Manga Hit the Mainstream

To continue with the trend of eastern artwork, this blog will be focused on the centuries old art style of manga. Much like anime, manga has seen little exposure to the western world until recently. but regardless of it's standing in western culture, manga is incredibly popular in the east. In addition, much of eastern entertainment revolves around manga or it's animation (anime). Like anime, I first discovered manga in middle school and while reading from right to left took some getting used to, the art style remains as one of my favorite past times. 

One Piece, Eiichiro Oda

Tokyo, Japan

c. 2010

    The first manga panel comes from Eiichiro Oda's One Piece. When looking at this piece (and knowing the backstory between the two brother, Ace and Luffy) I am filled with immense sadness. We have the older brother Ace sacrificing himself in order to allow his younger brother to escape. The first element of art to not here would be the various lines that make up the bodies of the three figures in the panel. First in the background we have Akainu. His is a stance of power, flowing forward with force and leading with his fist. Next we have the midground that is Ace. His is a stance of fortitude, the lines that make up his body are straight and strong, he is acting as the last line of defense for his younger brother. Finally in the foreground we have Luffy. While straight like Ace, there are a lot of breaks in his lines, the bent arm, the bent legs, and bent torso. This gives off the impression that he was caught off balance and unaware.

    To further drive home that feeling of power from Akainu, protection from Ace and surprise from Luffy, we can look at the next element of art, space. Akainu towers over Ace and Luffy, looking down on them. Ace has less space between himself and Akainu and more between himself and Luffy, adding this to his stance and you are able to see how he has positioned himself to protect Luffy. Finally, we have Luffy, the noticeable gap between himself and the other two figures and how there is no space between his torso and the ground put him in a defensive position. 

    The third and final element of art used to portray this story of protection comes in the form of Akainu and Ace. Akainu leads with his fist, following through with his massive body makes his shape look like that of a triangle, angled to attack and penetrate. Ace is spread wide and straight. His body taking the form of a rectangle, a wall to protect his brother. 

    Knowing how much story and history is wrapped up in this piece, I would happily own a copy. 

Haikyu!!, Haruichi Furudate

Tokyo, Japan

c. 2020

    Next we have a scene from one of my favorite sport's mangas, Haikyu!!Getting right into it, we'll start with how lines work in the right two panels. Lines here help us to understand the motion and intensity of the game. One of the players has just spiked a ball with so much force and spin that even with what looks to be a perfect receive in the top panel, it shoots off to the left. The viewer is able to track the line of the ball and get a sense of the level of play that is this game. Next, we will talk about spacing. In the bottom right panel, spacing here is used to cement the idea that this is a real game. We have players realistically spaced apart with two of them being close and up to the net in order to block, three of them spaced out in the back ready to receive and the sixth player ready at the center in order to set the ball. This attention to detail in the spacing of the figures helps the viewer be invested in the action that is ongoing. Finally, I want to look at the use of color in the volleyball in the top right panel. Even though it is in black and white, Furudate uses a white strikes through what would be the black and solid design on the volleyball, this is used as a way to have the viewer understand the intense amount of spin that is placed on the ball. The ball is rotating so fast that the design is becoming blurred and hard to see. 

    When looking at this panel, I am filled with a sense of excitement. The players are mid match and the level of play is professional, each team being filled with outstanding players. I would love to own a blown up version of this panel.

Hikaru no Go, Yumi Hotta & Takeshi Obata

Tokyo, Japan

c. 2003

    Finally, I will talk about Hotta & Obata's Hikaru no Go. I grew up playing chess, a very common and strategic game. Hikaru no Go focuses on the eastern game of Go, an old and also very strategic game. When I look at these collection of panels, I can feel the seriousness and intensity of the game being played. 

