La Gare Saint Lazare

Claude Monet
Claude Monet, La Gare Saint Lazare, 1877
By MISSY ROSENTHAL 

Monet's La Gare Saint Lazare epitomizes the Industrial Revolution and the hopes of socio-economic views in the 19th century. Claude Monet illustrates a beaming metropolis of rail and a free market economy, a system economist Adam Smith argued in favor for in the 1700s. Smith advocated for laissez-faire economics, a system free from governmental rule. He firmly believed in the principle of the invisible hand, meaning the market itself will establish its ebbs and flows. As portrayed in Monet's work, Smith felt that industry functioned best with a division of labor, meaning each workers did only one task. This made for a more efficient working environment. 

Monet shows the worker on the railroad and the passerby prospectively. La Gare Saint Lazare can be seen as an visual representation of struggling socio-political ideologies. On the left side of painting trains and industry dominate the canvas, showcasing a desire for industrial success or capitalism, while on the opposite side of the piece people gather longing for equal rights and pay, or the basis of Marxist communism. 

Monet blurs the lines between these world intentionally, not only to create a beautiful work, but to showcases that these two ideologies were rediscovered in the wake of industrialization. Claude Monet masterfully portrays the social, political and economic ideas of Adam Smith and Karl Marx in La Gare Saint Lazare.
  • 7:00 AM

The Artist's Father

Missy Rosenthal
Paul Cezanne, The Artist's Father, 1866

By MISSY ROSENTHAL

In Richard Brettel's Modern Art 1851-1929, the author examines a shift in art technique and subject matter. Brettel discusses the concept of fetishism and how it specifically appears in a number of Cézanne’s pieces. Brettel describes fetishism as, "to involve the view in the process of artistic creation by fetishizing their major mater, paint." Cézanne's work showcases palette knife techniques, giving little depth to the piece and creating large gaps among brush strokes, which are characteristic of fetishism. The fetishism movement stemmed from the advent of photography. Because photography allowed for truly real imaging, the role of art changed from a necessary means of documentation to a method of appreciating the mere act of painting, rather than the subject it portrays. Cézanne accomplishes fetishism by flattening the piece to serve as un unrealistic artistic work rather than a realistic portrait. 

While Cézanne portrays the tumultuous relationship he had with his banker father. The artist illustrates this with thicker dark layers placed on the figure. One can interpret this rendering as an assertion of independence on the part of the artist from his overbearing father. Cézanne rejected his father's vision of his future as a successful banker or an attorney to study art. The painting in the background is of a still life Cézanne painted prior, symbolizing his success. The newspaper, L'Evénement refers to Emile Zola, a childhood friend of Cézanne and a renowned art critic, who encouraged Cézanne to study art in Paris. 


In addition to the meaning behind the subject and his execution of fetishism, The Artist's Father contains dark hues with a frequent use of shadows. The artist creates a modern painting while maintaining elements of classic portrait such as focusing the subject in the foreground. Although Cézanne intended to depict his father in a certain way, his work exemplifies Brettel's definition of fetishism through the use of the paint. 
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Ploughing in the Nivernais

Missy Rosenthal
Rosa Bonheur, Ploughing in the Nivermais, 1850
By MISSY ROSENTHAL 


Rosa Bonheur was arguably one of the main leaders in the romantic era of art. Bonheur received the majority of her training from her father, Raymond Bonheur. Saint Simonian also encouraged her artistic career and independence. At the young age of fourteen she started making copies at the Louvre in Paris. Her own works were greatly influenced as well as fascinated by trends in natural history including the theories of Etienne Goeggroy Saint-Hilaire. 

She kept a menagerie, frequented a slaughterhouse and dissected animals to gain a greater knowledge of their anatomy. Many of her works include exotic as well as non-exotic animals Bonheur attracted notice in 1845 from Theophile Thore's salon with her works: Goats and Sheep and Rabbits Nibbling Carrots, which won third prize. As a result of her success at this salon she was commissioned by the state to create Ploughing in the Nivernais. 

