Isabella Daly New College 66528
Critical and Contextual Studies – A2 Coursework Part 1
To start off my work for this year, we will first be looking at a few paintings that all have the the recurring main theme of TIME. As with the way that we go about tackling any piece of artwork, we first have to start off looking at the very basics of observing what we can immediately see from the painting before we can look into what message the artist might be trying to convey to us and the meaning behind the piece.
There are also some other clues that give this away, such as how Cupid obviously is shown with his wings, while Venus is shown to not only be holding Cupid’s arrow in one hand but is also holding the golden apple in the other, two objects which are affiliated to both of these characters.
As we can see from the title of the work: ’An Allegory with Venus and Cupid’ (created using oil on panel sized at 146.1 x 116.2cm painted in 1545), this piece in centred around Venus and her son Cupid, Venus being the woman positioned fairly central in the foreground of the painting while Cupid is the smaller this is not only from how these two figures are in the foreground of the pieces but they’re also the only two twisted figure positioned around Venus. The way we are to identify figures that seem to be directly interacting with one another.
If we actually take a closer look at how both Venus and Cupid are interacting we can see that the two are engaging in some form of a romantic relationship which although might not phase someone who is just glancing at the painting, if you actually know anything about the two characters then you will know that Cupid is actually Venus’ son. This obviously adds a somewhat sinful air to the piece as a whole and actually is one of the main forefronting themes within the piece where a number of other elements of the work link to and expand upon this main scenario. From knowing this information it also explains as to why this piece is titled as an ‘Allegory’ which is a term used to describe a piece of artwork that has a hidden meaning.
Even from just taking a quick glance at this painting we can identify that this is an asymmetrical piece, this can indicate the lack of simplicity within it and how the idea of disorder is a main topic. This can also be shown by how there’s so much going on within the piece that without focus on one particular element, our eyes naturally dart around to various different areas. All together this creates a link back to the allegory of love shown, a situation of both pleasure and pain and how this is showing a transgression on a grand scale, meaning that this depicts a violation of one of God’s ten commandments.
Obviously we have now established that the relationship between both Venus and Cupid is one that is seen as sort of a “forbidden love”, when we actually look at the positioning of Cupid we notice that his body is twisting and turning in some very unnatural shapes around Venus. Perhaps the artist has specifically chosen to depict Cupid in this way as a sign of how the situation between these two “lovers” is one that like Cupid’s posture, is unnatural, although this might just be a coincidence that links in with the initial style of Mannerism that the work was created in.
Mannerism is art that was made after the High
Renaissance (1520– 1600) - work that had emphasizes on proportion, balance, and ideal beauty. In comparison, Mannerism instead consisted of artwork that exaggerates these qualities and ending up with work that usually has asymmetrical compositions as well as various unnatural aspects like the positioning of the figures where they were often in elongated and distorted. This is completely contrasting to the High Renaissance, where by Mannerism focused and favored more on compositional tension and instability rather putting a heavier emphasis on balance and clarity like the High Renaissance did.
If we briefly take a step back away from Bronzino’s work to look at the artist Portomo, who trained Bronzino,we can see similarities in this composition (Deposition from the Cross, 1525-1528) to that of the Allegory. From immediately looking at both the paintings side by side we can see that both have an asymmetrical composition with a numerous amount of figures being contained in a small space to almost give a cluttered looking feel to the piece. And along with the overlapping, the use of the twisted figures and limbs that do overlap one another is a heavily distinctive element of the Mannerism style of work that is present between both of these two paintings.
Looking closer at these figures we can also see that between the two paintings they both have that mixture of the placement of the figures switching between those in the foreground and those in the background and the large varied amount of overlapping that is shown.
Moving back to the piece itself there are a number of different symbols within it that emphasis this idea of love even more so: such as the doves positioned down by Cupid’s foot.
There’s also the young boy positioned to the right of the painting who not only appears to be scattering rose petals, but is also stepping on thorns, bringing us back to the idea of both the pain and pleasures of love and how the two go hand in hand, particularly in this situation.
