Following the Question ‘Narrative’ I am going to look at Stories within Art. I am going to look at artists such as Botticelli and research their work and the stories behind it. I will then develop my ideas into a final piece for Narrative.
The Birth of Venus was Painted by Botticelli. Otherwise known as Sandro Botticelli. An Italian painter from the early renaissance. Sandro was the son of a tanner. Botticelli was born as ‘Alessandro di Mariano Filipepi’. He gained the nickname ‘Botticelli’ which means ‘small wine cast’. It is thought Botticelli first went into the studio of the artist ‘Fra Fillppo Lippi’, he began his career painting Fresco’s in Fiortine churches.
The painting was created during the Early Renaissance, The Renaissance was the rebirth of the European civilisation after the Middle ages, beginning in the 1400’s. The Renaissance started in Italy but soon spread across the whole of Europe. In Italy the time is divided into three periods:- the Early Renaissance -the High Renaissance and -the Late Renaissance which is also called the Mannerist period. This time was what created the birth of the philosophy of humanism.
Florence was considered the birthplace of the Renaissance. The most prominent feature of the Renaissance was the progression of the arts. During the early Renaissance, painters such as Giotto, and sculptors such as Ghiberti experimented with techniques to better portray perspective. Their methods were rapidly perfected and built upon by other artists of the early Renaissance such as Botticelli
The main Subject of the painting is Venus, Venus represents the ideal feminine woman. She is the mythical mother nature. Venus She is said to be either a daughter of Zeus or to have sprung from the foam of the sea. Hesiod, when Cronus (Uranus son) severed his father's (Uranus) genitals and flung into the sea, the blood and semen caused foams to gathered and floated across the sea to the island of Cyprus. There Venus rose out of the sea from the foam (hence her name came from the word aphros, which means foams).
The face of Venus was believed to be based on Simonetta Catteneo De Vespucci ( nicknamed La Bella Simonetta Ca 1453 – April 26 1476) It was believed that Botticelli loved Simonetta and saw her as one of the most beautiful women ever. Even though the identification of Venus isn't known exactly. Botticelli did ask to be buried at Simonetta’s feet when he died. This request was carried out when he dies some 34 years after Simonetta’s death in 1510. Venus was a Roman goddess and an Aphrodite. She represents the idea of beauty, perfection,love,fertility and good fortune. She was seen as the representation of the perfect person. The figure of Venus is based on the account of the classical artist ‘Appelles’ lost painting of Aphrodite rising from the sea. She was The birth of beauty meaning all her secrets are given to mankind.
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[3] The lady on the right is ‘Reminiscent of Flora’ (Fertility) she is rushing to clothe the newly born goddess. Roses - wherever the goddess (Venus) goes roses fall. These roses are also seen around the waist of Flora. Roses are the flower of love. Linking to what Venus represents.
It was believed that Zephyrus and Chloris met when they were forced to marry. However over time they began to fall in love, in the birth of Venus it is believed Zephyrus was taking Chloris with him.
[4] The way Venus is stood is similar to classical Roman statues. All of them are taking ideas from the ‘Praxiteles’ original. Venus holds her hands in the ‘Venus pudica’ position. First used in the famous statue of Aphrodite of Chidos by the Greek Sculpture Praxiteles. This position is called the ‘Contrapposto’ position. The contrapposto position was first used in classical sculptures to make the figure seem alive; dynamic and about to move
Nudity is significant in this painting as it shows the natural body form. The idea of perfection. However, Venus is trying to cover her nude body, as well as Flora running to cover her up. Possibly showing modesty. Nudity is also important in this painting as it was the first known time nudity was used in a painting. This made Botticelli choices radical. In later years this painting was recreated by artists such as ‘Albert Joseph Moore’ and ‘Francais Boucher’, both displaying Venus as nude.
Botticelli paid attention to Venus. Adding detail to the face and hair. He gave Venus virtually no blemishes, an almost idealised face.
Birth of Venus is dependent on the delicacy of Botticelli's line. The proportions show their greatest exaggeration, yet the long neck and torrent of hair help to create the mystifying figure.
