Beyond Ballet: Dance with an Apple

Beyond Ballet
Jean-Leon Gerome, Dancer with an Apple, 1890
Beyond Ballet
By ELLIE SCHNEIDER

I wanted to include a sculpture in this project to show how dancing is depicted in multiple mediums of art. After searching throughout WikiArt’s database, I found this sculpture. When I saw it, I knew I would include it in my project, because of the similarities between this dancer and the one in El Jaleo. 

Jean-Leon Gerome uses bronze to make this woman come to life. She pushes off of her left foot as her left hand draws her dress upward. She holds an apple near her mouth in her right hand, as her right foot prepares for landing. Despite being made of bronze, the girl appears weightless in this moment. I find it amazing how Gerome can portray such movement with metal. The attention to detail in this sculpture is amazing. Gerome uses intricate drapery to show movement in the cloth. The woman looks well-proportioned and extremely detailed. 

I felt that this was a good work to end on, because it reminds me of the flamenco dancer in El Jaleo that inspired my project. Both of the women draw their arms up and move with the music. The sculpture looks as if the flamenco dancer has come to life.

During this project, I realized the importance of moving with a purpose. With dancing and with painting, all of the works show the dancers moving for a reason. Two of the works show groups of people moving in a circular fashion. One piece shows two girls stretching to then help their dancing abilities. Then, the women in El Jaleo and Dancer with an Apple move in an intentional manner.

Throughout my past two years in art history class I have learned about all different mediums of art from different time periods. By curating this collection of dance in art, I have found that similar to painting or sculpting, dancers are purposeful in their movements. The process for dancers and choreographers matches that of painters and sculptures. Now, I truly realize why dancing is considered an art form.

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Beyond Ballet: Dance II

Beyond Ballet
Henri Matisse, Dance II, 1910
Beyond Ballet
By ELLIE SCHNEIDER

Matisse’s Dance II reminds me of Dance of Italian Villagers, because they have similar staging of the dancers and setting. In Dance II, the five dancers move in a circular motion, their orange bodies popping off of the blue sky and green grass. The figures move clockwise as they perform their dance. Each dancer depends on the others to perform this dance. For example, the dancers are holding hands, except for the two dancers in front. The circle is no longer complete, and the dance is no longer perfect. It’s amazing how much drama can be captured in the space between two hands, just look at Michelangelo’s Creation of Adam.

I saw this painting when I went to the MoMA. In person the work is huge, just over 8 x 12 feet. Just the sheer size of the work attracts eyes and people stood mesmerized by the movement of the orange dancers. Since the painting is so large, the colors flood your eyes, making it hard to process the bright orange against the rich blue. Matisse has the ability to evoke emotions with any color of his choice, like with The Red Studio.

I like how Matisse uses the orange and blue as complementary colors. I also like that all of Matisse’s figures are unique. Each of the five dancers are in different positions, are different sizes, and have different body shapes. Still, the five different figures work together in their dance circle.

I will never forget standing in front of this massive work, and being mesmerized by the movement and colors. I find it fascinating how paintings can evoke strong emotions or prompt movement. When I see El Jaleo or Dance II, especially with the sheer size of the works, it makes me want to dance. I think Sargent and Matisse have truly perfected the art of playing with the viewers emotions and starting conversations.
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Beyond Ballet: Two Ballet Dancers

Beyond Ballet
Edgar Degas, Two Ballet Dancers, 1879
Beyond Ballet
By ELLIE SCHNEIDER

You cannot discuss dance in art without talking about Degas. Still, I stayed away from using classics, such as The Dance Class or Dancers in Pink. Two Ballet Dancers caught my eye because it was different from his other depictions of dancers. Here, the dancers are resting, even stretching, but not dancing. Why would Degas paint dancers who were not dancing? I think that Degas found the same beauty in the movements of the girls’ stretching as when they were dancing. In Two Ballet Dancers, the wood paneled floor sets the stage and their mint-colored tutus pop off of the bright yellow wall.