If we then look behind the boy we notice another more strange looking figure that has a human girl’s face but a lion’s body and the tail of a serpent with some sort of sting. Her hand is extended out while she holds a honeycomb. This, like the cherub, could be a symbol of how not only do the sweetness and the sting go hand in hand with love but also how love may be misleading, hence why she is in the shadows of the background
Looking at the top section of the painting we can see our final two figures in the background who are interacting with one another, although they don’t have as many traditional attributes which therefore makes it harder to identify them, we can make some educated guesses. For example, the figure on the left could possibly be Truth or Falsehood which we could relate to the mask like face. We can assume that the figure on the right is Father Time, not only due to the heavy feeling of masculinity he gives off with his strong arm reaching across the image but also the hourglass positioned behind him. And finally, looking at the last figure, there’s a very particular theory related to him depending on your depiction of the character who has never been clearly defined as Jealousy. In Europe during the 16th century a new sexually transmitted disease called Syphilis came across in quite a wave. The way that this figure is clutching onto his head appearing in complete agony could show that he is sufferer of this terrible disease, due to eventually, as the disease gets worse it starts to affect the brain.
Continuing to think about the relation to this sexually transmitted disease that was going on at the time and to this painting we can spot that some of the things that I previously mentioned about certain objects and figures could actually have double meanings. Such as if we go back to looking at the boy who is standing on thorns, which naturally we would assume is quite a painful thing to endure, yet the smile on his face would say otherwise. This could potentially indicate that his foot is numb and that he is suffering from a symptom of Syphilis known as Dorsalis. Tabes dorsalis occurs when Syphilis is untreated and nerves start to degenerate where it starts in your feet and if you continue to leave it untreated it, it progresses up the body to a point where it reaches the brain and drives you crazy, potentially this is what’s occurring with the figure in the background in agony.
With this in mind it therefore makes sense to state that this figure of the young boy represents the early symptoms of the disease, a disease that has been caused by a polluted, transgressive Venus as well as the toxic, illicit love affair that is taking place within this painting. Even now as we take a look at the painting as a whole and the colours used the pale skin not only makes the three figures stand out in the foreground as they all give us the main sustenance and meaning to the painting now that we’ve looked into it. It does also give the indication of purity, however, this just emphasizes the fact that this is an allegory and how in reality, these figures represent ideas that are most definitely not of a pure nor positive nature.
Within the previous painting I looked at which was based around the main theme of time, the use of symbolism was something that was heavily emphasized throughout this painting. While still continuing to look at the idea of TIME I decided to look at another painting based around not only this theme but also had heavy use of symbolism as well.
After browsing around for some different paintings, when I came across the painting to the left titled ‘Allegory of Vanity’ by Antonio de Pereda painted in 1632 in oil on canvas and the size of w1740 x h1395 cm. I instantly noticed the hourglass positioned in the bottom center of the painting, and without even looking any further into this painting I immediately became aware of how this painting therefore also had the symbolized link of time, much like the previous painting I looked at. However, before I actually started to analyze the painting, I took a look at the title, the use of the word ‘Allegory’ which from my previous analysis I learnt is used when referring to a piece of artwork that has a hidden meaning, this provides an indication to us already that there is more than meets the eye when it comes to observing this painting. Which will definitely be something to keep in mind as I start to try and take apart and look at the painting piece by piece.
When we take a look at this painting we can see that the composition is made up of some sort of angel whom we can identify due to the figure’s wings. We can see that they’re holding a globe and is pointing just into the sea, away from land – an indication of a voyage or journey soon to take place perhaps?
The figure is also dressed in what seems to be lots of heavily draped garments, where part of which is actually painted in this rich dark blue colour. This is a more expensive colour of paint that gives us the assumption of this figure being of quite a high level of importance.
The figure shown is also making direct eye contact with us, the viewer, which therefore makes the viewer feel like this is a very personalized painting to whoever is looking at it. Whatever the meaning, what the allegory is, it has a direct link and impact upon whoever is gazing at this piece.
Continuing to look at the painting we then notice that The figure is standing around a table filled with a wide array of objects, which we can only assume will give us an indication as to what the allegory of this this painting will be. A feature that is also very prominent in this painting is the use of both light and tone, with the very solidly dark background and a lighter palette for the foreground to ensure not to distract away from all of these objects and their important. The technique that has been used here is called chiaroscuro this is when tonal modelling has been used with deep variations and subtle gradations of light and shade which are then used to show great detail, giving a more 3D effect as well as show great drama.
Going back to what I touched on earlier about the varying amount of objects on the table (around 27 or so) all of which have their own meaning leading us to discovering what the allegory of this piece is, remembering of course that one of the main themes in this painting is TIME. In order to do this I’m going to take a closer look at the individual objects themselves. If we start by looking towards the center of the painting, right at the front we notice an hourglass which we know from what I previously mentioned, is quite obviously a strong link towards the theme of time, and if we look closely we can see that all of the sand has actually fallen into the bottom section. This is an indication of sorts that time has run out for something and that it has come to an end, whatever it may be. Looking then to the left of the hourglass we notice that there is a small collection of seven skulls. Identifying these instantly shows us part of our link towards the theme of time as in paintings, the use of skulls is know as a Momento Mori (meaning reminder of death in Latin), which is when an object is used to signify the inevitability of death and the lack of immortality that humans posses. In other words how TIME will always pass and death will be something that every one and thing will endure.