Botticelli painted a dark line around the contours of her body. This made it easier to see her bodily forms against the background, and it also emphasized the colour of her milky skin. The result of all of this is that Venus almost looks like her flesh is made out of marble, emphasising the perfect, blemish free body.
The depiction of nude women was something not commonly done in the middle ages. Botticelli turned to an Aphrodite statue, in which the goddess attempts to cover herself in a gesture of modestly.
The Composition of the painting shows Venus to be the centre focus. Flora is stood/jumping just next to her. This could suggest she has a large significance in the painting. The Zephyrus and Chloris are in the far left. This could suggest they are less significant. The basic proportions of Venus come from the classical canon of beauty re discovered during the Renaissance. The equal distance between the breasts, between the navel and breasts, naval and crotch.
Greek Mythology is the body of myths and teachings from the ancient Greek era. These Myths and teachings include the gods and hero's; the nature of the world and ritual practices. The modern era often look back on Greek Mythology to shed light on the views and ways the Ancient Greeks worked and their religious views. Greek mythological characters were often represented on paintings, pottery and Buildings. Greek mythology is known today primarily from Greek literature and narrative media from the Geometric period. ( 900-800 BC) Mythical narration is important in almost every Greek narration, however the only the only general mythographical handbook to survive from Greek Era was the Library of Pseudo-Apollodorus. This work attempts to recreate the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Myths of origin" or "creation myths" represent an attempt to explain the beginnings of the universe in human language According to the Greek Creation story, in the beginning the only Mythological character was Chaos. Then from a void, a unknowable place where deaths dwells, came Erebus. Then love was born, this created Gaea. From Erebus came Ether. Nemesis was seen to bet the Greek Athrodite who embodied, Doom, fate; death and Night. Furthermore Gaea gave birth to Uranus. This was the beginning of the ‘Birth of Venus’ story.
Theodore Gericault was born in September 1791, he was one of the pioneers of the Romantic movement. GÊricault continually returned to the military themes of his early paintings, and the series of lithographs he undertook on military subjects after his return from Italy are considered some of the earliest masterworks in that medium. Perhaps his most significant, and certainly most ambitious work, is The Raft of the Medusa(1818–1819), which depicted the aftermath of a contemporary French shipwreck, Meduse, in which the captain had left the crew and passengers to die. The incident became a national scandal, and GÊricault's dramatic interpretation presented a contemporary tragedy on a monumental scale.
In the painting the raft survivors are seen to be looking out and waving to a ship in the distance. Gericault painted the ship to be very small, with the survivors waving. Showing the desperation they were faced in this time, emphasising the fear they must of all felt.
Gericault conducted interviews on the survivors, he learned that to survive they ate each other. He painted blooded axes to emphasis this.
Gericault planned his paintings in advance, he even built a life size raft on his studio so he could get the proportions right for his painting. He took studies of the survivors of the raft as well as visiting Morgues to draw the dead to further help him in his painting.
Although the event was a political scandal, the disaster was blamed on the incompetence of the captain who was employed by the new Bourbon King Louis XVIII.
The Raft of the Medusa, 1819, shipwreck July 1816, approximately 150 on raft for 13 days, 15 rescued, 10 Survived the aftermath.
Venus – Although in modern times the goddess is seen as primarily an erotic symbol. In the renaissance she represented many virtues. Love, Fertility and perfection.
Mercury- He was the messenger of the gods. He is depicted here as the garden guardian. He is shown to be holding back the clouds with his staff.
The three graces The Three Graces, goddesses of such things as charm, beauty, and creativity. In Roman mythology they were known as the Gratiae. Zephyrs and Chloris. Zephyrs is shown to be pursuing Chloris as she transforms into Flora. She is beginning to breath the flowers. The adjacent figure she shown in her full transformation.
Writings by various classical and contemporary authors have been suggested as influences for the Primavera. “Primavera” is Italian for spring, the various figures depicted represent different parts of the season and is in association with love.