Bonheur brilliantly illustrates the rural landscape of the French province of Nivernais in central France. The piece is inspired by George Sand's novel, La Mare au Diable. The open space of the piece shows Bonheur's own longing for freedom in a world dominated by men. While the cattle ranchers (men) and cattle (women) themselves represent the view that women were meant to be subservient to men. The piece follows a strict linear composition meaning that the ideology of gender performance was viewed as unescapable. Bonheur paints a realistic rendering including vibrant blues in the sky, deep browns and beiges shown on the cattle and luscious greens in the grass. Bonheur’s stunning work portrays not only the beautiful landscape of rural France, but the social landscape lived by French women.
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The Death of Harmonia

Jean-Baptiste Marie Pierre

Jean-Baptiste Marie Pierre, The Death of Harmonia, 1741 

When I am Dead, My Dearest
By CHRISTINA ROSSETTI 

When I am dead, my dearest, 
Sing no sad songs for me; 
Plant thou no roses at my head, 
Nor shady cypress tree: 
Be the green grass above me 
With showers and dewdrops wet; 
And if thou wilt, remember, 
And if thou wilt, forget. 

I shall not see the shadows, 
I shall not feel the rain; 
I shall not hear the nightingale 
Sing on, as if in pain: 
And dreaming through the twilight 
That doth not rise nor set, 
Haply I may remember, 
And haply may forget. 

Editor's Note: Students were asked to pair a poem and painting with no explanation of the connection. 
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Composer Luigi Cherubini and Muse

Jean-Auguste-Dominique Ingres
Jean-Auguste-Dominique Ingres, Composer Luigi Cherubini and Muse, 1842

By MISSY ROSENTHAL

Ingres' Composer Luigi Cherubini and Muse epitomizes the neoclassical movement. Cherubini was a composer of the romantic background who wrote mostly sacred music. He composed 29 operas including: 15 in Italian and 14 in French. Cherubini was inspired by other famous composers such as, Ludwig van Beethoven and Christoph Gluck. Ingres chose the composer Luigi Cherubini to showcase in his work, in order to illustrate Ingres’ own goal in his art. Like Ingres aimed to achieve his work, Cherubini sought to follow the tenants of the neoclassical movement, by emulating works of the great composers and reinventing their styles of music through his own interpretation. 

In addition to the main subject of the piece, Ingres includes the muse of lyric poetry, Erato. Erato's hand is placed directly above Cherubini's head, illustrating that the composer draws inspiration from his classical predecessors. Ingres use of rich color greatly enhances the painting. The artist's contrast between black and white draws the eye towards Cherubini at first glance. He uses red and gold in his columns to frame, as well as balance the piece. The colors can also be interpreted as a reflection of the bloodshed caused by the decadent lifestyle of the aristocracy, during the French Revolution.

The harsh lines in the background also allow the viewer to focus on the subjects. While the harp begins a downward diagonal also drawing the audience to the central figure, Cherubini. Composer Luigi Cherubini and Muse describes the neoclassical movement through its subject matter and masterful execution.




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Knowledge That Books Give

Knowledge That Books Give
Oscar Romero, Knowledge That Books Give, 1995

By MISSY ROSENTHAL

Dear Harrison,

I gift you this beautiful mural to begin this holiday season. Your drive and determination to pursue scholarship has always remained a great inspiration to me. From a young age you have instilled in me a desire to learn and follow my passions. This piece, like you, shows an enthusiasm towards learning by illustrating many disciplines of study. Knowledge That Books Give illustrates scientific studies (through the use of a fossils), english and literature (through the scribe unfurling a scroll of text) and historical analysis ( by means of the Egyptian statues).

While I was watching you go through your years of schooling, you have always have been a role model for me. You have shown me the value of a strong work ethic and of dedication. Conversely, you have shown me the importance of being well rounded, that academic success is not everything. I wanted to thank you for your encouraging comments regarding my school work and my pursuit to follow my passions.

Upon first glance at this piece, one is overwhelmed by the deep blue hues in background. I view this as a metaphor for your future endeavors -- that the sky's the limit for you. The open hands over the book are symbols that with knowledge anything can be attained, another value you were instrumental in teaching me.

