My Kid Could Paint That

Louis Anquetin, Gust of Wind, 1889

Synthetism was a movement started after some disgruntled artists decided they were tired of all things Impressionist. In order to move past the famous period, the artists of the Synthetism movement painted not what they saw, but what they remembered seeing, and took total control of their scenes. The leaders of the Synthetism movement were known for solid color blocks, shapes outined in black, and little perception of depth. Anquetin was no different. Anquetin, along with Emile Bernard, headed a movement within Synthetism called Cloisonnism, named after it's similar appearance to the form of mosaic which used melted metal in the between the shapes. This technique was frequently noted as looking somewhat like stain glass windows, and is what Anquetin became famous for.

This painting takes place over the Seine River in France. Although little is known about the details of the painting, it serves as a good representation of what Synthetism was all about. It is quite possible that the scene is something that Anquetin saw one day and decided to recreate at a later time, as many of his fellow artists did. The scene clearly differs from the Impressionists because the scene lacks the realistic qualities that they strived for. The horses, buildings, and woman are all outlined in black, which was traditional of Sythetism. In addition, the colors are clearly not as Anquetin really saw them, and the clouds did not really look that way, but in typical Synthetism fashion, the general idea of the scene is portrayed. 

I picked this painting because I really like the way Anquetin paints the scene. I like that the colors are blocks, but there are some variations of the colors. I also like that the painting has some motion without the use of shading or color mixing. For me, the scarf is what makes the title of the painting make sense. Although there is some movement in the horses manes, the scarf's swirling qualities draw attention to the chaos that Anquetin felt in the scene. Despite how uncharacteristic the swirling scarf is for the movement, I liked it because it draws attention to how motionless the rest of the scene is.

John Singer Sargent, Mrs. Henry White, 1883

Painted just before Sargent's famous Madame X, Mrs. Henry White was painted in a fashion that was perhaps more of what Virginie Gautreau had in mind. Mrs. Henry White, otherwise known as Margaret Stuyvesant Rutherfurd White, was of similar social standing to Madame X. Margaret was the wife of Henry White, a wealthy US diplomat, and the daughter of wealthy parents. Like Madame X, Sargent's painting was supposed to immortalize the fame of the socialite. Not only was this a way of maintaining her status, but it would help to get her well known quickly amongst high society by being captured by the next big artist.

Unlike their similar lifestyles, there were some major differences between Sargent's portrayal of Mrs. White and Madame X. Mrs. White is elaborate but modest, clean, well put together, and clearly very wealthy. Although the background of the painting is relatively plain, the red and gold chair certainly make a statement. Mrs. White's dress is also elaborate, covered in draping and ruffles, unlike Madame X's famous garb. At first the painting was not overly well received, as it seemed to be nothing special according to the critics, but at least her painting had the lasting effect she was looking for.

This painting is one of many that gained Sargent the fame necessary to be chosen by Madame X for a portrait. I chose this painting because I couldn't help but wonder how the lives of Madame X and Sargent would have been different, had Madame X's portrait been more like Mrs. Henry White. Would Sargent have been even remotely as famous as he is? And would Virginie Gautreau's fame have dissolved just as Margaret White's?

Claude Monet, Train dans la Campagne, 1853

The Valley of Unrest
By Edgar Allen Poe

Once it smiled a silent dell
Where the people did not dwell;
They had gone unto the wars,
Trusting to the mild-eyed stars,
Nightly, from their azure towers,
To keep watch above the flowers,
In the midst of which all day
The red sun-light lazily lay.
Now each visitor shall confess
The sad valley's restlessness.
Nothing there is motionless --
Nothing save the airs that brood
Over the magic solitude.
Ah, by no wind are stirred those trees
That palpitate like the chill seas
Around the misty Hebrides!
Ah, by no wind those clouds are driven
That rustle through the unquiet Heaven
Uneasily, from morn till even,
Over the violets there that lie
In myriad types of the human eye --
Over the lilies there that wave
And weep above a nameless grave!
They wave: -- from out their fragrant tops
Eternal dews come down in drops.
They weep: -- from off their delicate stems
Perennial tears descend in gems.