The girls sit on the bench, reaching, leaning, and stretching. They are not in sync, or they are not “dancing the same routine.” Each girl stretching is the way that is most comfortable and helpful to her body.

For the girl on the right, you can feel her leaning to her left, reaching for her toes to stretch her calf and hamstring. On the left, the girl is in a relaxed first position as she reaches down to hold her calves. I also think that Degas’ depiction of the girls stretching reveals the fatigue and intensity of dancing. The girls practice for hours to perfect their skills, and they are allowed to be tired. Degas’ other works show the beauty of ballet, but this one shows the beauty of hard work. Degas painted ballet dancers to perfect his craft, and the ballet dancers practiced to perfect theirs’.

This painting has bright colors like Rubens uses in Dance of Italian Villagers. I think Two Ballet Dancers also has a lighter tone like in Rubens’ work, as opposed to the drama in El Jaleo. Like Sargent though, Degas focuses on female dancers. I like the casualness of Degas’ Two Ballet Dancers, because it shows how simple tasks like stretching are just as much of a dance as acting dancing is. I also like this work, because I think it is an under appreciated and unique Degas painting.
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Beyond Ballet: Dance of Italian Villagers

Beyond Ballet
Peter Paul Rubens, Dance of Italian Villagers, 1636
Beyond Ballet
By ELLIE SCHNEIDER

Before Sargent, there was Rubens. In Dance of Italian Villagers Rubens captures daily life of peasants in an unusual way. The perspective and circular shape of the dancers adds depth to the painting, using the grass in front as a stage. As the boy in the tree plays a trumpet, the villagers dance, possibly as a celebration or for a religious reason. The villagers are dressed in hues of blue, red, and yellow, allowing them to pop off of the green and light blue background.

I feel that this painting has drama just as El Jaleo does. The villagers are dancing in a less than perfect circle, as people are turned in every direction as they reach for each other, making it feel as if the people are being whisked away in a tornado. The circular motion creates chaos in the work. The light source in this work comes from the top right corner, causing intense shadows to form on the left side of the painting. The house in the background is in the light, while the rest of the trees and land lies in the shadow. Some people’s faces are filled with worry and some of determination.

Rubens’ most famous works are religious paintings, so it is interesting that he chose to paint dancing villagers. Rather than make this a fluffy and joyful piece, Rubens’ created the Dance of Italian Villagers with the same intensity and attention to detail that he would have used for The Descent from the Cross. I enjoy this painting because it is different from a classic Rubens painting and I like the circular movement and chaos of the dancers. I think this painting differs from El Jaleo in that it has more dancers, less drama, more chaos, and brighter colors. 
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Beyond Ballet: El Jaleo

Beyond Ballet
John Singer-Sargent, El Jaleo, 1882
Beyond Ballet
By ELLIE SCHNEIDER

When you hear the words dance and painting in the same sentence, it is easy to think of possibly the most famous painting of dancers, The Ballet Class by Edgar Degas. The thing I dislike about this painting is the stiffness of the dancers. When I think of dancing, I think of movement, music, and drama. The Ballet Class lacks movement. The girls stand around listening to their teacher, but the structure of the class sucks the creativity and freedom of movement out of the girls. When I hear dance and painting I immediately am taken to Spain, where John Singer-Sargent was inspired by women performing the jaleo de jerez dance while men play on guitars in the background. I first saw this painting last year when the Modern Art History class read Strapless by Deborah Davis. This painting was felt so modern compared to Sargent’s French works, and I was taken aback by the drama and movement he captured in the painting. This painting quickly became a favorite of mine and inspired my final project for this year.

I wanted to write about dance, because I think it is amazing how artists can capture a singular moment in time. More so the best works which exhibit movement and drama while encouraging viewers to move too. El Jaleo is the best example of this type of art, which is why I wanted it to be the first piece in my collection, symbolizing everything I love about art and dance.

In terms of movement, Sargent captures woman in El Jaleo in an unnatural position, in mid motion, switching from one dance move to the next, telling a story with her body. The various positions of the females in the bottom right and the band members add variation to the painting. The main dancer’s black top contrasts with her bright white skirt, just as the band’s black suits pop on the light-colored walls. The clashing of black and white adds to the drama of the work. Additionally, Sargent paints a spotlight being shown on the flamenco dancer, transforming the Spanish pub into a stage. The intense shadows only add movement to this dramatic and captivating painting.