Thank you again for everything you have done for me during the past several years. I wish you all the best in your future endeavors.

Your loving sister,
Missy


Editor's Note: Students were asked to give a painting to someone they cared for. These are their moving responses.





















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Rinaldo and Armida

Francois Boucher
François Boucher, Rinaldo and Armida, 1734
By MISSY ROSENTHAL

Boucher's Rinaldo and Armida elevates the classic figures from the 16th century epic poem. Rinaldo and Armida are the two central characters in "Gerusalamme Liberata"( Jerusalem Delivered) written by Torquato Tasso. Gerusalamme Liberata takes place during the first crusade. An army captain, Rinaldo, was spotted by the king's sorceress, Armida, she in turn kidnaps him and takes him into the Garden of Pleasure. In the Garden of Pleasure, Armida places Rinaldo under a spell to fall in love with her. Rinaldo's General and his brother decided to save Renaldo by finding a hermit to break the spell. The hermit gave them a diamond mirror that was percieved to cure Rinaldo's infatuation. The two soldiers found the hidden garden and broke the spell, leaving Armida heartbroken for eternity. 


Boucher places the two subjects in the Garden just as the two soldiers are about the break Armida's spell. The artists places the lower and the cherubs in a circular composition. The red fabric engulfing the two lowers shows their infatuation with one another. The piece is lit by a singular white cloud, while the rest of the background's grays are meant to symbolize the impending doom for Armida. Boucher splits his work by using many diagonals. These diagonals give focus to the two main subjects by creating staging for the piece. 

The realistic fabrics are true characteristics of Boucher's works and the Rococo movement. The Rocco movement showcased the life of the aristocracy. The incredibly wealthy were often well read and this portrait portraying classic literature and architecture are other example of the movement. Boucher's masterful portrayal of "Gerusalamme Liberata"showed the best of Boucher and the Rococo time period.
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Art History Hotties: Self Portrait

Art History Hotties
Léon Bonnat, Self Portrait, 1855

By MISSY ROSENTHAL 

Throughout the years Gentlemen Quarterly has featured suave and debonair men on their covers,  such as Léon Bonnat's Self Portrait. If Bonnat had painted his portrait in today's society it would one hundred percent  be featured on one of GQ's covers.  As a result of his confidence and fashion sense, Bonnat takes his place as and Art History Hottie. He sports a fashionable brown blazer with a crisp white shirt. His pinky ring seems to glisten in the sunlight. Bonnat also looks directly at the viewer, to show his shear attractiveness. He even poses with what models call "the beauty shot."where there is a clean shot with a simple hairstyle that does not distract from their innate bone structure and overall pristine features.

The soft lighting and shadows make Bonnat's features pop. The life-likeness of his hair including the reddish tones also speak complete hotness. He even places himself in front of mountain peaks to appear even more appealing to his audience, as a well-traveled, sophisticated man.  Léon Bonnat is most well known for his portraits of celebrities. By painting himself, he states that he himself has reached celebrity status. 

Bonnat, a french painter, was greatly influenced by the work of Diego Valázquez. Bonnat emulated Valázquez by the use of dark colors surrounded to vibrant whites and browns. Bonnat's use of these hues self portrait frames his figure more and creates a central focal point in the work. In conclusion, Léon Bonnat's Self Portrait makes the list of art history hotties because of his dynamic pose, bold fashion sense, and impressive choice of scenery. 
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Minidoka Series #2 The Exodus

Minidoka Series #2 The Exodus
Roger Shimomura, Minidoka Series #2 The Exodus, 1974

By MISSY ROSENTHAL 

Roger Shimomura conveys his troubling story of his family's relocation to a Japanese internment camp during World War II throughout his works; however Minidika Series #2 directly relates to his experience moving to various camps. Shimomura, a Japanese-American born in Seattle, and his family were moved to Camp Harmony in Puyallup, Washington and then to Minidoka camp in Idaho. Growing up during and experiencing the aftermath of the racial tensions resulting from World War II has greatly influenced his works. 