Pierre-Auguste Renoir, La Grenouiller, 1869

Pierre-Auguste Renoir, The Duck Pond, 1873

After being drafted to fight in the war against Germany, Renoir went back to painting in 1871. Before Renoir solidified his go to subjects (city scenes, clothed women, and naked women), he spent some time exploring landscape throughout France. Some of the time Renoir spent exploring France was with his artist friends, yet this painting has no copies done by other artists. This painting can obviously be identified as one of Renoir's earlier works by its subject and the brushstrokes. The stokes are short and choppy, creating an image that seems natural. The movement Renoir gave to the plants and to the water truly gives the impression of a moment being captured in its raw state. As Renoir's career matured, he transitioned to capturing people, and his scenes became less natural.

I think the first thing that drew me to this painting was the colors. I liked the vibrant orange roof and how it contrasted with the dark blue Renoir scattered in the water. The blue is important because it gives an early glimpse at something that Renoir would one day become well known for. I like that the ducks grabbed my attention, yet faded into the background once I noticed the movement of the landscape surrounding them. The line of the ducks grabs the viewers attention, pushing the eyes to the middle of the painting and changing the focus to the movement of the trees.

Stanley Spencer, Christ's Entry Into Jerusalem, 1920

Something about this painting is intriguing- weird and a little confusing- but intriguing. The title of the painting gives me a mental image nothing like this painting, but it's definitely an interesting interpretation of a story told throughout the ages. The painting is Spencer's interpretation of Palm Sunday type scene. The story starts with Jesus entering Jerusalem, which takes places just a few days before he was crucified. He descends from the Mount of Olives and enters Jerusalem, where people placed palms leaves at his feet as a sign of respect for the Messiah. In the story, Jesus rides on the back of a mule through crowds of people who have come to catch a glimpse of the man they have heard stories about. Within the next week of this scene, Jesus is accused of blasphemy, crucified, buried, and resurrected.

The man standing upright wearing a billowy white robe is Jesus. The layout of the painting is interesting, as it differs greatly from a traditional Palm Sunday scene. Though it appears that some people are bowing to Jesus, there are also many who have their backs turned to him, symbolizing the near future where the world turns its back on Him. The buildings and clothing are also contemporary, which became a style of choice for Spencer. The composition of the painting is interesting, as it seems that everyone but Jesus is floating. This feeling of being grounded adds to the somberness that Jesus seems to be expressing, through his tilted down head and thoughtful expression. Spencer's interpretation takes into account the events to come, and doesn't only focus on the happiness that the people felt who were getting to see their Messiah.

One of Spencer's two main styles of painting is to reconnect religious scenes to current times. This painting, like many of Spencer's others, is supposed to take place in the small English city where he grew up. This revitalization of old stories was categorized into a genre known as neoprimitivism, of which Spencer played a role in England.

Marcel Duchamp, The Passage From Virgin to Bride, 1912

Trying to explain Community is like trying to understand a Duchamp painting: it's going to require a little bit of a time, and it's likely to confuse at first glance (or episode). Okay, so basically Community is about a study group at Greendale Community College, home of the human beings (yep, their mascot is a human being. confused? ya, I know.) I've watched this show with my parents before and I get asked questions like, isn't Chevy Chase a little old for community college? Why did that guy just follow that monkey into the vent? Why is the show claymation now? Why are they pretending to sail a boat in a parking lot? Well, without a little time investment, there is no one to 100% understand the over the top humor of Community.

