel painting.

            Mark Rothko, No. 210/No. 211 (Orange), 1960

            Mark Rothko, No. 3/No.13, 1949

Mark Rothko

Another significant abstract expressionist painter from the mid-modern era was Mark Rothko. Rothko created the famous painting No. 210/No. 211 (Orange) in 1960, influenced by the postwar period when society faced fundamental questions, particularly in the aftermath of the Holocaust and the introduction of atomic weaponry. He contemplated how one could connect with the spiritual in our modern age. The painting features essentially two colors—orange and dark purple—but each of these colors contains infinite variations. There are numerous shades of yellows and oranges within those spaces, and the purple acts both as a space that the orange can occupy and also as a kind of frame. The result is a seemingly endless set of variations.

Another remarkable masterpiece by Rothko is No. 3/No. 13 (Magenta, Black, Green on Orange) from 1949. This work follows a compositional structure that Rothko explored for 23 years. It features narrowly separated, rectangular blocks of color that hover in a column against a colored background. The edges tend to fade and blur; the colors are never entirely flat. The slight unevenness in their intensity, along with the layering of washes, creates ambiguity, shifting between solidity and intangible depth. Through his work, Rothko clearly expresses basic human emotions such as tragedy, ecstasy, and doom.

       Helen Frankenthaler, The Bay, 1963

       Helen Frankenthaler, Mountains and Sea, 1952
 

Helen Frankenthaler

Inspired by Jackson Pollock, another notable abstract expressionist painter who emerged during the mid-modern era was Helen Frankenthaler. When she painted "The Bay" in 1963, she was already a well-regarded artist. This painting was selected as one of the works for the American pavilion at the 1966 Venice Biennale. Frankenthaler's approach involved a soak-stain method using diluted acrylic paint. This technique provided her with more flexibility in viscosity and movement than oils, allowing her greater control as she poured the thinned paint onto the taut, unprimed canvas, where it would become absorbed into the fabric's weave.

Another remarkable painting by Frankenthaler is "Mountains and Sea," created in 1952. This work exemplifies the staining process, in which an artist pours thinned paint onto raw, unprimed canvas. The result is fields of transparent color that appear to float in space, with the canvas weave establishing the image's flatness. Frankenthaler's art emerged in the aftermath of World War II, which prompted a significant shift in American social consciousness toward abstraction.

For a long time, I didn’t truly appreciate abstract paintings until this moment. It helped me realize how to search for the emotions I was looking for when gazing at these artworks. If given the opportunity, I would love to own "Mural" by Jackson Pollock. I adore the colors and shapes incorporated into that painting; somehow, it speaks to me in a deeply emotional way.

Biography

 Dr. Beth Harris and Dr. Steven Zucker, "Jackson Pollock, Autumn Rhythm," in Smarthistory, December 3, 2020, accessed November 10, 2024, https://smarthistory.org/autumn-rhythm/.

 Katrina Klaasmeyer, "Jackson Pollock, Mural," in Smarthistory, August 9, 2015, accessed November 10, 2024, https://smarthistory.org/jackson-pollock-mural/.

Dr. Margaret C. Conrads and Dr. Steven Zucker, "Mark Rothko, No. 210/No. 211 (Orange), 1960," in Smarthistory, April 6, 2017, accessed November 10, 2024, https://smarthistory.org/rothko-orange/

 Farisa Khalid, "Helen Frankenthaler, The Bay," in Smarthistory, August 9, 2015, accessed November 10, 2024, https://smarthistory.org/frankenthaler-the-bay/.

Mountains and Sea, Frankenthaler, www.nga.gov/audio-video/audio/collection-highlights-east-building-english/mountains-and-sea-frankenthaler.html. Accessed 18 Nov. 2024.

Paul, Stella. “Abstract Expressionism: Essay: The Metropolitan Museum of Art: Heilbrunn Timeline of Art History.” The Met’s Heilbrunn Timeline of Art History, 1 Oct. 2004, https://www.metmuseum.org/toah/hd/abex/hd_abex.htm

Rothko, Mark. “No.3/No.13 (Magenta, Black, Green on Orange), 1949 - Mark Rothko.” Www.Wikiart.Org, 1 Jan. 1970, https://www.wikiart.org/en/mark-rothko/no-3-no-13

             

        

    

Early Modern Era - World War I

 The early modern era was profoundly shaped by World War I, with countless artists directly experiencing combat as soldiers, medics, or war artists capturing the realities at the front. These influential figures produced powerful works either during the conflict or inspired by their firsthand accounts of battle. Artists relentlessly sought a fitting language to articulate the chaos and devastation unleashed by modern industrial warfare. They decisively reevaluated their subject matter, techniques, materials, and styles, as well as their roles and responsibilities as cultural producers.