Sargent’s ability to take viewers into a different time period and culture, while still feeling familiar, as dance is an activity known to all, proves that El Jaleo is a timeless piece of art that captures everything people love about art and dance.
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Dead Man Walking and the Etched Cherubs

Ellie Schneider

By ELLIE SCHNEIDER

Dead Man Walking and the Etched Cherubs
Chimney Smoke

Dead Man Walking and the Etched Cherubs were your average garage-band, literally.. for they played in the garage of the lead singer’s house until they were discovered by Mr. Rembrandt at the Renaissance Man Talent Agency. The group comprised of three young men at the ripe age of 24 who have been playing music together after meeting in Sunday school at the neighborhood church. When Mr. Rembrandt suggested changing the band name to something else, the band refused to abandon the name that reminded them of their founding. Chimney Smoke was their debut album, containing songs named after the five books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. The album name was inspired by the house on their street that burned down while they were practicing in the garage. Lead singer, Josiah Marks, said, “We think G-d was speaking to us, like he did with the burning bush to Moses. That was the night I knew selling my car to purchase an authentic lute from biblical times was going to be worth it.” Dead Man Walking and the Etched Cherubs have gained popularity among church youth groups and will be touring on college campuses starting next fall.


Editor's Note: Students happened upon a cache of hidden records with cover art from the Baroque masters. They were charged to investigate the vinyls. The above are their findings. 
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San Giovanni at Laterano

Borromini
Francesco Borromini, San Giovanni at Laterano, Renovated by Borromini in 1649
By ELLIE SCHNEIDER

Pope Innocent had big plans for San Giovanni in Laterano. He wanted it to be the new St. Peter’s, which Julius chose to demolish and rebuild. After, witnessing the problems with St. Peter’s, Innocent vowed to preserve as much of the old church as possible, just embellishing it.

Innocent needed an architect who could manage the technical issues of renovating an old, nearly decrepit building. Innocent was aware of the challenges Borromini faced at Sant’Ivo and was impressed how Borromini created such a nice church in the small confines of the courtyard. April 15, 1646 the pope appointed Spada to oversee the renovation and Borromini as the architect.

“The job called for more than just an artist or a theorist; it demanded a technician, an engineer, a problem solver--a realist, not a dreamer someone who understood the secrets of stone and wood, the limits of travertine and tile; someone who could refurbish the pope’s church the way the pope wanted.” (Morrissey 193)

Borromini was the man for the job. He had the experience and expertise to help Innocent’s dreams become a reality. His deep understanding of architecture set him aside from all other young architects at the time. His ability to work well with limits and defy expectations qualified him for the job.

Innocent was determined not to discard the past in order to forge a new, more dynamic future. Borromini abided by Innocent’s restrictions, but felt that his artistic capabilities were being hindered. Perhaps Borromini’s greatest disappointment at San Giovanni was the ceiling. He wanted to vault it, but Innocent would not allow him to tear down the carven wooden ceiling by Pius IV. He had more freedom with the side aisles, allowing his creativity to come to being. He inserted windows between the aisles, allowing him to play with light and shadow. He also placed cherubs and angel heads as decorations above arches and along support beams.

On December 6, 1649, the body of a young man, Marco Antonio Bussone, was discovered at San Giovanni. It was determined that the workmen caught the boy damaging marble for the church and the laborers beat him. It was also found that they even tried to dispose of the body by burying it in the church. Their supervisor, aka the guilty party, was Borromini. Because of Innocent’s intervention, Borromini was given a light sentence ,and it was never fully enforced. He was remanded to temporary banishment at the pope’s pleasure with the prospect of a three-year expulsion from Rome to Orvieto. He completed the renovations and Innocent awarded him knightship in July 1652.