We can also take note of the books where the skulls are positioned around, the fact that there is one fully finished and bound book underneath and unfinished, unbound book gives us the indication of progression and how we, just like books have a life cycle of sorts: we have to be “built”, be made until we reach the point of being fully ”bound” and completed and as time goes on we get older, and the “condition” of us gets worse until we reach a point of ruin.
Continuing to make our way more so around this part of the painting there also appears to be a burnt out candle, yet the candle has not completely burnt down. This possibly gives the idea of an unnatural death, one that was brought upon by someone and not a death that has occurred by the natural progression and ending of a life.
Also positioned on the table is some armour as well as a gun of some description which quite predictably makes us think of war that therefore also leads onto the idea of death. As we now know this is a recurring theme within all the different elements I have so far talked about in this picture, but quite specifically there is a link with two objects in particular: the hourglass and the candle. The hourglass signifying that time has suddenly come to an end (unlike the skulls which simply just signify death), and the exact same with the candle but also showing us that it wasn’t a natural death and the misfortune was brought upon someone when they’re time wasn’t naturally up.
The final thing positioned on this table is couple of cards which are just ever so slightly hanging off the edge of the table which normally means, quite logically, that something bad is going to happen very soon. We can assume that this is to do with the idea of death based off of everything that I’ve previously discussed, but it could either be referring to a death that is just about to take place or about the consequences of a death that has just happened which could relate to the armor and the idea of war.
Before I move on and start talking about the objects on the other side of the painting, I was thinking about all the objects I have discussed collectively and this led me to thinking about what kind of painting this could be. From everything that I have so far discovered (even though I am yet to finish looking at this piece) I am to believe that it would be a fair assumption to classify this as a VANITAS painting, which was a type of of painting that developed from the Protestant Traditions of Northern Europe in the mid 16th Century and really became prominent during the 17th Century. Vanitas paintings are a type of Still Life painting, so although they depict daily objects in an incredibly realistic style of painting, they have more of effect on the viewer due to the meanings the artist has integrated into the piece. They are painted specifically to put emphasis on the fact that life is a temporary thing, how time is always moving forward and we are forever getting closer to the inevitable outcome of death to us all.
VANITAS
This isn’t just all however, as the artist also wanted his viewers to remember that alongside this the greed we as humans have for wealth and luxuries (specifically), as well as knowledge and achievements and even just the existence of men and women will all eventually mean and count for nothing due to the never forgiving reality of death. Now in general we don’t actually know much about the career of Pereda other than from how we know he received his training in Madrid, along with how he was incredibly influenced by the Netherlandish way of painting, which is particularly evident in this Allegory that I’ve also discovered held a significant and important place within the art of Madrid due to Pereda having influenced upon Spanish painting the vanity in symbolism that was already well acclaimed within Netherlandish art.
After discovering that this painting is that of the Vanitas style, it then helps us as we move on to look at the rest of the objects that are situated on the other side of the painting. For example on top of the chest there is not only a pile of money, but also some pearls along with some other jewellery, a huge gold coin, an incredibly lavishly decorated gold clock and a (perfume) bottle, all of which give the impression of a very strong sense of wealth and creating a link back to what I said previously about how in reality the wealth on this side of the painting really doesn't’t mean anything at all with the idea of death always getting closer, being displayed on the left side of the painting. Next to all these items there’s also three small portraits which we can only assume has a link connected to who this painting was commissioned for. Meanwhile in the angels left hand we can see that he is holding a cameo portrait of Emperor Charles V (1500-1558), while in his right hand there is the globe I identified at the beginning which together suggest the domination of Casa De Austria. As well as the fact that everything I have so far talked about leads us to believe this piece was a courtly commission. This can be backed up as by the fact that we know that Pereda participated in the decoration of the Salón de Reinos in Madrid’s Buen Retrio palace in the early 1630s.