Shimomura has become famous for conveying his highly political message in his pop art like style. He uses bright vibrant colors and sharp lines to create an ascetically pleasing work. He beautifully adds ionic japanese plant life and architecture such as the Itsukushima Shrine's red gate.

In Minidoka Series #2 The Exodus, Shimomura showcases the chaos that ensued throughout the Japanese-American community when transferring to these internment camps. Shimomura captures a image reminiscent of the Exodus from Egypt in the Judeo-Christian bible, through the water splitting the tents just like Moses split the red sea. Similar to Moses, Shimomura attempts to escape a life of prejudice and live life as an American. Conversely, Shimomura uses the shadow to depict the impending dark times for racial minorities in post-war American society. The historical Japanese garb represents the struggle to blend the two cultures: their identities as Americans and Japanese. Shimomura discusses racial prejudice in the United States through his use of symbolic images and pop art style. 



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Untitled (PH-950)

Clyfford Still



Clyfford Still, Untitled (PH-950), 1950

By MISSY ROSENTHAL
Clyfford Still described art as "an unqualified act." Although Still endured many years of school at the undergraduate and graduate levels, he felt that art simply was an act of individualism and required no schooling or formal training. Therefore, he felt his pieces needed no explanation and were purely meant to be enjoyed by the observer. This rings true by his transition from representational painting to abstract works in the 1940s. The public knows Still for his jagged lines and expressive brushstrokes. Still used such tactics as the palate knife technique, an approach where the artist uses a sharp knife to scrap off excess paint. This ensures that the piece looks two dimensional in nature rather than appearing realistic.

Clyfford Still captures the picturesque views of a sunrise atop Mount Spokane. The jagged lines and mixture of snowy whites and the dark hues of the mountains are meant to encapsulate the views Still saw daily during his childhood in Spokane, Washington. The various colors that make up the mountain, illustrate the various shades seen in mountain itself. Though Still spoke little about how to interpret his art, he did mention showcases the void in his other works such as No. 2, also known as Red Flash on a Black Field. It can be viewed that Still captured the feeling of being lost in the metaphorical void in the navy and black mixtures in the foreground of the painting. Still's expressive brush strokes and tranquil colors help to illustrate the fond memories he had living in Washington state.The views along side a mountain during sunrise are nothing short of awe inspiring and are a true representation of the ingenious works of Clyfford Still.
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Mythic Art: Cuauhtemoc Against the Myth

Cuauhtemoc Against the Myth
Cuauhtemoc Against the Myth, David Alfaro Siqueiros, 1944

Mythic Art
By MISSY ROSENTHAL 

Artist David Alfaro Siqueiros created Cuauhtemoc Against the Myth to illustrate the downfall of Mexican culture due to the arrival of Europeans. Cuauhtemoc, the last ruler of the Aztecs, is synonymous to the death of native culture in Mexico. In the bottom right of the piece sits Quetzalcóatl the serpent G-d, another symbol of the defeat of indigenous Mexicans. Cuauhtemoc Against the Myth attempts to interpret the idea that Europeans and Natives can subsist on the same land in harmony. The horses fused with their riders illustrates the inhuman way Europeans annihilated the Aztecs. The Europeans rationalized their actions through the guise of converting these "savages" to Christianity, as exemplified by the cross and rosary beads. As Cuauhtemoc battles for freedom, his deceased relative Moctezuma prays for salvation.

Siqueiros paints this mural towards the end of the Second World War and the beginning of the rise of fascism in Central and Latin America. Siqueiros himself fought in the Spanish-American war and joined the National League Against Fascism and War as a result. The artist creates this piece as an protest to Fascist regimes and to warn his fellow countrymen to be wary of foreign imperialism especially from the United States.