      Meet Oppenheim, Object, 1936

Meret Oppenheim

One of the most intriguing figures of the early modern era is Meret Oppenheim, a prominent Surrealist artist whose work left a lasting impact on the art world. Oppenheim's journey into the realm of Surrealism began at a remarkably young age, as she immersed herself in the vibrant artistic community of Paris. It was during a fateful moment in 1936 that she conceived her iconic piece, "Object." This inspiration arose while she was seated in a charming Parisian café alongside the renowned artist Pablo Picasso and the captivating Dora Maar. As they engaged in conversation, the trio admired a striking metal bracelet, uniquely adorned with soft, luxurious fur, which Oppenheim happened to be wearing. In a moment of playful creativity, Picasso suggested that anything could be cloaked in fur, sparking Oppenheim's imagination.

The resulting artwork, "Object," quickly ascended to fame for its bold and imaginative exploration of contrasting elements. It exemplifies the Surrealist intention to challenge societal norms by forcibly juxtaposing objects that appear incompatible, thereby dismantling the viewer's sense of reality. The visceral imagery invoked by this piece is particularly striking; the sensation of damp, warm fur brushing against one’s tongue and lips, along with the unsettling vision of liquid flowing over the fur, elicits an immediate feeling of discomfort and repulsion. This art encapsulates the profound conflict between the conscious mind and the depths of the unconscious, offering a window into the psychological tensions that define human experience. Furthermore, the unsettling nature of the piece resonates deeply with the historical trauma of World War I, reflecting the tumultuous emotions of the time. Given its significant thematic depth and innovative composition, "Object" deserves a prominent place in a museum committed to showcasing the complexities and nuances of Surrealist art, where it can continue to engage and provoke thought among audiences.

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      Marcel Duchamp, The Large Glass, 1915

Marcel Duchamp

Another notable artists who emerged during the early modern era and was profoundly influenced by the events surrounding World War I is Marcel Duchamp. In 1915, while residing in New York, he embarked on the creation of his groundbreaking artwork known as "The Large Glass" (officially titled "The Bride Stripped Bare by Her Bachelors, Even"). This piece, which he left unfinished—an aspect he later emphasized when he declared it "genitively unfinished" in 1923—stands out for its innovative approach to art.

Unlike many of his contemporaries, Duchamp did not adhere to the traditional norms of formal abstraction characterized by geometric shapes and lines. Instead, he pursued what he referred to as an abstraction of ideas. Through "The Large Glass," Duchamp sought to explore the complexities of human perception and desire, delving into the often absurd mental landscapes that accompany these experiences. This exploration was particularly poignant given the tumultuous backdrop of World War I, a conflict that claimed millions of lives and left lasting scars on societies around the globe.

Duchamp’s work serves as a reflection on humanity’s impulse to impose rationality on chaotic and irrational experiences, notably human desire—an endeavor that can be perilous, especially during times of war. The societal upheaval caused by the war profoundly influenced many artists of the period, including those involved in the Dadaist movement. This avant-garde movement arose as a direct response to the senseless violence and destruction of the war, critiquing the very art institutions that were seen to perpetuate the ideologies leading to such conflict. "The Large Glass" not only exemplifies Duchamp’s unique artistic vision but also encapsulates the spirit of Dadaism as it challenged traditional artistic conventions and questioned the role of art in a world fraught with instability and absurdity.

                               Francis Picabia, Ideal, 1915

Francis Picabia

Francis Picabia's artwork "Ideal," created in 1915, draws inspiration from his fascination with technical manuals and diagrams, showcasing his deep appreciation for the advancements of the mechanical age. During this period, Picabia was residing in New York, where he engaged in a clandestine wartime mission to acquire supplies across the Americas, cleverly disguising his intentions as an artistic pursuit. 

In "Ideal," Picabia utilizes the concept of machinery as a metaphorical framework to explore the rapid changes and new sensations that defined modernity. His artwork features unconventional combinations of machine parts, which not only celebrate human creativity and invention but also highlight the inherent flaws and limitations of these innovations. This duality is particularly poignant against the backdrop of World War I, a conflict that saw the unprecedented deployment of new technologies, fundamentally transforming the nature of warfare on a global scale.