Venus is elegantly dressed, she is obviously the main focus of the painting. She seems to be reigning over the land. She is no longer the young girl shown in ‘The Birth of Venus’
Botticelli depicted Chloris turning into Flora by literally painting flowers coming out of Chloris' mouth. In this small detail, Botticelli was seen to have followed the mythology stories very closely.
The painting is set in a meadow, with trees and fruit. Symbolising spring. The name of the painting is Italian for “spring”. The Three Graces are seen to be dancing. Venus in the representation of purity. The three graces are believed to be the representation of marriage and the sexual privileges you get once you are married. The flowing dresses they are wearing to cover themselves are seen to be a ‘veil’. Veils at weddings are lifted once the bride is wedded, once the veil is lifted the bride can have the sexual privileges.
Botticelli painted oranges to represent offspring. He painted several oranges to represent the amount of offspring he hoped for from a marriage. Emphasising the privileges of marriage.
It is believed that the ‘angel’ figure at the top of the painting is a boy version of Venus.
William Bouguereau painted Venus similar to Botticelli. However Venus in this painting she is stood in a more provoking stance, her body is still ‘perfect’. Her hair is also long and flowing like Botticellis rendition of Venus. The composition of the painting shows other figures looking up at Venus, going against what Venus stands for, Modesty.
Francois Boucher recreated the Birth of Venus, he blended the artificial and natural elements to creates a enchanted scene. Venus has a less proportioned body in this version. Her hair is also less flowing, Francois has made her Nude unlike Botticelli’s version where Venus is seen to be trying to modestly cover herself.
Alexandre Cabanel recreated Venus in a similar way to Botticelli. However, he painted Venus in a more provoking way compared to Botticelli. Venus isn’t covering herself, he hair is still long but not flowing like Botticelli's. Venus is also much larger than the other characters, Going against the ‘perfect’ body idea.
Mercury was the messenger of the gods. He was the offspring of Jupiter and Maia. Mercury was also known as Hermes. He was known as the fastest god. In most Paintings of which Mercury is depicted he is wearing pointed shoes and hats to represent this. He carries a staff (also shown in the ‘Primavera’) entwined with two serpents, According to Greek mythology, Mercury was born in a cave. It was seen that his mother was impregnated the night before he was born. Similar to Venus, Mercury was seen to be born as a full adult. Mercury is presented in the primavera as a strong, bold and responsible character. He is holding his staff up into the air to hold back the clouds. He has a sword on his waist, possibly suggesting he is a warrior or that he holds authority. A protector of those around him. He has a muscular body, further suggesting that he is a protector.
The three graces are also known as the three nymphs. The Three Graces, celebrated in classical literature and art, were the daughters of Jupiter (or Zeus in Greek mythology), and companions to the Muses. Thalia (youth and beauty) is accompanied by Euphrosyne (mirth), and Aglaia (elegance). There were three Graces in Greek Mythology: Aglaia, the Grace that symbolized Beauty, Euphrosyne, the Grace of Delight and Thalia, the Grace of Blossom. In the Primavera the Three Graces are represented as semi nude figures dancing. The clothes they have over them almost looks like a veil. They are all dancing, the look feminine and happy in the painting. They are all very similar looking, as if they are inseparable and close.
In the Primavera painting Venus appears again, she is still the centre focus. Similarly to how she was portrayed in The Birth of Venus painting. She looks very different than how she is portrayed in the ‘Birth of Venus’ painting Botticelli previously painted. She is much older and pregnant in this photo. Unlike the many interpretations of Venus both by Botticelli and painters of the Renaissance, Venus is full clothed in the painting. She is covering herself in a red cloth, similar to what Mercury is wearing in the painting. Venus is a strong, beautiful women. She is seen as the ‘perfect’ women.
Chloris was the goddess of flowers, a Nymph of the Islands of the Blessed. She was the wife of Zephyros (the West-Wind), and the mother of Karpos (Fruit). Chloris will later transform into Flora. In the Primavera painting Chloris is seen to have flowers flowing from her mouth, Flora is the goddess of spring. Chloris is in the middle of her transformation. She is also wearing a ‘veil’ like dress, similar to the Three Graces. Once she is transformed into Flora her dress is covered in roses, she has now transformed into a older more mature women. She is also pregnant once she has transformed into Flora, further showing she has matured now she has transformed.