Cuauhtemoc Against the Myth uses artistic tactics that make the piece successful in meaning. The artist places the central light in the work on Moctezuma in order to express his hope for the peace and prosperity of his descendants. The platform that raises Cuauhtemoc illustrates that the ruler and the Spanish conquistadors are on the same level literally and metaphorically. The Spanish battle using the lord as their weapon whereas Cuauhtemoc uses a mixing of colors to fight symbolizing his cultural identity. Although the pursuits of Cuauhtemoc are not myth, Siqueiros work incorporates blending of colors and three dimensional-looking shapes in order to showcase a deeper meaning than just the subject itself, which makes this piece a work Mythic Art. 
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Mythic Art: Perseus Rescues Andromeda

Missy Rosenthal
Perseus Rescues Andromeda, Piero di Cosimo, 1510 
Mythic Art
By MISSY ROSENTHAL
Andromeda was the beautiful daughter of King Cepheus and Queen Cassiope of Joppa. Cassiope boasts to the Nereid sea nymphs about that Andromeda was far more beautiful than them. As an act of revenge, Poseidon ( G-d of the seas) sent a sea monster to Cepheus and Cassiope's kingdom. Only the sacrifice of Andromeda would appease the monster and the g-ds, leaving her to be chained to a rock and eaten by a horde of sea monsters. Perseus happened to be flying overhead on his Pegasus, upon seeing Andromeda he falls madly in love and proposes marriage. She accepts his proposal, leading Perseus to then slaughter the sea monster. 

Cosimo's rendition of the classic story adds drama to the piece through its intricate details. Unlike other depictions of the story, Cosimo includes figurines of the towns people to convey that Cassiope's reckless taunting did effect not just her daughter but the whole town. The artist highlights the immense size of the monster through perspective, such as the small housing atop the hill. The artist also shows perspective by using a rock in the foreground of the piece as a vanishing point. Additionally, Cosimo portrays the monster’s sheer size through the low water level. 

Cosimo incorporates a variety of cultures in the work, showing that though this story appears in Greek mythology it can be appreciated and its messages can be heeded by all. Perseus Rescues Andromeda preaches the negativities of gossip through the use of sinister mythological creatures, making this piece Mythic Art. 
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Mythic Art: The Myth of Deucalion and Pyrrha

Missy Rosenthal

The Myth of Deucalion and Pyrrha, Niccolò Giolfino,1550 

Mythic Art
By MISSY ROSENTHAL 

The Myth of Deucalion and Pyrrha depicts a narrative similar to that of the Noah's Ark story of the Judeo-Christian Bible. Zeus, the king of the g-ds, decides to annihilate all humanity via flood. Deucalion constructs an ark for him and his wife, Pyrrha. They then sail to Mount Parnassus, upon arriving to the mountain top, they solicit permission to recreate the human race. They were subsequently ordered to cast behind them the bones of their mother. Deucalion and Pyrrha interpreted their message to throw stones on the mountain or mother earth. Deucalion's stones became male children and Pyrrha's female. 

This tempera on panel work portrays the story while remaining true to the artistic elements of the Renaissance. Giolfino illustrates his message through staging by employing the use of mountains and other natural features. In addition, he uses creases and lifelike bodily characteristics similar to his other Renaissance counterparts. The dark background gives meaning to the mood of the piece, the destruction of one civilization and the dawning of a new one. Additionally, the buildings in the background show the promise for a prosperous society. Similarly, the sprouting of trees also illustrates hope for renewed life. The part in the Earth between Deucalion and Pyrrha illustrate the impending gender divide of women in the private sphere and men in the public. However, the commonality of Pyrrha's yellow headpiece and Deucalion’s yellow robe, shows that men and women are "cut from the same cloth".

The Myth of Deucalion and Pyrrha emphasizes concepts such as mourning, the emergence of new found life and hope for the incoming generation. Giolfino's work exemplifies Greek myth and expresses ideals that humans confront in their daily lives.
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Mythic Art: Sovereign of the Clouds of Dawn

Ming Dynasty
Sovereign of the Clouds at Dawn, Ming Dynasty
Mythic Art
By MISSY ROSENTHAL 

Sovereign of the Clouds was created and commissioned for the last group of the Chinese dynastic cycle, the Ming dynasty. The piece tells the story of the Saintly Mother or the story of the Sovereign of the Clouds of Dawn, which came to existence fairly late in Chinese history, early Ming era. The Saintly Mother of the Shandong province and many come to worship her on the east peak of the Five Sacred Peaks. The Saintly Mother's father, the g-d of Mount Tai, controls the gateway to death. Contrarily, the Saintly Mother exhibits compassion in relation to life such as childbirth. The Saintly Mother's bright aura and her father's dark aura are essential to the balance of life. The relationship illustrated by these two deities are what originate the Taoist principle of yin yang, where without two opposing forces a balanced society would cease to exist. 