As I continue to explore the idea of TIME but also along the idea of symbolism being used I’m now going to look at another Vanitas painting very similar to the ‘Allegory of Vanity’ that’s titled ‘An Allegory of the Vanities of Human Life’ or ‘The Vanitas’ painted by Henry Steenwyck that was painted on oil on wood in 1640 39 x 51 cm (small scale). However before I go into analysing this painting I thought I would briefly look into the time period in which these paintings became most prominent. I previously mentioned when looking at the ‘Allegory of Vanity’ that Vanitas paintings first came to surface in Holland (the Netherlands) in the mid 16th Century but it wasn’t until the 17th Century when they really started to become a popular style of artwork. It was during this time where the Dutch trade, science, and art were some of the most advanced in the World, because of this a lot of these advances were linked in with one another. For example, the Dutch had started using the Scientific discoveries that they were making to both inform and influence their artwork, because of this is allowed the subject matters of their work to suddenly be hit with a wave of fresh, new and more varied ideas. During the 17th Century it was referred to as the Dutch Golden Age, and at the time over 5 million paintings were produced with a significant number of these paintings being commissioned by the now emerging wealthy middle class. It was also during this time where the Church actually didn’t act as patrons as they preferred to have white washed walls instead, this explains why smaller scale paintings started to appear a lot more as they were now being painted for the new Dutch republic who wanted artwork in their own homes. As we know, Vanitas comes from the style of Still Life painting, a style depicting ordinary objects without human presence and generally, was considered the lowest genre of all art. This was due to the fact it only demonstrated the artists technical skill as opposed to imagination. The fact that Vanitas style paintings were of this style but with the added element of symbolism about such a heavy topic makes sense as to why it became so popular.
Due to how both this and the previous paintings are both of the same very particular genre, it’s fairly predictable that the composition are to be somewhat similar (other than the lack of a figure in the piece compared to the previous) with their being a table covered in numerous different items, all of which symbolise specific things. Before I actually start looking into these objects, I first want to point out the very noticeable raking light source that we can see coming from the top left hand side of the painting that creates these very strong tonal values which I’ve already identified as being Chiaroscuro. The use of this leads our eye towards the objects on the table, specifically the Mormento mori of the skull, one of the most pronounced articles used throughout Vanitas paintings, which we know is used as a reminder of death and the immortality of life. Although there are some others items present within this piece that we didn’t see in the ‘Allegory of Vanity’, such as the shell representing wealth and how items like this were extremely expensive, along with being rare and prized possessions during the time period of the 17th Century that also indicated foreign travel and knowledge of culture. But this isn’t just all the shell indicates, the fact that it’s empty creates a link with us and the empty shell that our body will become when our soul no longer inhabits it and we do part from this world. In addition to this we can take note of how the shell is ever so slightly hanging over the edge of the table, that we learnt from the previous painting is signifier that suggests a bad event of some description approaching which most likely has a link between the ending of life in some way.
Contrasting alongside this though, we can see that there is a watch/chronometer set to 12 o’clock placed close by that has the obvious implications of our time on this Earth is very limited and how in reality time is the most precious thing we possess, not all these luxuries and treasure, such as the shell. The Juxtaposition here is used to challenge the viewer and there priorities of importance within life. Continuing to look around the piece we can also identify the extinguished lamp with a small trace of smoke, indicating the sudden passing of time, relating a death to the action of snuffing out a candle. Both of these two items are similar to both the hourglass and the candle that we saw in the ‘Allegory of Vanity’, however the items shown in this painting appear to be somewhat superior versions to those in the last. It’s possible that we could assume that the passing of the life within this painting was of a higher status than that of the life passing in the previous piece?
Looking down at the bottom right of the painting there’s also two books, but because they are opened they are now deemed to be worthless. Alongside this they also represent that knowledge other than the information contained in the Bible is pointless. Although, both these books and the musical instruments (lute, cornet and recorder) shown are all a reference to the worldly pleasures and the conceit of knowledge which links back to when I was previously talking about Vanitas paintings as a whole and how even those we as humans desire and crave this knowledge, once death is brought to us, that knowledge means nothing for the individual. The use of the Japanese sword that we can see poking through in both the images also gives us the idea of being well travelled and well cultured that also ties in with the idea of having great knowledge. A final thing to comment on within this piece is if we look closely at the pot on the far right of the image, where the rope is hanging we can just about make out the shape of the profile of a males face. This is shown from how over time the glazes from oil painting deaerate and show us the figure of the underpainting, we can assume that this figure could potentially be that of a roman general which could be an indication of war. As for why this has been painted over could be due to how having a human figure present within the painting could distract away from the significance of the skull and it’s strong symbolism of the Memento Mori. We’ll never truly know for certain about this, but all of these assumptions do seem fairly plausible.