    The first element will be space. In the top left panel, we have the two players facing each other with three officials in the background. Everything is spaced evenly, this helps bring forward the formality of the scene. Second, I want to look at the choice of color in the bottom left panel. Grandmaster Koyo Toya is seen responding to Hikaru's earlier move, placing a white pebble on the board. Ordinarily, the action of placing a pebble on the board wouldn't draw much attention, but the way Hotta & Obata have used a black background to accent the white go tile gives this move a sense of weight. The amount of plays that went through Toya's head before making this move is felt with that stark contrast in color. Finally, I would like to look at the lines that make up the characters and their movements as the third element of art. Hikaru is seen picking up a go tile and placing it on the board. His movement is fluid, here we see a young boy who brings an unconventional air to the centuries old game. Next we have Toya, who sits tall and proud on his side of the board and who's hand is held straight and firm when placing his go pebble. He embodies a perfect game, with no mistakes and backed by meticulous calculations.

    Although it portrays an intense scene, I wouldn't want to own this a copy of this as artwork as it feels too serious to me. 

Works Cited

"Did Manga Shape How the World Sees Japan?" Web. 23 Apr. 2021. <https://www.bbc.com/culture/article/20190610-did-manga-shape-how-the-world-sees-japan>.

"History of Manga." Wikipedia. Wikimedia Foundation, 21 Apr. 2021. Web. 23 Apr. 2021. <https://en.wikipedia.org/wiki/History_of_manga#:~:text=The%20history%20of%20manga%20is,in%20the%20late%2018th%20century.>.

"VIZ: Read Free Shonen Jump Manga - Official & Simul with Japan." VIZ Media: The World's Most Popular Anime, Manga and More! Web. 23 Apr. 2021. <https://www.viz.com/shonenjump>.

Post Modern in the Modern World

Anime has had a rocky history in the west. Stemming from it's predecessor manga, a late 19th century Japanese style of graphic novels, "anime" is largely known as the Japanese animation art style that began by animating popular manga to now also having become independent of manga. Throughout most of its time in the west, it hasn't been until recently that it has been accepted by the mainstream media of the west and begun to garner the attention and favor of the masses. I distinctly remember anime being labeled as a "nerdy" past time throughout middle school and high school, leaving me with few people whom I could share the lessons, laughter, and tears that stemmed from this art style. 

Naruto Shippuden, Studio Pierrot

Tokyo, Japan 

c. 2017

    The first anime I ever watched was Naruto back in elementary school. The series concluded with Naruto Shippuden in 2017 and I kept up with the series for the most part. There is a quote that accompanies this arc by the main antagonist that gives deeper meaning to this clip:

"In this world, wherever there is light - there are also shadows. As long as the concept of winners exists, there must also be losers. The selfish desire of wanting to maintain peace, causes wars, and hatred is born to protect love." 

The statues in the clip immortalize a conflict between two brothers-in-arms who turned on each other over a clash in ideals on how to best protect their village. The space and placement of this piece help to solidify the conflict between the two. The mountain range in the background seems to show the seemingly unbreakable bond that the two had. In the midground however, we see them divided by a waterfall, seemingly a herald to the phenome that a single trickle of water will erode away even the strongest of stone. Color is another element that brings more depth to this piece. You see the intensity of the sun shinning atop the two warriors and while it serve to illuminate them, the shadows it creates serves to hide the blades at their hips. Finally, lines make the piece hit home. You see the statues with one hand raised to each other, and your eyes are drawn downwards in search of the other hand, only to find it resting on the hilt of their respective swords, ready for battle. 

Death Note, Madhouse

Tokyo, Japan

c. 2007

    The second piece comes from the popular anime Death Note. The anime follows a genius high school student, Light, with aspirations of joining the police and helping to rid the world of evil who finds a notebook which grants him the ability to kill anyone he wants, while adhering to a couple of restrictions. Light then goes on to murder prisoners, felons, and people who he deems "evil" in order to bring the forth a world without crime. The scene from the anime I chose is an homage to renaissance era Christian art work, this one in particular is in reference to Michelangelo's The Creation of Adam. The piece  brings forth a sense of sadness. Throughout the series we see Light go from a hardworking student, fixated on the admirable goal of stopping crime, descend into insanity with a god complex by the temptation that came from the Death Note. This is seen with Light loosing his angelic wings as he is accepting the temptation that is symbolized by the apple. Some elements to note here would be the color. Immediately the eye is brought to the center of the piece, the apple, meant to represent temptation and original sin. Secondly is shading, god is shown to be on the right in Michelangelo's piece but in their stead seems to be a demonic like figure coated in shadows, greatly contrasting with the light that is overwhelming in the rest of the piece. Finally is linework, after being drawn to the apple, the eye is drawn down by the chain around Light's wrist. This seems to symbolize Light's humanity, although he seeks to be a god, he will always be but a human. 