“The pain that incites it in the first place, the anguish that breeds the longing for self-destruction, never fades.It stands out on the soul like a welt on tender skin, aching and raw. Even after the deed is done, the mark remains--a last, terrible legacy of a life lived in torment.” (Morrissey 1)

The story of San Giovanni at Laterano is really the story of Borromini’s downfall. It talks about his lack of happiness, even with his successes, his troubles with the papacy and the law, his shady past and constant position as an outsider, his place in the wrong crowd of people, and his need to work with damaged property because he was always the second place (meaning Bernini always got the fresh piece of marble and he got the cracked piece). And yet, with all of the cracks and grooves, Borromini was still able to create a beautiful piece of architecture and cement his fate as a great architect.
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St. Francis in Meditation

Ellie Schneider
Francisco de Zurbaran, St. Francis in Meditation, 1635
By ELLIE SCHNEIDER

At the time Zurbaran painted this, the Counter-Reformation movement was well alive in Seville. During this religious transformation, St. Francis was adopted as an icon of the movement. St. Francis preached to the poor after he had a vision where he was instructed to save the church. St. Francis helps the movement grow, but artists like Zurbaran, Murillo, and Ribalta sometimes struggled with this transforming religion in their work.

Zurbaran was known for his still lifes and deeply moving portraits. His depiction of St. Francis is a portrait rather than a religious piece. That’s not to say the subject does not have religious meaning, but this work lacks the mystical magic of El Greco’s Burial of the Count of Orgaz or The Vision of St. Anthony by Murillo. This realistic portrait of St. Francis makes the religious ideas more acceptable to people. Rather than created a grand, overwhelming altarpiece, Zurbaran painted this understated religious portrait, which commands the same emotional attention as any work, but lacks the theatrical aspects in the work. Zurbaran appears to cut away the religious fluff, such as cherubs and heavenly clouds, to get at the real story of St. Francis and the Counter-Reformation movement.

St. Francis kneels on the ground wearing a tattered and patched robe. The worn-in parts of his robe show his religious dedication and repeated position of prayer. He firmly holds his hands together around the top of the skull. He is a dark room, but light shines from the left side, possibly from a window. The light casts shadows that add even more drama to the piece. St. Francis looks up in prayer as if he is looking for G-d, and his mouth is agape in awe as if he found G-d.

The skull rests in the hands of St. Francis and stares up at him. St. Francis also looks up, away from the memento mori, or reminder of death, and instead looks towards the heavens. Rather than stare death in the face as Zurbaran did in other depictions of St. Francis in meditation, he has him longingly look towards heaven. In this moment, St. Francis appears to be asking if G-d is present just as death is present in the work. Another way to view it is that as St. Francis comes to terms with death, but his soul also ascends to heaven and solidifies his spot as a religious icon.

Zurbaran’s attention to detail makes St. Francis appear alive. This religious portrait is better than most family portraits at the time, but St. Francis does not appear physically different from your average man. Zurbaran appears to send the message that St. Francis is not any different from himself or yourself. While St. Francis’ soul could ascend to heaven, Zurbaran that his body will die as any mortal man. To emphasize this, St. Francis is weighed down by his large robe. Any viewer at the time would be able to relate to this image and its ideas. In the time of religious transition, people searched for new understandings and connections to G-d. St. Francis’ search for G-d in the painting was accessible to the viewers, who at that time, were searching for the same thing.
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Boy with a Basket of Fruit

Boy with a Basket of Fruit
Caravaggio, Boy with a Basket of Fruit, 1593
By ELLIE SCHNEIDER

In 1884, John Singer-Sargent famously painted Madame X, which was displayed at the Salon in Paris. In the painting, Madame X dons an elegant black gown with straps. A little known facts is that Singer-Sargent originally painted one of the straps to fall off of her shoulder. This scandalous choice received backlash from viewers and the model, enough so that Sargent repainted the strap securely around her shoulder.

John Singer-Sargent, Madame X, 1884

In 1593, Caravaggio painted Boy with a Basket of Fruit. When I first looked at this work, my eyes were drawn to the boy’s muscular shoulder, rather than to the vibrant fruit. His the white cloth of his shirt rests below his shoulder. Immediately I remembered Singer-Sargent’s Madame X. Is Boy with a Basket of Fruit the original Madame X?