Sovereign of the Clouds depicts the Saintly Mother in her celestial court. The Mother is shown with birds on her headdress showing her support of all life. The intricate patterns and decadent clothing illustrate Ming culture. Red in Chinese culture symbolizes luck and prosperity, which the Saintly Mother expresses in her garments. Cultures from all over the world contain myths that still play an active role in society. The principle of yin yang was applied to Chinese culture as a result of this myth and remains a quintessential marker of Chinese culture. For this reason Sovereign of the Clouds should be classified as Mythic Art. 
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Mythic Art: Calumny of Apelles

Calumny of Apelles
Sandro Botticelli, Calumny of Apelles, 1497
Mythic Art

By MISSY ROSENTHAL 

Calumny of Apelles depicts a dramatic court case where the physical manifestation of Slander or Calumny (illustrated in brown with a decadent golden staff) with the help of his assistants drag an innocent man to the King. Each figure in the piece represents a different emotion or action, for instance, those who assist Slander are Fraud and Conspiracy. One of the attendants attempts to break apart the bond (exemplified by the physical bond of the characters through their hair) of Slander, Fraud and Conspiracy. The woman in the black cloak (Repentance) mourns for the young man's salvation while staring at Truth. Envy dressed in green and Ignorance dressed in red surround King Midas and whisper into his ear. 

Botticelli created this work based off of the painting completed by Apelles. Apelles', a renowned artist of the Hellenistic period of Alexander the Great, work did not survive. However, Lucian of Samosata who was a writer and commentator of the time period, recorded the details of the piece and the story itself. Although, the contents of the story are myth, Apelles himself was wrongfully accused of assisting Theodutus of Aetolia in revolting in Tyre. Shortly before Apelles was sent to execution, Apelles' friend revealed the truth and his accuser was sold into slavery. 

The Renaissance in Italy sought to revive the old cultures of Greece and Rome. Renaissance Italy was fascinated by the story of the myth and Apelles' actual story. A Florentine banker commissioned Botticelli to paint this work in the Papal Mint. The piece contains decadent sculpture and gold throughout the palace, a reference to the famous fable about King Midas, in which everything he touches subsequently turns to gold. Botticelli's Calumny of Apelles discusses bias in the legal justice system, prejudice in Roman and contemporary society and importance of art in lives of the ruling class. For these reasons, Calumny of Apelles serves a representative piece of mythology in art. 

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Ribbon and Spears by Trendoid Age

Company of Captain Reinier Reael



Band: Trendoid Age
Album: Ribbon and Spears
Trendoid Age's Ribbon and Spears showcases the best of today's punk music scene. Trendoid Age features awe striking guitar solos with infectious drum beats. The band decided that Frans Hal's Company of Captain Reinier Reael illustrates the true camaraderie of band while contributing to the band's unique style. They appear in concert dressed in 17th century garb and they rely their passion for the punk genre. Trendoid Age jets off on their latest world tour that showcases their newest album. Ribbon and Spears contains hit music that experts in the music business favorite to win several Grammys. 

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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Palazzo Spada

Borromini

Borromini, Palazzo Spada, 1652

By MISSY ROSENTHAL 

Borromini's Palazzo Spada excellently displays optical illusion as well as elegant design. The palazzo was originally purchased by Cardinal Bernardino Spada in 1632 to house his extensive art collection. Spada commissioned Borromini to design a sculpture Garden attached to the original palace. The garden or Galleria was completed over the year long period between 1652 and 1653. Borromini was allotted 8.82 meters for the project, however through optical illusion he created a design that seemed much more spacious. 

The architect designed short columns in the front of the corridor that progressively lengthened with a vanishing point at a sculpture. The arched roof and patterned floor in addition to the columns added to the perceived spaciousness. Borromini employed mathematicians to assist in the construction. The optical illusions in this work inspired Bernini later in his career. In conclusion, the Palazzo Spada masterfully employed the use of the optical illusion while staying true to Baroque Roman architecture. 