I believe the show, in a nutshell, can be captured by one episode, called Remedial Chaos Theory. This episode explores the 7 possible series of events that could follow, depending on who gets up to get the pizza. Sounds crazy, right? But it's amazing. Basically, the episode is just a 4 minute clip played over and over, and yet the result of each clip is entirely different. In one timeline, Jeff and Annie kiss, but in another, Annie gets locked up in a psych ward and Jeff loses an arm. It's really all dependent on the way you look at it.

This painting depicts the journey of a virgin girl to her wedding day, but that probably isn't what comes to mind when one first looks at the painting, and really, that's what's beautiful about this painting and the movement it was a part of. Just as Duchamp took a new look at angles and time, Dan Harmon, writer for Community, changed the face of comedy television shows and created a mass cult following.

Goya, Lunatic Asylum, 1812-1819

When Ferdinand VII came in to power, Goya was influenced for the first time to paint in a manner that reflected his view on politics in Spain. Goya was very disapproving of the chaos that Ferdinand's rule caused, and created a collection that consisted of groups running wild as a result of Spain's ruler. In a collection of paintings from the early 1800s, Goya painted groups of people in a variety of situations, overtaken by madness, including this one that takes place in a madhouse. Goya was so unhappy with Ferdinand, that he even painted a picture of a statue, representing Spain, looking down at Ferdinand disapprovingly.

So what was it about Ferdinand that pushed Goya's buttons so much? Well, when Ferdinand came into power, he was pressured to change the structure of the government. Under Napoleon, the power of the government was shared between 3 tiers of people, but Ferdinand felt that in order to gain the people's respect, he needed ultimate power. To do so, Ferdinand got rid of the Constitution and made a mess of the country, replacing religious leaders and others of power quite regularly. In 1820, this lead to a revolt lead by those who wanted the country to return to its previous government, using the old Constitution.
Until the time of the revolution, however, many were outraged by the
lack of order Ferdinand seemed to have in the country.

The logistics of Lunatic Asylum give an air of crazy, including the claustrophobic walls, and the limited amount of lighting. The arched ceiling pushes the space downward, and the high window allows limited access to the outside world. The space almost resembles an underground tunnel, making the people look like rats in a sewer. The movement of the people also adds to this non-human effect. Not only do some of the characters crawl on the floor in a daze, but most are also nude, creating a less-than-civilized group. Goya would argue that had it not been for Ferdinand's poor ruling style, this chaos would not have existed, and that civilization as Spain had known it would never have disappeared.

Jean-Auguste-Dominique Ingres, Vow of Louis XIII, 1824

If this isn't divine right, I don't know what is. For Ingres, Vow of Louis XII was a turning point to becoming a super credible artist. This piece forced Ingres into the limelight, and into the view of prominent Frenchmen. Ingres had a classy way of getting the fame he so desired. Not only did he appeal to nobility by making them look good, but he appealed to the public because he incorporated themes, like religion, that many were interested in seeing. In particular, this piece made nobility swoon. I mean, who wouldn't want to be lead by someone who adorns the Virgin Mary and baby Jesus with gifts? I know I think that sounds like a pretty cool leader. It makes him seem super-legit.

The physical aspects of the painting are none too shabby either. The layout of the painting is extremely well done. Although the curtains sort of come out of no where, they perfectly frame Mary and Jesus, and form somewhat of a triangle, symbolizing the Holy Trinity. The gold rings that come down from heaven also form an additional framing of Mary and Jesus, further distancing them from the ordinary dullness of Earth. Ingres does a good job of making Louis XIII look good, but not too good. Ingres painted Louis in royal garb, but not overly flamboyant attire, as not to draw attention away from heaven.

Ingres created a perfect balance of humbleness and grace in Vow of Louis XIII which not only captured the attention of royalty, but of audiences everywhere.