The themes present in "Ideal" make it an exceptional candidate for display in a machinery or factory museum. The artwork embodies the spirit of the time, encapsulating both the awe of technological progress and the sobering realization of its consequences in human conflict. Through Picabia's unique perspective, viewers are invited to reflect on the complex relationship between humans and the machines they create, a dialogue that remains relevant in today's world.

Each of these artworks possesses a unique beauty, rich in both meaning and history. However, the piece created by Marcel Duchamp stands out to me as the ideal artwork to display in my home. Whenever I gaze upon this particular piece, I am struck by the palpable tension that captures the emotions and turmoil of the First World War. It evokes a sense of the struggle and chaos of that time, making it not just visually striking but also deeply thought-provoking. Displaying this artwork would serve as a constant reminder of the profound impact of history on contemporary life. 

Bibliography

Dr. Stephanie Chadwick, "Francis Picabia, Ideal," in Smarthistory, October 23, 2017, accessed November 4, 2024, https://smarthistory.org/picabia-ideal/

Dr. Lara Kuykendall, "Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) ," in Smarthistory, March 6, 2016, accessed November 4, 2024, https://smarthistory.org/duchamp-largeglass/

Josh R. Rose, Dr. Steven Zucker and Dr. Beth Harris, "Meret Oppenheim, Object (Fur-covered cup,        saucer, and spoon)," in Smarthistory, April 9, 2022, accessed November 4, 2024, https://smarthistory.org/meret-oppenheim-object-fur-covered-cup-saucer-and-spoon/

Farrell, Jennifer. “Art as Influence and Response: A First Look at World War I and the Visual Arts.” The Metropolitan Museum of Art, www.metmuseum.org/perspectives/world-war-i-and-the-visual-arts-introduction. Accessed 4 Nov. 2024.

Preferences and Perspectives - The Romantic Era

Two influential art movements of the 19th century provide unique perspectives on representing the world through art. I will discuss the key differences between Impressionism and Realism, as well as the artists who embraced these styles and created many magnificent works during the 1800s.

Impressionism

Impressionism is an art movement that was born from the traditional form of Realism. However, painters focused heavily on portraying the world as it actually was, without adding any form of coloration, perspective or other elements that impeded the natural imagery one would see with the naked eye.

Realism

Realism was also known as naturalism as many of the painters during this time period turned their sights toward natural settings instead of the various forms of social interactions and daily life that most Impressionists would later use as subject matter.

Differences

The main differences between impressionism and realism is that impressionism aimed to capture the essence of the object and it is relationship with light whereas realism was an attempt to represent subject matter accurately and truthfully particularly ordinary everyday life.

               Claude Monet, Cliff Walk at Pourville, 1882

               Jean-Francois Millet, The Gleaners, 1875

One of the famous artists who mastered the Impressionism style was Claude Monet. He painted "The Cliff Walk at Pourville" in a seaside resort in northwestern France along the English Channel in 1882. In this painting, Monet captures an experience that many of us still enjoy today: taking a vacation by the seaside, walking along the clifftops, feeling the wind, and gazing out at the sea. 

Unlike traditional portraiture, Impressionist painters focused on landscapes, and this painting exemplifies that technique. Monet uses vibrant and bright colors, depicts the vertical features of the rocks to mimic the figures, and employs loose brushstrokes to create movement and atmosphere. Overall, this painting beautifully conveys the essence of its setting.

In Jean-François Millet's renowned painting "The Gleaners," created in 1857, the distinction from Impressionism is striking. Millet employs precise and detailed representations to capture the essence of everyday life, focusing on women who collect leftover grain in the fields after the harvest. This artwork powerfully illustrates the harsh realities of that era, emphasizing how families did everything possible to ensure food on the table. It serves as a poignant reminder of the struggles faced by the impoverished in developing countries, who battle for survival daily. The painting's muted colors and horizon lines accentuate the rounded backs of the gleaners, creating a compelling visual narrative that demands attention.

              Auguste Renior, Luncheon of the Boating Party, 1880-81

            Gustave Courbet, The Meeting, 1854

Another remarkable artist who mastered the Impressionist style is Auguste Renoir. His iconic painting, "Luncheon of the Boating Party," was created between 1880 and 1881 in Paris. This artwork vividly captures an urban scene at a restaurant located just a half-hour train ride from the city. Renoir effectively portrays the vibrancy of city life, where people gather to enjoy leisurely lunches with friends. His open brushwork and soft contours are definitive traits of Impressionism, setting his work apart from others.