The fruit is captured at its peak of ripeness. The boy, at 16 years of age, is also at peak ripeness. Caravaggio could have just painted the fruit, like he did with Basket of Fruit in 1599. Rather than set his basket of fruit to a plain background, he places it in the hands of a boy, who was actually fellow painter Mario Minniti. By painting a boy holding the fruit, he adds depth and emotion to the work, since he captures the strong colors of the fruit, the emotions of the boy, and the tension between the boy’s body and the basket.

The boy stood for who knows how long as Caravaggio painted this masterpiece. His muscles are flexed from holding the basket and his head is leaned back. His face shows a look of annoyance and boredom, as if the face was painted a few hours into his modeling session. Still, face also has a sensual look. The boy’s sleeve has conveniently fallen off the boy’s shoulder, letting the viewer get a nice view of his built upper body.

The light hits the boys’ face and shoulder, causing him to glisten. The fruit is also highlighted by the light source coming from the upper left corner. The boy, his white shirt, and the colorful fruit pop against the shadows in the background. His dark hair adds interesting contrast with the lightness of the background at the top of the painting.

Caravaggio is a master of details. The wicker basket looks intricate and well-constructed. The folds in the boy’s shirt look real. Each morsel of fruit looks freshly picked. The boy’s face and flesh looks realistic. Caravaggio’s great eye for detail and skill helps his paintings come to life.

*In Simon Schama’s The Power of Art: Caravaggio Andrew Garfield portrays the Boy with a Basket of Fruit. I would like to start a petition for praise of his performance. #Oscar4Andrew, get it trending people.
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Self Portrait at the Easel

Ellie Schneider
Sofonisba Anguissola, Self Portrait at the Easel, 1556
By ELLIE SCHNEIDER

Sofonisba Anguissola is one of the first female painters. In her youth she learned from the masters, Michelangelo and da Vinci. Since she did not have other women as influences, she drew influence from Campi, Correggio, and Gatti. Eventually, she became the influence.

Since the field was limited for women, Anguissola specialized in portraiture. Her father encouraged her and her sisters to paint. Her father was not an artist, but he sought out the best artists at the time to teach her. She mastered her craft, because she didn't have to worry about creating academic works.


Many of her surviving works are of the Sofonisba family, her sister, or herself. Still,  there are portraits surviving from the time Anguissola spent in Madrid with Philip II. Not only did she serve this royal family, but her growing reputation attracted noble patrons, such as Juana of Austria and Diane d'Andoins.

Anguissola pay have been a portrait painter, but her specialty was self portraits. There are around 12 existing self portraits of Anguissola. Whether or not she painted herself to practice her craft because her options were limited or just because she enjoyed it, we will never know. We do know that her mastery of painting herself helped her paint other people. Her self portraits help us prepare a timeline of her life, highlighting her age and improving technique.

Anguissola painted Self Portrait at the Easel around the age of 24. This is my favorite of her self portraits. This painting is based on the legend of St. Luke the Evangelist, who is said to have been the first person to have painted a portrait of the Virgin. Here, Anguissola takes the role of St. Luke as she paints the Virign. In this strong statement Anguissola proves that she is the best portrait painter and the first female artist.

Anguissola is not known around the world like Titian, Giorgione, or Michelangelo. Still, you can she her influence in portraiture throughout time. She was a trailblazer for women in the field of art. Even Van Dyck went to study under Anguissola for a short period of time. Without Sofonisba Anguissola, we would  not have Mary Cassat or Angelica Kauffman. Not only did she prove that women can paint, but she showed that it is possible for them to paint better than men.
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Winter Landscape with Skaters and Bird Trap

Ellie Schneider
Pieter Bruegel, Winter Landscape with Skaters and Bird Trap, 1565
By ELLIE SCHNEIDER

Bruegel brings to life winter in Netherland in Winter Landscape with Skaters and Bird Trap. This large-scale view of daily life in the world of the Northern Renaissance help us viewers better understand the cultures and influence of painters at the time. Through Bruegel's works we gain more knowledge about cultural influences, as well as social and economic status and religious influence for Bruegel and for the Northern Renaissance.