The Prince of Tennis, Trans Arts

Tokyo, Japan

c. 2005

    The third piece comes from a lesser known anime, The Prince of Tennis. As someone who played varsity tennis back in high school, this clip makes me feel nothing but joy, it reminds me of the memories I had on the court and the nerve wracking and thirlling games I played. In this clip, we are immediately captured by the linework of the animation. The player's, Ryoma, body flows perfectly with the motion of a forehand hit, and executes very realistic form. Viewers are drawn into the action by how real the character's movements are. Aside form lines, we next can see how shape was used in order for the viewer to understand how hard Ryoma is returning the ball. The distorted shape of the tennis ball on his racquet helps to portray the power behind the hit that Ryoma's opponent has hit him and brings forth an air of intensity to the clip. Finally, although small, the small attention to detail in the color scheme of this clip brings it all together You see the two different colors separating the court from the rest of the area, you have the white lining marking the bounds of the court and even the small notch that serves as a placeholder for serving and to denote the middle of the court. Though not as crisp as the newer sports anime, this clip will remind me of the series that sparked my interest in the sport. 

Haikyuu, Production I.G.

Tokyo, Japan

c. 2017

    The next piece of art that I chose is from the popular anime Haikyuu. This clip is of the two protagonist playing a volleyball game One of the main elements here that ties it all together is the linework. Both of their bodies are flowing in realistic ways and there's nothing abnormal about the movement. In addition to the flow of their bodies, the lines from the ball to the setter's hands give the image a sense of movement. The second element of notice is placement. The setter is in the foreground, with the spiker, and umpire filling out the middle ground at an angle. The angle of the image makes it look like we are watching the play unfold from the point of view of a teammate, which helps envelope and capture the viewer. Finally, the realistic color choices brings together the whole image. Nothing out of the ordinary helps to cement the scene of a volleyball game. The piece has a sense of action, it makes me feel like I am a part of the game and am standing in the court alongside them, fighting for a point.    

Vinland Saga, Wit Studio

Tokyo, Japan

c. 2018

    Vinland Saga is the name of an anime which follows a young Viking boy through his adventures in in a viking ship. Texture here is the first thing that comes to my mind. The engravings on the raft and even just the cracks in the wood, are animated to feel rough to the touch. The placement of the falling snow in the foreground, and snow covered trees in the background bring a sense of calm solitude, but also dangerous peril and also add on to the texture of the raft and how it would be cold and wet to the touch. Finally we see the use of shadows casted over Thorfinn which helps to bring about the sense of solitude and loneliness, perfectly encapsulating how one would feel after being marooned and separated by their compatriots. As I look at this image, I feel despair and isolation. 

The Promised Neverland, CloverWorks

Tokyo, Japan

c. 2021

    The final piece in this gallery is this clip from the Promised Neverland. An anime that flirts with the idea of whether it is morally acceptable to sacrifice a few for the sake of many, the image to me brings forth some feelings of anger and outrage. Again, placement holds huge significance. The three children at the forefront of the piece are facing at the viewer in anger and defiance while the others are in the background facing away at the promised land that was never there. The contrast in lighting is also important to note here. The only light in the image comes from the whit haired boy, Normans, lantern. They are in search of something, a ways of escape. The shadows that cover the other children mean that they are already beyond saving. Finally we have the use of lines. The lines that are made form the fork and knife bring attention to the finer details of the piece, the viewer is drawn to the numbers on the dinner plate, symbolizing the hours on a clock. These children are up against time, if they don't find a way to escape, they will be dinner. 