In stark contrast is Gustave Courbet's "The Meeting," painted in 1854, which exemplifies realism. This piece presents a detailed depiction of a group of individuals, characterized by subdued and naturalistic colors and lighting. Courbet asserted his presence by including his own portrait, challenging traditional notions of appearance and self-representation. This choice underscores a fundamental truth: many individuals, myself included, are deeply concerned about how we are perceived.

I firmly believe that owning "The Gleaners" and "The Cliff Work at Pourville" would be incredibly meaningful. When I observe "The Gleaners", I am struck by the profound loneliness that accompanies such poverty, where one is left with nothing but leftovers. Likewise, "The Cliff Work at Pourville", with its depiction of someone standing atop a cliff and gazing at the ocean, evokes a deep, poignant sadness in me. These paintings deserve to be showcased in a restaurant that features jazz music, creating a truly enriching atmosphere.

Bibliography

Dr. Beth Harris and Dr. Steven Zucker, "Auguste Renoir, Luncheon of the Boating Party," in Smarthistory, November 12, 2015, accessed October 28, 2024, https://smarthistory.org/renoir-luncheon-of-the-boating-party/

 

Dr. Beth Harris and Dr. Steven Zucker, "Gustave Courbet, Bonjour Monsieur Courbet," in Smarthistory, August 9, 2015, accessed October 28, 2024, https://smarthistory.org/courbet-bonjour-monsieur-courbet/

 

 Dr. Beth Harris and Dr. Steven Zucker, "Jean-François Millet, The Gleaners," in Smarthistory, November 18, 2015, accessed October 28, 2024, https://smarthistory.org/millet-the-gleaners/

 

Dr. Steven Zucker and Dr. Beth Harris, "Claude Monet, Cliff Walk at Pourville," in Smarthistory, December 4, 2015, accessed October 28, 2024, https://smarthistory.org/claude-monet-cliff-walk-at-pourville/.

Artst. “Impressionism vs Realism - What’s the Difference?” Artst, 29 Dec. 2023, www.artst.org/impressionism-vs-realism/.

Classical Blog - Rococo Famous Artists and Their Style

 

        Francois Boucher, Triumph of Venus, 1740 (National Museum, Stockholm.)

        Jean-Honore Fragonard, The Swing, 1767 (Wallace Collection, London.)

       Sir Joshua Reynolds PRA, Portrait of Syacust Ukah, 1762 (Gilcrease Museum, Tulsa)

Classical Art in 1700's was a totally different era for all the artists. The Rococo style has emerged and was directly related to this era. Many famous artists had developed their unique style of painting and among them were Boucher, Fragonard, and Reynolds. 

Francois Boucher

Boucher undertook a journey to Italy to immerse himself in the study of the Venetian Baroque and 17th-century Dutch landscape painting. Upon his return to Paris in the early 1730s, Boucher's artistic style emerged as a well-balanced yet active, lighthearted yet sexually charged expression, embodying the essence of Rococo through its energy and palette. This development foreshadowed Boucher's further exploration of a playful sense of eroticism as a defining element of the genre, as seen in his creation of the Triumph of Venus in 1740. The art piece is a beautiful work that brings me joy, evoking thoughts of my wife and our baby. I aspire to own this painting and display it in a space where my daughter can enjoy it.

Jean-Honore Fragonard

Like Boucher, Fragonard was also influenced by both Italian Baroque and Dutch landscape painting. However, the quick, painterly brushstrokes for which Fragonard was celebrated represent a generational evolution in Rococo. He demonstrated his mastery over various textures, from billowy clouds to dappled leaves and flowers, and the carefully creased fabrics of the couple's clothing. One of his famous artworks was "The Swing" in 1767. This painting was beautifully done and brings joy to those who gaze at it. It reminded me of summertime, when people usually spend time at the playground and use the swing. I would love to own this painting, but it's better suited for a museum because of its historical significance.

Sir Joshua Reynolds

Reynolds studied under Thomas Hudson and Joseph Wright of Derby and drew influence from Old Masters. His style was an amalgamation of international influences, characterized by dramatic lighting, rich colors, and poses borrowed from classical paintings. These elements are evident in his famous painting, the Portrait of Syacust Ukah, 1762. Although the painting seemed dull to me, I could sense the emotion that the artist was trying to reflect. Personally, I wouldn't want to own this painting.

Bibliography

Joshua Reynolds - Biography, Shows, Articles & More | Artsy, www.artsy.net/artist/joshua-reynolds. Accessed 22 Oct. 2024.