Bruegel often depicted peasants, humanizing them to the public eye and representing a group with less influence at the time. His most famous works show peasants working in fields, celebrating weddings, and daily living. This scene is no different. This painting, similar to Hunters in the Snow, shows activities in peasant villages during the winter. In the two winter scenes, Bruegel also shows the beautiful landscape, which grows more beautiful with the snow. Especially in Winter Landscape with Skaters and Bird Trap, the focus is on the landscape and architecture, rather than the people.

Pieter Bruegel, Hunters in the Snow, 1565
Bruegel rarely focuses on one subject. His paintings show many people doing many things. These scenes are sometime chaotic, but Bruegel's intense detail allows in depth analysis of these works. Once broken down, viewers have a better sense of Bruegel's influences and peasant life. Unlike some of the works that are chaotic, the two winter scenes are calm. Maybe it is the weather or the cool colors that create this calmness. In paintings such as Children's Games and Netherlandish Proverbs, the high density of people and warm colors create movement and tension within the frame. The two winter scenes have less people and less chaotic activities, allowing the viewers the breathe.

My favorite parts of Winter Landscape with Skaters and Bird Trap are the trees and roofs covered in snow. I also like how the skaters follow down the winding, iced-over river and the almost mystical fog in the background. Even though Bruegel is more famous for his chaotic scenes with Bosch's influence, I am drawn to the serenity and coolness in Winter Landscape with Skaters and Bird Trap. 
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St. Sebastian at the Column vs. St. Sebastian at the Tree

Albrecht Durer
Albrecht Durer, St. Sebatian at the Column, 1499
Albrecht Durer, St. Sebastian at the Tree, 1501
By ELLIE SCHNEIDER

 St. Sebastian was an early Christian  saint and martyr. During Diocletian's rule over Rome. People who practiced Christianity, like St. Sebastian, were heavily persecuted. Diocletian ordered St. Sebastian's death, so he was brought to a field and shot with arrows, only they did not kill him. Legend says that he was rescued and healed by Irene of Rome. Then, he supposedly went to Rome and confronted Diocletian, fighting for the freedom of speech and religion. Diocletian then ordered St. Sebastian to be killed for the second time, and this time it worked.

St. Sebastian is a common figure depicted in Renaissance art. Painters such as Botticelli, Perugino, Mantegna, and el Greco have captured the same scene and Dürer does above. Most often, St. Sebastian is painted in his youth. Dürer painted this scene twice, just three years apart, but he chose to paint St. Sebastian first in his youth and then as an older man.

What is the point of painting the same subject twice? Why did he chose to capture St. Sebastian at two different ages? These were the questions I asked myself when I found both of these prints. At the column, St. Sebastian is younger, and this shows because he appears more awake, petit, and calm. His hair and face also match that of a younger man. St. Sebastian at the Tree shows an older Sebastian with mature facial hair and a more built body. He also appears closer to death than the younger depiction, suggesting his youth in the legend is what saved him. Also, in the first image St. Sebastian stands upright and appears relaxed, but in the second image, Sebastian is leaning into the tree for support and his muscles appear tense. Additionally, I think that the maturing of St. Sebastian between these two prints also signifies the maturing of Dürer as a person and as an artist.

In Dürer's first image, St. Sebastian is at the column whereas at the second one he is at the tree. This is also an interesting change that Dürer made in his second print. Most other artists also place St. Sebastian at the tree, so it might be inspired by the works he saw when he visited Italy just before these etchings were made.

My favorite parts of these etchings are the tags that Dürer uses to sign his works. If you look to the left of the column, in the lower left corner and then if you search at the bottom right of the tree, there are small squares with a D for Dürer inside an A for Albrecht.

Dürer takes a subject that has been depicted in different mediums throughout time and uses his unparalleled etching abilities to create two of his own versions of St. Sebastian.
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