Zephur otherwise known as the ‘West Wind’ is shown pursue the Nythms Chloris as she transforms into Flora. The colours Botticelli’s has used in this painting create a dark feel about Zephyrs, As if he is a dark; hated almost devil like character. The dark blue tones create a cold feel to him compared to the other characters in the Primavera painting. He is wearing a dark blue cloth over him, similar to Mercury. However mercury’s one is red, a bright ‘happy’ colour compared to the dark blue. This could suggest that he is the opposite to Mercury.
[1] [5] Jean-Paul Marat was a radical republican. He was assassinated in his bath tub by Charlotte Corday on July 13th. 1793. Born on 24 May 1743, he was a Political theorist. Best known in France for his political journalism during the French revolution. He became a vigorous defender of the sans-culottes, publishing his views in pamphlets, placards and newspapers. From 1790 to 1792, Marat frequently had to go into hiding. Jean-Paul Marat saw himself as a friend of the people, He was editor of the magazine Ami du Peuple. ( friend of the people) He suffered from a skin disease and had to stay in a soothing bath.
Head of the Dead Marat1793 Pen, black and brown ink, 270 x 210 mm MusÊe National du Château, Versailles
Jacques-Louis David was an influential French painter in the Neoclassical style. David later became an active supporter of the French Revolution and was a dictator of the arts under the French Republic. he Death of Marat, 1793, became the leading image of the Terror and immortalized both Marat and David in the world of the revolution. This piece stands today as "a moving testimony to what can be achieved when an artist's political views are directly presented in his work". In addition to his history paintings, David completed a number of privately commissioned portraits
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The table next to the bathtub Marat was killed in has his name engraved onto it. Similar to a headstone, suggesting that the death was planned and it adds an dark feel to the painting. The way the name is written is very formal, the surname first, the first name second. Similar to the way Marat may of written the names of those he wished to be Beheaded.
In the painting Marat is believed to be reading a letter from Charlotte. In the letter it is believed she is telling Marat how much she likes him and enjoys his work. She then also asks to meet him, when she does however. She kills Marat.
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Marat was painted in a bathtub, Marat was born with a skin disease meaning he has to sit in water to sooth his skin. He worked from his bathtub and spent most of his time in there. It is also however believed that Marat was writing the list of people he wanted to be beheaded in the bath when he was murdered. Suggesting Charlotte killed him because he was killing others.
In the painting, Marat is positioned slumped over the bath tub. With his arm hanging downwards, this is similar to many religious paintings from the French revolution era. The slumped arm was often used in paintings of Jesus. Suggesting Marat may have been viewed in such a way similar to what Jesus may have been. The Iconography of the painting is the representation of death. The slumped arm is similar to the descent of Christ from the cross. As the iconography of the painting is death it is also similar to Resurrection.
Caravaggio 17th century painting. [1]
The contrast of light and dark tones in the painting create the idea of life and death. The darker tones can both represent death as well as life, The lighter tones are similar to the idea of the ‘light’ you see before death. As the painting has the composition similar to religious paintings the lighter tones could present the idea of the end. The different tones create a mysterious feel to the painting, making you question where the light is coming from and why David used the light contrast in this way.
During the French revolution, France was ruled by Marie Antoinette and Louis XVI. Marie Antoinette helped provoke the popular unrest that led to the French Revolution and to the overthrow of the monarchy in August 1792. Marie Antoinette was born in 1755 in Austria . Louis XVI was the last king of France (1774–92) in the line of Bourbon monarchs preceding the French Revolution of 1789. He was executed for treason by guillotine in 1793. Louis XVI was born on August 23, 1754.
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The people of France grew resentful against the ruling classes and decided to remove them from power and for France to be ruled by the people.