Works Cited

AnimeChicago. "A Brief History of Anime and Manga: From Zen Cartoons to Sailor Moon · AnimeChicago." AnimeChicago. 17 Dec. 2020. Web. 16 Apr. 2021. <https://animechicago.com/articles/brief-history-anime-manga-zen-cartoons-sailor-moon/>.

Cunha, Xiao Faria Da. "What Has Anime Done to Contemporary Western Art." Medium. Medium, 14 Dec. 2020. Web. 16 Apr. 2021. <https://xiaochineseart.medium.com/what-has-anime-done-to-contemporary-western-art-2b182199f99>.

"What Is Anime Art? The History Of Anime And Manga." Okuha. 08 Jan. 2021. Web. 16 Apr. 2021. <https://okuha.com/what-is-anime-art/>.

The Great Depression and Art

     The early 20th century was a whirlwind of events for both the world and the United of States. The First World War rocked the world from 1914 to 1918 and the Second World War took hold of the world from 1939 to 1945. In addition to these two great calamities, the U.S., and subsequently the world, was hit by the Great Depression which ate up the years between 1929 to 1939. This was a especially difficult time for the American people because it was caused by events that were out of the control of the normal individual. 

    The Stock Market Crash of 1929 was caused by the trading of over 12 million shares in a single day. This resulted in the loss of billions of dollars and took out thousands of investors. To top this, The Dust Bowl was the name given to the droughted Southern Plains of the U.S. which suffered severe dry periods and dust storms during the 1930s. In a country where the "American Dream" was determined by how hard an individual worked, it was devastating when these out-of-control events ripped that dream of success from millions of individuals. This was a time where dreams where shattered and futures looked bleak, all of which is visible in the artwork of the time. 

Man beside Wheelbarrow, Dorothea Lange

San Francisco

c. 1934

    The first piece we will discuss is Man beside Wheelbarrow by Dorothea Lange. This gelatin silver print captures a sunken down man, head in his hands, leaning against a wall, and his wheelbarrow overturned. The black and white color help convey the seriousness of the situation, this man is suffering through the Great Depression. Another element to note is the positioning, or space, of the objects, the man is hunched over next to the wheelbarrow. This helps the viewer find the connection between the wheelbarrow and the man, the man was likely a blue-collar worker who now sits without employment, signified by the wheelbarrow sitting overturned next to him. Finally comes the contrast between the man and his surroundings. It helps to bring the viewers attention to the man himself and makes the viewer linger on the hunched over and broken man. 

    This piece gives me a sense of distress and brings me sadness. Growing up surrounded by blue collar workers instilled in me a sense of duty and hard work. I can only imagine how these individual felt during this time of uncertainty and despair, after having lived hard working lives dedicated to their respective crafts, I can't imagine how lost these individuals felt during this time without work. 

Apple Vendor, Barbara Stevenson

United States

c. 1934

    The second piece is Apple Vendor by Barbara Stevenson. The colors chosen for  this piece are help portray the seriousness of the situation that was being faced by the American people. There is nothing fancy about the colors chosen, they are mute and simple, and there seems to be little blending of colors throughout the piece. The focal point of the piece is the man sitting and selling apples. An interesting element to note here is the lines of the drawings, while the man hunched over man is the focal point of the  painting, lines from his head and feet seem to focus in on the mother and child that stand behind him hand-in-hand. It seems to me like this piece not only portrays the harsh reality of the time, but it also chooses to focus on the near future that can come from the child, the soft yellow background helps with this image. While the piece has touches of sadness, it still also shows a ray of hope. 