10 Artworks That Defined the Rococo Style | Artsy, www.artsy.net/article/artsy-editorial-10-artworks-defined-rococo-style. Accessed 22 Oct. 2024.

Baroque Era Art Analysis - The Glass of Wine by Johannes Vermeer

 

            Johannes Vermeer, The Glass of Wine, c. 1661, oil on canvas (Gemaldegalerie, Staatliche Museen zu Berlin)

There were countless remarkable paintings created during the Baroque period, but one that truly captivated me was "The Glass of Wine" by Johannes Vermeer. This painting exuded an incredible sense of realism, almost akin to a photograph captured by a top-of-the-line camera. The gentle illumination permeating the space through the blue curtain and the distinct geometry in the composition were undeniably awe-inspiring. The squares and rectangles strategically placed throughout the painting, such as the square on the open window, the rectangle of the frame on the back wall, and the square on the back of the chair, along with the perspective on the floor, all contributed to the overall geometric allure. Personally, this painting evoked memories of courting my wife during our dating days. I aspire to own this painting as it remarkably symbolizes the love between my wife and me.

Vermeer's work during the Baroque Era was heavily influenced by the rise of the merchant classes. This period marked exceptional prosperity and social solidarity among the merchant class. A robust middle-class market for contemporary Dutch art emerged, reflecting a celebration of life, prosperity, and the general abundance of products from around the world, such as spices, silk, cotton, and porcelain. This painting distinctly depicted social solidarity, portraying a man, seemingly a musician, and a woman enjoying wine together.

The Renaissance focused on classical ideals and harmony, while the Baroque and Vermeer's work embraced drama and emotion, leading to a more dynamic and ornate aesthetic.

Bibliography

“Johannes Vermeer, the Glass of Wine.” Smarthistory, smarthistory.org/johannes-vermeer-the-glass-of-wine/. Accessed 9 Oct. 2024.

Grisham, Kathleen. Dutch Baroque, instruct.westvalley.edu/grisham/1b_dutbar.html. Accessed 9 Oct. 2024.

Artst. “Renaissance vs Baroque Art - What’s the Difference?” Artst, 29 Dec. 2023, www.artst.org/renaissance-vs-baroque-art/.

School of Athens Art Analysis

 

            Raphael, School of Athens, fresco, 1509 - 1511 (Stanza Della Segnatura, Papal Palace, Vatican)

I have always been captivated by the famous painting "School of Athens" by Raphael. It is one of my favorite works from the Renaissance period. I admire the artist's talent and knowledge that he poured into creating this magnificent piece. It's fascinating to note that Raphael was influenced by Michelangelo's work, especially since Michelangelo was painting the Sistine Chapel ceiling nearby during the High Renaissance.

This painting reminds me of how I used to admire a famous basketball player and tried to emulate his moves after watching his highlights while growing up. I believe "School of Athens" would be a perfect fit for a library, almost like a bookshelf where the philosophers depicted in the painting are the books filled with all the knowledge in the world. I dream of owning a painting like this one day and hanging it over my study room.

I identified four main art elements in this painting. Firstly, the use of color is striking. The two central philosophers, Plato and Aristotle, are depicted in contrasting colors. Plato wears red and purple, symbolizing the ether and fire, which do not have weight. On the other hand, Aristotle wears blue and brown, representing earth and water, which do have weight.

The second and third elements I noticed were shape and form. There are geometric shapes such as squares, rectangles, and cubes throughout the painting. Additionally, I spotted a person holding a globe, which is another type of geometric diagram.

Lastly, the use of line is prominent in the painting. Raphael employed linear perspective to create a sense of depth and space. The central vanishing point, located at the feet of Plato and Aristotle, serves to create the illusion of depth and distance by causing all parallel lines in the painting to converge.

     School of Athens. Perspective: Central Vanishing Point

Bibliography

Zucker , S. and Harris, B. (May 22, 2017) A-level: Raphael, school of athens, Smarthistory. 

          Available at: https://smarthistory.org/raphael-school-of-athens-2/ (Accessed: 16 September 2024).

Raphael: The School of Athens, 1509. perspective: Central vanishing point (no date) Raphael: The School of Athens. Perspective, Vanishing Point. Interactive Map. Antonio Gutierrez. Available at: https://gogeometry.com/geometric_art/school_athens_perspective.html#:~:text=In%20%22The%20School%20of%20Athens%2C%22%20Rap (Accessed: 16 September 2024).