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Charlotte Corday was painted in Paul Jacques AimÊ Baudry’s , (Charlotte Corday 1860) recreation of The death of Marat. This painting was created after the French revolution, however its not in the same style as the original. It uses realism and shows different perspectives compared to the original. You can see Marat was busy working when he was killed, his arm is however not slumped like in the original or the religious paintings. Charlotte is painted in the darker light compared to where Marat is dead, he has light shining on him. This makes it seem like Charlotte is trying to hide or has a darker side to her. Which was made clear when she killed Marat, the letter she wrote to him makes her out to be a nice person.
Within the painting there is a map of France, unlike the original. This shows links between the French revolution and Marat himself.
In comparison to the original ‘Death of Marat’ this painting shows signs of a struggle. The chair is tipped over, as if Marat was using it as protection. The books and paper on on the floor also emphasis the idea of a struggle happening.
In the original painting there is no foreground imagery. It is just set on Marat in the bath tub. However in this rendition of the painting, you learn more about Marat. You can see from the books on the shelf that he was a writer and that he studied both fictional and society in his spare time.
In this recreation of the ‘Death if Marat’ it shows Charlotte Corday. In the original painting Marat is painted as he is realised, not realistically. It looks as if Charlotte has been painted in this way in this painting, Her face is symmetrical and the shadow on he face creates definition.
The light and tone of the painting emphasis the meaning of the painting. Charlotte is stood in a dark area with no light, suggesting she is dark and twisted compared to Marat. Marat is in a monotone light, emphasising he is both good and bad.. His work is bad however he only has good intentions behind it.
Ferdinand Victor Eugène Delacroix. Delacroix's use of expressive brushstrokes and his study of the effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. Eugène Delacroix was born on 26 April 1798. The impact of Géricault's The Raft of the Medusa was profound, and stimulated Delacroix to produce his first major painting. This then lead onto Eugene’s painting making a large impact anmd he became one of the pioneers of the Romanticism era. Delacroix's most influential work came in 1830 with the painting Liberty Leading the People, which for choice of subject and technique highlights the differences between the romantic approach and the neoclassical style.
The centre figure is a personification of Liberty, a semi-nude muscular female. Liberty wasn’t a real person she was a metaphor of a group of people. She was a representation. The painting is mostly darker tones and muted colours apart from the three flag colours. Otherwise known as the tricolore flag. Liberty wears the red Phrygian cap of liberty. Which was worn during the first French Revolution. She also Holds the Tricolore flag in her left hand which Charles X banned and an infantry musket in her right hand. She is altogether a potent symbol of struggle for freedom. Liberty otherwise known as Marianne is allegorically representing democracy. Democracy was born in Ancient Greece. Delacroix reminds us of this by his use of partial nudity.
The men surrounding Liberty in the painting represent the Classes. The man with the top hat and the larger gun is higher class. He was most likely in a profession like a chef or artist. The man wearing the Beret hat would of been nicknamed a ‘street urchin’. He was of the lower classes. The white shirted man would have been a field worker. Although he isn't of a high-class he was above the lower. The man on his knees beside Liberty wearing the Bandana would have been of the lowest class. He would have been a day labourer.
In the foreground lay two dead bodies. The figure on the left is intended to enrage the viewer. He is dressed in a long nightshirt as his body was dragged into the street from his bed where he had been shot. In this sense the painting is propaganda. Delacroix is alluding to the royal troops ( Charles X) who spread terror by murdering suspected revolutionary sympathizers in their beds and then dragging the bodies into the streets as a warning. The figure in the bedclothes is possibly dying but he is dressed in the tricolor, and his last vision is that of Liberty ( Democracy for the French people). The dead uniformed figure on the right is a royalist soldier. Delacroix shows the enemy as vulnerable.
Paul Delaroche born Hippolyte, was a French painter. He was trained by Antoine-Jean, Baron Gros, a painter of life-size historical subjects who had many students. The first Delaroche picture exhibited was the large Jehosheba saving Joash. This exhibition led to his friendship with ThÊodore GÊricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters. He was born, worked, and died in Paris. His studio was in the Rue Mazarin. His subjects were painted with a firm and smooth surface, which gave an appearance of the highest finish. Delaroche's paintings, with their straightforward technique and dramatic compositions, became very popular. He applied essentially the same treatment to the characters of distant historical times. Delaroche's work sometimes contained historical inaccuracies.