PH -77, Clyfford Still

United States

c. 1936

    The third and final piece is PH-77 by Clyfford Still. At first glance, this may seem like a normal painting that shows two men collecting wheat from a field. It is only when you take a closer look at the piece and its artistic elements that you begin to see the ties to the great depression. First is the choice of color. Like Apple Vendor, there is nothing fancy about the color choice, they are not vibrant or exotic, they are mute and basic. Next, we must look at the shape of the men. They look anatomically correct with the exception of their arms. Their arms are unnaturally long, this could be a reference to the drought that was being experienced by Southern Plains of the U.S. and can symbolize the difficulty that farmers were having with crops. The workers had to reach so much more in order to live. Finally, we must take not of the tone of the piece. The area surrounding the two men is dark but the men themselves are wearing bright shirts. This choice of tone in this piece could be used as a way to current despair of the situation but the brightness around the men could serve to demonstrate the hope that things will take a turn for the better. 

Works Cited

"Clyfford Still and Dorothea Lange: Iconic Images of the Depression." Clyfford Still Museum. 12 June 2020. Web. 31 Mar. 2021. <https://clyffordstillmuseum.org/blog/clyfford-still-and-dorothea-lange-iconic-images-of-the-depression/>.

History.com Editors. "Dust Bowl." History.com. A&E Television Networks, 27 Oct. 2009. Web. 31 Mar. 2021. <https://www.history.com/topics/great-depression/dust-bowl>.

History.com Editors. "Stock Market Crash of 1929." History.com. A&E Television Networks, 10 May 2010. Web. 31 Mar. 2021. <https://www.history.com/topics/great-depression/1929-stock-market-crash>.

Lange, Dorothea. "Dorothea Lange. MAN beside WHEELBARROW, San Francisco. 1934: MoMA." Web. 31 Mar. 2021. <https://www.moma.org/collection/works/295202>.

"PH-77, 1936." Clyfford Still Museum Online Collection. Web. 31 Mar. 2021. <https://collection.clyffordstillmuseum.org/object/ph-77>.

Stevenson, Barbara. "Apple Vendor." Smithsonian American Art Museum. Web. 31 Mar. 2021. <https://americanart.si.edu/artwork/apple-vendor-23048>..

Impressionist and Post-Impressionism

Impression, Sunrise by Claude Monet

Paris

c. 1872

    For this blog post, I have decided to compare Impressionist and Post-Impressionism art. The first impressionist piece I have chosen is Claude Monet's Impression, Sunrise. The impressionist movement was characterized by small, thin and visible brush strokes, open composition, a strong emphasis on accurately depicting light and its changing qualities, ordinary subject matter, the inclusion of movement, and unusual angles. With this piece in particular, the three elements that I will be taking a closer look at include lines, texture, and tone. Because impressionist artists of this era focused more on ordinary subject matter, the tone of colors used in this piece aren't as vibrant of colors as you would see in previous eras the colors used to depict this foggy landscape mimic the cooler tones one would experience out in the shipyard. Another important factor in impressionist art is the incorporation of movement in the pieces, this is done by the use of lines and brushstrokes in this piece. In addition to heavier brushstrokes indicating waves, the lines connecting the three smaller rafts and the angle at which the piece is drawn from all helps to create the sensation of movement in the piece, giving it an even more realistic feel.  

The Fighting Temeraire by J.M.W. Turner

London

c. 1839

    My second impressionist piece is The Fighting Temeraire. Much like Impression, Sunrise, this piece stays true to the impressionist movement by its use of light brush strokes and realistic subject matter. The lines and angle of this piece serve to capture that classic sensation of movement that is present in many impressionist paintings. Having the drawing all converge onto one spot on the canvas and the angle at which the shadows are elongated at, gives the sensation of not only a moving galley but of a setting sun. The colors used in this painting don't exaggerate the setting, it stays true to nature and helps to make the viewer feel like this is directly from their own point of view. 

 

The Large Plane Trees by Vincent van Gogh

Netherlands

c. 1889

    The first Post-Impressionism piece I chose was The Large Plane Trees by Vincent van Gogh. While the various post-impressionism artist were not all in agreement concerning a cohesive movement, post-impressionist work extended impressionism while rejecting its limitations. They still used real-life subject matter, opted to create art outdoors instead of a studio, used vivid colors and often thick application of paint, but they were also much more inclined to distort form, emphasize geometric forms, and didn't shy from the use of unnatural color. The linework of the trees is incredibly pronounced in this piece. It serves as a perfect way demonstrate the thick application of paint and the post-impressionism emphasis on distorted forms. The use of vivid colors is in stark contrast to the impressionist use of more muted and realistic colors of the impressionist era. 