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The Opening of the Fifth Seal

El Greco
 El Greco, The Vision of St. John, 1614
By MISSY ROSENTHAL

The Opening of the Fifth Seal also known as The Vision of Saint John depicts the biblical story from the Book of Revelation (6:9-10). The story describes St. John’s vision of the apocalypse. Behind the subject, St. John attired in blue, he martyrs pray to G-d for justice from their persecutions on Earth. The unclothed martyrs yearn to receive the white cloth of salvation from the heavens. The Opening of the Fifth Seal was created as one of three altarpieces for the Church of the Hospital of St. John the Baptist. These three pieces included: an Annunciation, Baptism and The Opening of the Fifth Seal. This hospital resides in Toledo and was founded by the Cardinal Juan Tavera in 1541. Tavera was buried within the walls of his beloved hospital. 

Within this work, El Greco's most iconic features are illustrated. The wispy background with patches of white creates a darker atmosphere surrounding the depressing subject matter. St. John's bright blue garment and the bright sheets towards the back of the painting accentuate the darkness in the background. The elongated body of St. John makes him appear larger, therefore, further showcasing that he is the subject. This three-fold project was El Greco’s last major endeavor, though he did not live to see its completion, his piece became an inspiration for more recent modern artists, such as Pablo Picasso and his Les Demoiselles d'Avignon.
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The Musicians

Caravaggio
Michelangelo Merisi da Caravaggio, The Musicians, 1595 

By MISSY ROSENTHAL 

This masterful work, The Musicians, epitomizes the Baroque period through its composition and artistry. Caravaggio extenuates drama and tension throughout his work, characteristic of the Baroque era. The Baroque period marked change in music and arts. Music of the period featured staccato phrases and the emergence of many new stylistic forms: including the fugue, sonata, suite and concerto grosso. Caravaggio created The Musicians to illustrate his support for the arts and the convergence of music and visual art. Additionally, Caravaggio uses his life-like folds to frame the piece. The folds and varying hues give the viewer a focal point, he establishes this with the figure wrapped in the red robe.

Caravaggio created a body of works with the musical motifs intended to be displayed in rehearsal halls and performance places. Cardinal Francesco del Monte held The Musicians in his home, where he invited musicians to perform. The painting features instruments specific and popular to the time. He illustrates four aspects of performance and composition: practice, analysis of the piece, nervousness ( as portrayed by the boy facing the audience) and luck/faith in the piece ( as depicted by cupid's presence). In addition, Caravaggio uses shadow to portray another aspect of performance in the Baroque period, opulence or special treatment for the talented. The artist shows this through the use of shadow hiding the grapes toward the side of the painting. In conclusion, Caravaggio depicts the complicated life of the performer. 
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Laocoon

Jacopo Sansovino
Jacopo Sansovino, Laocoon, 1507 
By MISSY ROSENTHAL 

Italian architect and sculptor, Jacopo Sansovino (1486 - 1570) paved his own way producing works that rivaled Michelangelo and Palladio. Some of his most famous pieces include the three main building of the Palazzo San Marco (the public mint, the library, and basilica). Young Jacopo with the encouragement of his mother soon became apprentice for Andrea Sansovino. As a result of Andrea's great influence upon on Jacopo, he adopts his last name. 

Sansovino, encouraged by his teacher, enrolls in a contest in Rome was organized by Bramante and featured Raphael as a judge. The contest was to create the best reproduction of the Greek myth, Laocoon. The story of Laocoon references when the seer in the court of Apollo, Laocoon, offends Apollo by conceiving two sons within his sanctuary. The story ends by Poseidon conjuring serpents to kill Laocoon's sons. The winning representation would be presented to Cardinal Domenico Grimani as a gift. Sansovino proceeds to win the competition for his reimagined bronze representation of this classic story. He drapes the the snake in front of the sculpture to frame the piece unlike the original. This work jumpstarts Sansovino entree into the world of sculpture and the Mannerist period.
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