Jacques-Louis David, The Intervention of the Sabine Women, 1799

This is some serious woman power - I mean really serious female fortitude. In this painting, Hersilia, wife of the ruler of Rome, throws herself between a spear and a sword to stop the violence between the Romans and the Sabines. Hersilia felt it was her job to prevent the senseless killing of neighbors, and she put her life at risk so that others may not die. Influenced by her strength, other Sabine women jump into the middle of the battle. The unfamiliarity of women among warriors is quite evident based on the facial expressions of the three main men, Hersilia's husband, father, and the man with the horses. To be honest, it even looks like the horses are confused by their presence.

David painted The Intervention of the Sabine Women when in jail for his participation in the Reign of Terror. David got pretty lonely in jail and had a hard time deciding what to paint, until one day he was inspired by his wife. His wife, and many other women, were outspoken during the Reign of Terror. David wanted to do a little throw-back tribute to all the women who didn't just sit back and let the men run wild.

An interesting component of the painting is the contrast of the women to the men. The nudity of the men is raw and animalistic, while the women have a more sophisticated and tame air about them. The men are so wild they don't even notice the children on the ground. However, when the men see the women, they hesitate and think more carefully about what they're doing. David wanted to honor his wife for her bravery, always being with him, and for influencing his art. In addition, David paid his homage to the women who were standing their ground in France.

Rene Magritte, Les Amants, 1928

Sticking to Boucher's ultra-extravagent style, The Toilet of Venus perfectly exemplifies a Rococo piece.  Rococo art was most popular during the reign of King Louis XV. In this piece, Venus is modeled after a good friend of Boucher named Madame de Pompadour. Madame de Pompadour was a mistress of King Louis, which helped jump-start Boucher's career. Not only did the painting have a strong tie to politics at the time, but it also possesses many other Rococo aspects. In many Rococo pieces, there are upper class people doing something elegant. Though the painting is of Venus, it shows the elaborate lifestyle the wealthy French experienced. 

The cherubs dressing Venus immediately reminded me of Snow White being dressed by the animals of the woods. The painting is so elaborate that it is obvious that its sole purpose was to showcase extreme wealth. The casual chaos of the jewelry and flowers show how the wealthy felt they were too good to care about even the nicest of things. The curtains in the background also provide a feeling of acting. Though the lack of realism of the setting is acceptable for Venus, it is meant to play up the luxuriousness of Madame de Pompadour. In addition, though the grace of God is not shown through beams of lights, Boucher uses white doves to represent de Pompadour's religious side.

Boucher, The Chinese Garden, 1742

While scanning the page of Boucher's masterpieces, I stumbled across this beauty and wondered, How does this painting belong with the others? Why are there such rad colors in this and not the others? Where can I buy that sweet orange hat? What is up with that guy's hair? The more I looked at this, the more I fell in love with it, and the more interesting it became.

When I looked closely at this painting I realized that there were some aspects that were typical of a Boucher, while there were other aspects that were unique to this painting. This change represents Boucher's transition from his traditional work to the chinoiserie style. For example, what initially drew me to this painting was the vibrant blues and oranges. The use of these colors immediately made me realize that this painting was unlike many of the others that Boucher painted, as he traditionally used more pastel colors with intricate gold work. In addition, the background of the painting seems like it could stand alone as a Chinese landscape rather than a lush forest.

The theme of the painting, on the other hand, remained the same. Like many of Boucher's paintings, there is a highlighted woman being pampered. Although there are no distinct rays of light or shadows to draw the eye to one particular person; however, the woman having flowers put into her hair is obviously significant because of how pale her skin is. The lightness of the skin seems to increase with the ranks of the people painted. One detail I thought was interesting was the fact that even though this painting is of a Chinese garden, the women of focus in the painting are wearing clothes that resemble the European women's clothes that Boucher painted in other works. Another similarity in this work is the level of fancy "fluff" in the painting. The flowers put in the woman's hair are similar to the jewels that surround many other women that Boucher painted. 

At first glance, it seems as though this painting does not fit with many of Boucher's other famous works, but in reality, many details stay true to Boucher's traditional style, while others were slightly influenced by the new chinoiserie craze.