Where Do We Come From? What Are We? Where Are We Going? by Paul Gauguin

Tihiti

c. 1898

    Gauguin art perfectly exemplifies some of the stark differences between the two eras of art. Here we see Gauguin depicting a relatively normal scene of people gathering. The post-impressionist can be seen in the somewhat bizarre (when compared to impressionist art) lines that make up the human outlines, the defined oil on canvas (leaving behind the light brush strokes), and the unnatural geometric shape of the trees and shrubbery in the background. This piece gives the viewer a sense of mysticism and self reflection.  

    Impressionists where more focused with capturing nature and scenes in a more realistic way. They were focused on making sure the piece felt realistic and natural. They accomplished this through their linework, choice in tone and colors, manipulation of light and shadows, and by making many of the pieces feel like they were moving. Post-impressionism strove to recapture some of the mysticism of art, they created works that, while still influenced by natural scenes, still had an wisp of abstract and a seemed lightly unusual. Of the two, I prefer post-impressionism. I feel like it captures the natural beauty of life while still adding that hint of creativity that I believe makes art so incredible. I like impressionism and am astounded by the skill of the artists of the time, but they feel somehow less when compared to post-impressionist art. 

Works Cited

Anonymous. (2020, November 04). The large plane TREES (road menders at Saint-Rémy). Retrieved March 23, 2021, from https://www.clevelandart.org/art/1947.209

Guild, U., Shovava, Day, T., Comma, & Colorsheets, V. (2020, September 08). How this one Painting sparked the Impressionist movement. Retrieved March 23, 2021, from https://mymodernmet.com/claude-monet-impression-sunrise/

Turner, J. (1970, January 01). The fighting temeraire. Retrieved March 23, 2021, from https://www.nationalgallery.org.uk/paintings/joseph-mallord-william-turner-the-fighting-temeraire

Where do we come from? What are we? Where are we going? (2021, March 09). Retrieved March 23, 2021, from https://en.wikipedia.org/wiki/Where_Do_We_Come_From%3F_What_Are_We%3F_Where_Are_We_Going%3F

Classical Art in the 1700's: Era of Revolution

    The 1700's was a time for revolution and creation. The once suppressed middle class was now able to buy, sell, and trade art. Alongside this new freedom, the American colonists were frustrated with the British monarchy and consequently engaged them in a war for their freedom. From this stemmed the American Revolution and alongside it, an unlikely connection between Revolution and Art. 

King George III by Allan Ramsay

Studio of Allan Ramsay, British Empire

c. 1761

    The first work of art that I chose is this portrait of King George III, the ruling monarch during the American Revolution (1765 - 1783). I decided to start my gallery with this portrait in order to set the tone with how the different social classes saw themselves. This portrait depicts King George in his cushy coronation robes, with a stoic expression, leaning against something in a nonchalant manner and with a background that suggests a comfortable and safe setting. The art elements serve to further push that narrative. There is a soft texture to the portrait, accompanied by mute colors and curvy lines.

    This piece is important in demonstrating the difference in socioeconomic classes and helps one understand how the colonists viewed British monarchy. The colonists saw a king living a plushy lifestyle while they were being unnecessarily taxed to help the King pay for a war that they had nothing to do with. 

George Washington before the Battle of Trenton by John Trumbull

Philadelphia

c. 1792

    The second work of art is this portrait of George Washington by John Trumbull. I chose this portrait because it is a perfect example of how the American colonists viewed their leader and serves as a perfect contrast to the portrait of King George. Washington is portrayed standing tall and confident amid an ongoing battlefield. The color choice, like the King George portrait, is mute but while that art element in the portrait of King George makes the subject's surroundings appear safe and comfortable, it makes the portrait of Washington look serious and almost ominous. The people knew that this is a leader who was out in the battlefield fighting alongside them, not across the ocean in a lavish castle. 