As a Protestant, Jane was crowned queen in a bid to bring forward Protestantism and keep Catholic influence under control. Jane became Queen of England after the death of her cousin, Edward VI in 1553, but only for nine days. However, the plan to shore up Protestantism didn't work because Jane's claim to the crown was much weaker than the more legitimate person who was Mary, the half sister to Edward VI.
On the left we can see two grief stricken ladies in waiting, with one sat slumped on the floor and one standing with her back to the us. These figures emphasize the solemn and depressed mood of the painting.
To the right of the image we can see the executioner who is standing in an almost classical contrapposto stance. This stance is usually seen in sculptures of heroic figures from ancient classical art, and demonstrates the academic training of Delaroche
Visually the painting is divided into three vertical elements.
In the central part of the image we can see the main protagonist, Lady Jane Grey. Her youthful age is highlighted in the painting as she is stood next to an ageing Lieutenant of the Tower of London, Sir John Brydges who guides her towards the execution block.
The straw on which the block rests was intended to soak up the victim's blood.
Delaroche has mastered the use of chiaroscuro so brilliantly so that Lady Jane stands out strikingly from her surroundings whether or not she was dressed like this is unknown but as she was married this was unlikely. However Delaroche chooses this to paint her this way to show her innocence in the situation. England had a choice in 1553 of who should take the Crown. Mary (who became Queen Mary I "Bloody Mary" 1516 - 1558) by his first wife Catherine of Aragon, who was the half sister to Edward VI‌and had the support of Catholic worshippers or Lady Jane Grey who was the Grand-daughter of Mary Tudor, who was Henry VIII’s sister and had support from the Protestant worshippers.
Lady Jane wears a blindfold and is about to kneel with her arms anxiously fumbling for the block on which she is about to rest her head. She is depicted with porcelain pale skin and is dressed in crisp white silk. She appears almost doll like.
The Salon was an exhibition of art that was open to all people and was held every year in France a visit to the Salon was similar to you visiting the cinema in today’s society. It was a form of entertainment. To be a top artist you needed to be included in the Salon. Art was selected by a jury of judges. Popular genres included paintings of historical events. The Execution of Lady Jane was included in the French Salon. The favoured styles of art were Neo-classical and Romantic. This is now known as Academic art or Salon style art.
[1] Andrew Graham Dixon (2008) ‘Art, The definitive visual guide’. Dorling Kindersley. [2] http://www.italian-renaissance-art.com/Birth-of-Venus.html [3] https://www.google.com/culturalinstitute/asset-viewer/the-birth-of-venus/MQEeq50LABEBVg?hl=en [4] http://emptyeasel.com/2007/12/18/what-is-contrapposto-in-art-heres-an-explanation-of-classicalcontrapposto/ [5] http://www.wga.hu/frames-e.html?/html/d/david_j/3/301david.html [6] http://medhum.med.nyu.edu/view/10364 [7] http://www.history.com/topics/french-revolution [8] http://www.illustrationweb.com/artists/ChrissyLau/view [9] http://www.illustrationweb.com/artists/SunnyGu/view [10]https://books.google.co.uk/books?id=prXmRH366rUC&printsec=frontcover&dq=julie+merberg&hl=en& sa=X&redir_esc=y#v=onepage&q=julie%20merberg&f=false [11] https://books.google.co.uk/books/about/The_Very_Hungry_Caterpillar.html?id=FowDtwAACAAJ [12] https://books.google.co.uk/books?id=06NDRAAACAAJ&dq=where%20the%20wild%20things%20are&so urce=gbs_book_other_versions [13] http://www.luisdourado.net/ [14] http://www.whitechapelgallery.org/about/press/hannah-hoch/ [15] https://www.goodreads.com/author/show/57236.Julie_Merberg