My Kid Could Paint That

By CARLY HOFMANN

Francisco de Goya's work defies any standard stylistic classification. His art cannot be separated from the conflicting social and political upheavals of late eighteenth century Spain. Goya assumed the role of a moralist and believed that his art could censure society's vices even more forcefully than any form of eloquence or poetry. He understood art as an opportunity to expose the eye of the viewer to thoughts and attitudes previously hidden within impassioned and unenlightened minds. He shared the enlightenment opposition to religious fanaticism, social injustice, and senseless cruelty. However, as with many others, his faith in the power of reason to solve human and artistic problems ended in disillusionment.

In January of 1890, Goya witnessed a liberal victory in Spain that forced Ferdinand VII to accept the constitution. Goya's response to constitutional freedom is demonstrated in the fourteen "Black Paintings" that he executed on the walls of his country home. In the paintings of his so-called black period, he explored the dark and terrifying world of the subconscious. It was understood that evil could no longer to be attributed to the devil, but to humanity itself.

In Saturn Devouring One of His Sons, Goya accentuates the blood and gore of ancient Roman myths as a cure for the glamor and opulence of neoclassicist idealism. Goya depicts Saturn feasting upon one of his sons, with the head and the right arm already consumed. As the titan looms from the darkness, the only brightness in the painting comes from the bulging eyes of Saturn, the sickly flesh and red blood on the child, and the white knuckles of Saturn as he clutches the body. There is evidence that this painting may have originally portrayed the titan with an erect penis. The feminine curvature of the corpse combined with this possibility denotes a disturbing sexuality. 

Theodore Gericault completed The Raft of the Medusa, which eventually became the icon of Romanticism, when he was only 27-years-old.  The painting itself portrays the tragic incident that happened in 1816. The story of the Raft of the Medusa is based on a French Royal Navy Frigate that sailed in 1816 to colonize Senegal. Due to the shortage of lifeboats, those who were left behind built a raft for 150 people who went to physical and mental extremes in order to survive. They were physically tired and hungry and to survive they had no choice but to slaughter the weak to feed those who are desperate to live.

Putting in intense amount of research and dedication, the painter drew his inspiration from who survivors of the Medusa. He carefully dissected the subject piece by piece, documenting and questioning the survivors their trauma of exact details of the ship and the environment that they had to go through. Also, he referenced the rotting bodies of the corpses from hospitals, carefully examining the wounds.

Before starting on the painting, he created multiple sketches and created wax models to lay out many possible compositions. The final composition of the painting is played out in two pyramids overlaying each other in the center.  The style of the painting was inspired by the style that Caravaggio's practiced known as chiaroscuro. The style uses strong tonal contrasts between light and dark to show three-dimensional forms and display dramatic effects.

Here I am in this white world. I can't feel my body because of the cold wind. But the main reason is because of my legs. My legs are not mine, they are not connected by veins. I am using two crutches to walk in the deep snow. My footprints doesn't last as the snow covers it. I cannot be found, I am alone. My friend told me that I can find the meaning of life in snow, so I came.

The walk is long, and I discovered nothing. The whole world is white, except me. I am the only color in the world. The vast white buries other colors. The walk continues, I see a green spot in front of me. And when I get closer, the green amplifies. It is some evergreen trees that light up the white world. Among them, is a crucifix. I stand, to confirm that it was real. I shake and couldn't hold my crutches. I run towards the green spots. My legs tried its best to move and finally stop under the crucifix. I lean on the rock and begin to pray. I wish god can hear my voice, comfort my pain, and take away the cold. If life is suffering, then I hope I can have a better life after death.

By MISSY ROSENTHAL 

Critics and the public adored Marie-Guillemine Benoist's Portrait Of A Negress when originally shown because of its unique subject. The subject, a black woman, is shown with draped fabrics to cover herself yet leaves her breast exposed. Despite the more plain background, the chair and accessories, such as her earrings, indicate a somewhat wealthy setting.

The praise also came because the painter was a woman, which was unusual for the time. When a painter (male) paints a black female, it is seen as a type of objectification. However, Benoist depicts a genuine relationship between the subject and painter because their bond over their gender and struggles because of it which in a way overrule their differences in race and wealth. This rare relationship probably derived from Benoist's opinions, which developed from her childhood as the daughter of a civil servant in Paris.

Benoist married a public supporter of royalist causes, creating problems with judgement from critics and the public. At the height of her popularity, she resigned to focus on advocating for women's rights especially during the rise of conservatism in Europe.

This painting reminds me of "Still I Rise" by Maya Angelou. Every line applies, however most preeminent are "You may write me down in history with your bitter, twisted lies... Did you want to see me broken? Bowed head and lowered eyes," "Does my sexiness upset you?...Still, I rise."

The Industrial Revolution abruptly conquers England. The great western railway in England ran it's first trains in 1838. The powerful train started in Bristol and ran until Exeter. The enormous speed and power of this railway sparked Turner's inspiration. A common pastime for people in England was to watch trains pass. Turner hopes to display the rapid empowerment of the Industrial Revolution.

The railway transforms and separate the landscape. On both sides of the canvas I notice natural and peaceful scenes. On the left, a fisherman attempts to catch his prey. On the right,  I see a man plowing a field. The industrialization and steam on the train captivates the viewers. The intense and forceful train overpowers the field and pond. Nature and natural landscapes act as the background, and the train's the subject. The train's dark elements contrasts with the light and playful colors in the river.

Industrialization swept over Britain quickly. The speed of the train displays the rapid transformation to industrialization. Rain, ateam, and speed act as three components to hinder vision. Turner conveys the unrecognizable transformation of technology Britain faced during the industrial revolution. The forceful motion of the train looks as if it's about to burst out of the canvas and onto the viewer. I am captivated by the movement and energy of the train. This painting summarizes the speed and the awakening of the Industrial Revolution.