    This piece shows the perfect contrast to how the colonists viewed their two leaders, and with the increased popularity of buying, selling, and trading art, it's easy to see how these two images were cemented into the colonist mind. 

Oath of Horatii by Jacques-Louis David

Paris

c. 1784

    I end this gallery with the Oath of Horatii, which encapsulates the Roman legend. The legend goes that in order to settle a dispute from the two warring cities of Rome and Alba Longa, three men from each city is chosen in order to fight on the behalf of their city. The victor of the fight will be the victorious city. Even across the ocean, art was being used at this time in order to fan the flames of revolution. This piece of art urges patriotism and loyalty to the nation. Although this piece was painted four years before the French Revolution, it served to fill the common people with a love for their country. This then went on help spark revolution when the common people felt that the French monarchy was no longer helping their beloved nation. 

    This painting is chocked full of strong lines that help portray unity amongst the people. Lines from the strong stance of the three sons and father intersect and bring the viewer's attention to the three swords in the father's grip. The women are made up of curves that invoke a sense of sadness, these three men are going to war for the entirety of their city. This sadness however is quickly dispelled by the overpowering hard lines of the men and the strong lines of the pillars in the background of the piece. 

    These three pieces serve to show just how art was used to fan revolution across the western world during the 1700's. The first two pieces served to depict how the American colonists viewed their British Monarchy and their in-home leaders. The third piece demonstrates how art was used to unify the people through a sense of pride and patriotism. Of the three, I would most want to own the Oath of Horatii for its portrayal of duty. 

Works Cited

King George III. www.npg.org.uk/collections/search/portrait/mw02455/King-George-III.

Metmuseum.org, www.metmuseum.org/art/collection/search/12823.

“Neo-Classicism and the French Revolution.” Oxford Art Online, www.oxfordartonline.com/page/Neo-classicism-and-the-French-Revolution.

“Oath of the Horatii.” Wikipedia, Wikimedia Foundation, 10 Mar. 2021, en.wikipedia.org/wiki/Oath_of_the_Horatii.

David and Goliath: Endgame

     For my last blog, I decided to analyze Michaelangelo's David. This sculpture depicted the beginning of the story with David readying himself to go face Goliath. For this week's Baroque assessment, I decided to analyze Caravaggio's David with the Head of Goliath. 

 

David with the Head of Goliath by Caravaggio

Galleria Borghese, c. 1610

   Emotions and Backstory

    

    There is a ton of play with lighting and color in this oil on canvas. The background of the painting is all black, with the right side of David's body and left side of his face being heavily shaded. The colors used are not vibrant, they are mute and earth toned colors. The colors serve to establish the tone of the painting. This is the depiction of a serious and somber event. The lighting is further used to push this narrative, the shadows around David's face give him a sad, but determined, expression. David's right hand is almost completely hidden in shadows except for the blade which provides a sharp contrast, this, alongside David's expression, seem to indicate that David had been reluctant to use lethal force against Goliath and seemed perturbed to have let it come to this point. 

    When I look at this painting, I do not see a victory. It does not depict David standing over Goliath in a victorious pose, expression grinning and accomplished. When I look at this painting, I see a boy who had done what needed to be done for the sake of others, but he took no joy in the action. 

    An interesting tidbit of information related to this piece is that it was painted as a gift to Cardinal Scipione Borghese. Now, this isn't too out of the ordinary, it was not uncommon for the church to commission artists but what is interesting is that Cardinal Borghese happened to be the papal official with the power to grant Caravaggio a pardon for murder. I believe that this played a key role in how Caravaggio decided to draw this painting. This is why Caravaggio didn't depict David jubilant, he didn't want the Cardinal to believe that he thought killing was something to be rejoiced. Instead, he depicted David as pensive and sorrowful, showing that there is no joy in killing, there is only regret. 

