My Kid Could Paint That

Technological Effects on Society
Curated by Austin Krause

Joseph-Nicolas Robert-Fleury, Galileo Before the Holy Office, 1855

It was hard to keep up with technology advancing so quickly in the age of Enlightenment. Not only were people introduced to new technologies and critical ways of thinking, but they also were introduced to new lifestyles all together. The scientific revolution ultimately led to the creation scientific communities that were centered around the idea of thinking in a more reasonable manner. Scientists began to ask questions, wondering why it is this way with not evidence to support it.

Galileo was ordered to a stand trial because of this claim. The church and public were worried that he might be right, which would conflict with religion The church wanted to maintain the power it had over civilians. With Galileo claiming that the heliocentric idea is right and having the evidence to prove it, the church was put on the spot. Their authority was in jeopardy. Just by making this claim and the church rejecting it, it was used as proof that the church was against science and new knowledge, and anything else that would conflict with it.

Technological Effects on Society
Curated by Austin Krause

Joseph Wright, The Iron Forge, 1772

Joseph Wright of Derby was one of the first artist that I truly took time to study, and he quickly become one of my favorites. Everything about the way he painted the Enlightenment made him stand out in a more unique way. Not only did he paint about the Enlightenment like most artists of his time, but he did not always portray it in a positive way. In most of his paintings, there are two light sources: Religion and Knowledge. In between the two light sources is darkness which seems to compress the light of knowledge while allowing the light from nature/religion to flow freely through it.

When observing his painting The Iron Forge, it can be seen that the new knowledge of his time produces a glow that is beginning to overpower the second light source in the painting, the moon. The moon is what symbolizes religion, through nature. It represents the idea of God creating the earth for what it is and how it is. But without saying that that statement is false, it shows that the effect that technology and knowledge have on society is proving to be the more reasonable way of thinking as people start to realize: “Hey, that sounds like it makes more sense!”

Technological Effects on Society
Curated by Austin Krause

Van Gogh, The Potato Eaters, 1885

Technological Effects on Society
Curated by Austin Krause

Joseph Wright, An Experiment with an Air Pump, 1768

Pomiculture

Michelangelo Caravaggio, Bacchus, 1595

On this final edition of Pomiculture we return to the 16th century for a taste of some sweet decadence. This
time, it's Michelangelo Caravaggio's Bacchus.  Bacchus was the god of wine, but was also known for his madness and ecstasy. Caravaggio's portrayal of Bacchus is more reminiscent of a drunk youth than a god. The entire painting oozes with decadence, from the posture of Bacchus, his facial expression, his offering of wine to the viewer, and his adornment in fruit.

Bacchus' fruit has become the topic of conversation for many art critics. In this particular painting Caravaggio made the fruit appear a bit unappetizing. The peaches look brown and moldy, the apples are under ripened, and the grapes are a pale brown. Some have speculated that Caravaggio was trying to represent the ephemeral nature of worldly things. It's an interesting use of fruit and stands out among this collection.

Henri Latour, Still Life with Flowers and Fruit, 1866

Pomiculture returns with a work by the French artist Henri Latour. Latour was best known for his realistic paintings of still lifes and flowers. Despite his contact with impressionist painters such as Whistler and Manet, he maintained his conservative style throughout his career.

I selected this work because it exemplifies the simplicity with which fruit can be painted and yet display beauty and elegance. The fruit looks particularly lush in this one, featuring pears, yellow peppers, apples and a pomegranate. The basket of fruit is accompanied by a pleasant vase of flowers. I'm still looking for the other half of that pear, though.

Eduoard Manet, The Lemon, 1880

Welcome back to Pomiculture. This time we feature a work from a highly famous and respected artist, Edouard Manet. His 1880 work The Lemon represents an impressionist take on the illustration of fruit. Manet painted The Lemon near the end of his life, perhaps looking for a simpler subject to settle down with.

Andrew Dasburg, Autumn Fruit, 1934

This time we pay homage Andrew Dasburg, an influential artists of his era but somehow lost through the passage of time. Luckily, Pomiculture forgets no artistic pioneer of the ripened ovary persuasion. His 1934 Autumn Fruit makes use of fruit as a device for self expression of personal issues. In this instance, the symbolism is clear. The lone fruit residing directly outside a plate full of other fruit evokes personal feelings of loneliness and inability to fit in. The lonely fruit in question does not appear to be too physically different from any of the others, the difference lies on the inside. Pomiculture is soul. Pomiculture is life.

Curated by Paul Vedros

Paul Gauguin, Still Life with Fruit, 1888

Welcome back to Pomiculture, fellow frugivores! Comparing Paul Gauguin's Still Life with Fruit with Music and Fruit, reveals the many possible creative uses artists are capable of when depicting fruit in their paintings. Paul Gauguin was noted for the paintings depicting his travels to various Caribbean islands. These escapes from European life contributed to his disillusion of consumer culture, which influenced this painting. Gauguin uses fruit to convey excessive wealth in Europe compared to the islands, which is reinforced by the presence of a teapot and onlooking girl. Gauguin essentially used fruit to express his views on global economic inequality. That's the power of Pomiculture.

Jean Chardin, Music and Fruit, 1732

Music and Fruit marks the first stop in this exhibition of Pomiculture. Many artists have historically included fruit in their works to convey ideas such as self expression, sexuality, and decadence. In this instance, the basket of fruit takes a side role, adding a texture to the main focus of the work. Chardin attempts to illustrate the vast opportunities for creativity and inspiration inherent in every instrument. The instruments are laid out, as if waiting to be picked up and used to their potential by the right hands. The basket of fruit resides silently to the left, as if watching in anticipation. The subtly of the fruit in this image makes it ideal as the introduction to the exhibition of Pomiculture.