Caravaggio and the Council of Trent

    The Council of Trent was a council made up of the Catholic Church with the original goal of countering the Protestant Reformation. They set out to change the people's idea of the Church and to make themselves the "good guys" one of the ways they decided to accomplished this was by restoring the people's faith through artwork. Art was the perfect way for the Catholic Church to relate to the populace, it was accessible and could be understood by everyone and anyone, even those who lacked a formal education. Caravaggio's art was heavily influenced by the Catholic Church, his art is straightforward and realistic. His paintings are was natural and real, it was rarely romanticized and was always straightforward, exactly what the Catholic Church was looking for. This is seen in Caravaggio's David with the Head of Goliath, the painting looks real and natural, David looks relatable and reachable in the painting, just what the Catholic Church wanted at the time. 

David with the Head of Goliath and David

    For our Renaissance assignment, I looked at Michaelangelo's David sculpture, and wanted to compare that to this week's Caravaggio's painting. 

 

Michaelangelo's David

Florence, c. 1504

    Both depict David, but the similarities arguably end there. Michaelangelo sculpted an Adonis like man, standing tall and gallant, determined to take down the menace that was Goliath. This depiction of David seems unrelatable, it seems like one should strive to be this version of David, but it is a version that no one will ever be able to attain. Caravaggio's depiction of David depicts a young, almost scrawny David. This David has killed Goliath, and while Michaelangelo's David would have probably been overjoyed and proud of his achievement, Caravaggio's David looks at Goliath with pity and resentment at what he had done. This David looks much more human and relatable.

Works Cited

“Council of Trent.” Wikipedia, Wikimedia Foundation, 20 Feb. 2021, en.wikipedia.org/wiki/Council_of_Trent.

“David (Michelangelo).” Wikipedia, Wikimedia Foundation, 29 Dec. 2020, en.wikipedia.org/wiki/David_(Michelangelo).

“David with the Head of Goliath (Caravaggio, Rome).” Wikipedia, Wikimedia Foundation, 15 Dec. 2020, en.wikipedia.org/wiki/David_with_the_Head_of_Goliath_(Caravaggio,_Rome).

David and Goliath: The Original Underdog Story

 

Michaelangelo's Renaissance Masterpiece, David

    For this week's Italian and Northern Renaissance assignment, I chose one of the Renaissance's greatest masterpieces, Michaelangelo's David. 

    The marble sculptures of the Italian Renaissance have always amazed me. Sculptors like DaVinci, Donatello and Michaelangelo (to name a few) were able to transform strong and sturdy marble into supple and soft sculptures. The way these sculptures look like they would be soft to the touch has always awed me. 

    

    David stands there, poised and ready to march against his fabled opponent, Goliath. With his sling slung over his left shoulder, and his gaze fixed towards the horizon, he seemingly represents the oxymoron of Italy during the renaissance. His strength paralleling the growing financial strength of Florence while the soft texture of the marble representing the exploration of the arts and philosophy of the time. I can imagine that at the time, the people of Florence swelled with pride and were rejuvenated when setting their gazes upon David. 

    Florence's growing importance in the modern world during the time of the Italian Renaissance was largely due to the Medici Family and their growing power. The Medici family was a heavy patron to the arts during the Italian Renaissance and were patrons to countless artists and thinkers, one of those being Michaelangelo himself.  While the Medici family didn't commission Michaelangelo to create David, it is possible that the hero's resurgence in popularity arose from the family's commission of Donatello's David. The independence and strength that Michaelangelo's David emits was perfect for a Florence that was surrounded by powerful rivals, and with the statue being pointed directly at Rome, it was truly living up to its fabled story.

Works Cited

“Basic Facts about Michelangelo's David.” Accademia.org, 12 July 2018, www.accademia.org/explore-museum/artworks/michelangelos-david/facts-about-david/. 

“David (Michelangelo).” Wikipedia, Wikimedia Foundation, 29 Dec. 2020, en.wikipedia.org/wiki/David_(Michelangelo).