Composição II – Perspectivas 3: Barroco (2); Neoclassicismo; Romantismo | 2016-03-16

2016-03-16

 

Trompe-l'oeil – ilusão de que os objectos ou espaços representados são reais; provém de uma expressão em língua francesa que significa engana o olho.

 

Samuel van Hoogstraten, Still-life
Samuel van Hoogstraten, Peepshow with Views of Interior, Dutch House, c. 1660.

 

Fusão ilusionista do espaço pictórico com o espaço real.
Pompeia, fresco, c. séc. I AC
Correggio, Assumption of the Virgin, 1526-30, fresco, Parma cathedral

 

6 – Séc. XVII-XVIII – Barroco 2

 

Barroco… teatralidade… dramatização… obra de arte total… ilusionismo / trompe l’oeil (fusão dos espaços pictórico e real)… alegoria… Pintura perde autonomia; função eminentemente decorativa…

Gaulli (1639 -1709)

Andrea Pozzo (1642-1709)

Gaulli, The Worship of the Holy Name of Jesus, 1670-83. Ceiling of the Jesuit church Il Gesù in Rome
Andrea Pozzo, Allegory of the Missionary Work of the Jesuits (fragment), fresco, 1688-90, Sant'Ignazio

 

Andrea Pozzo (fresco with trompe l'oeil, 1703, Jesuit Church, Vienna)

In 1703, Jesuit Brother Andrea Pozzo, s.j. an architect, painter and sculptor and a master in the quadratura, was invited to redecorate the Jesuit church, Vienna.  The semicircular vault ceiling was divided in four bays with paintings in perspective, using illusionary techniques. The remarkable trompe l'oeil dome, painted on a flat part of the ceiling, is a real masterpiece… (quadratura is directly tied to seventeenth-century theories of perspective and the representation of architectural space. Due to its reliance on perspective theory, it fully unites architecture, painting and sculpture and gives an overwhelming impression of illusionism).

 

Jakob Prandtauer. Melk Monastery Church, 1738
“…the power of art to impress and overwhelm… You feel you are in a world where our rules and standards simply do not apply…The individual arts were swept into this orgy of decoration and lost much of their independent importance”.
E. Gombrich, The Story of Art, p. 290, 357

7 – c.1700-c.1850 – Barroco tardio/Rococó; Neoclassicismo; Romantismo… (Declínio progressivo da arte italiana).

Watteau (1684 – 1721)
Giambattista Tiepolo (1696 – 1770)
Canaletto (1697 – 1768)
Chardin (1699 – 1779)
Fragonnard (1732 – 1806)
Goya (1746 – 1828)
Jacques-Louis David (1748 – 1825)
Caspar David Friedrich (1774 – 1840)
Turner (1775 – 1851)
Constable (1776 – 1837)
Ingres (1780 – 1863)
Gericault (1791-1824)
Delacroix (1798 – 1863)

 

Giovanni Battista Tiepolo, Allegory of the Planets and Continents, 1752

Canaletto, Riva degli Schiavoni: Looking East , 1730, oil on canvas, 58.4 x 101.6 cm

 

(Peter Claesz, Vanitas Still-Life, 1630, oil on canvas, 39,5 x 56 cm)

Chardin, Water Glass and Jug
Chardin, Still-Life with Pipe and Jug, 1737, oil on canvas, 32,5 x 40 cm

 

(Vermeer, The Kitchen-maid, c. 1660, oil on canvas, 45,5 x 41 cm)
Chardin, The Young Schoolmistress, 1736, oil on canvas, 61,5 x 66,5 cm

Antoine Watteau, The Scale of Love, c. 1717, oil on canvas, 51,3 x 59,4 cm
Antoine Watteau, Gilles, c. 1717-19, oil on canvas, 184 x 149 cm

Cruzamento de teatralidade e vida real.

Watteau became acquainted with the characters of the commedia dell'arte. 

Although his mature paintings seem to be so many depictions of frivolous fêtes galantes, they in fact display a sober melancholy.

 

Watteau, The Pilgrimage to Cythera, 1717

“… these young couples have come to Cythera, the island of love [Venus’ birthplace] to pay homage to Venus. As the enchanted day draws to a close, they are about to board the boat, accompanied by swarms of cupids, and be transported back to the everyday world… By depicting the lovers on the point of departure, [Watteau] has added a poignant touch. A sense of the fleeting nature of happiness pervades all of Watteau’s pictures…”. H. W. Hanson, A History of Art, p. 448

 

(Rubens, Venus at the Mirror, 1612,-1615, oil on canvas, 124 x 98 cm)
Boucher, The Toilet of Venus, 1751

 

(Rembrandt, A Woman Bathing in a Stream, 1655)

Fragonard, The Happy Accidents of the Swing, 1767-68, oil on canvas, 81 x 64 cm

 

The Age of Enlightenment / Age of Reason – “Enlightenment was a desire for human affairs to be guided by rationality rather than by faith, superstition, or revelation; a belief in the power of human reason to change society and liberate the individual from the restraints of custom or arbitrary authority; all backed up by a world view increasingly validated by science rather than by religion or tradition.” Dorinda Outram

 

The French Revolution (1789–99) – The absolute monarchy that had ruled France for centuries collapsed in three years. French society underwent an epic transformation as feudal, aristocratic and religious privileges evaporated under a sustained assault from liberal political groups and the masses on the streets. Old ideas about hierarchy and tradition succumbed to new Enlightenment principles of citizenship and inalienable rights.

Execution of Louis XVI, 1793, in what is now the Place de la Concorde.

 

“The  French Revolution gave an enormous impulse to this type of interest in history, and to the Painting of heroic subjects. […] The French revolutionaries loved to think of themselves as Greeks and Romans reborn, and their painting […] reflected this taste for what was called Roman Grandeur.  The leading artist of this neo-classical style was the painter Jacques Louis David, who was the ‘official artist’ of the Revolutionary Government […]. These people felt that they were living heroic times, and that the events of their own years were just as worthy of the painter’s attention as the episodes of Greek and Roman History.”  E. Gombrich, The Story of Art, p. 382

(Poussin, The Noble Deed of Scipio, 1640, oil on canvas)
Jacques Louis David, The Oath of the Horatii, 1784, oil on canvas, 330 x 425 cm

In this piece, the artist references Enlightenment values while alluding to Rousseau’s social contract (which outlines the basis for a legitimate political order within a framework of classical republicanism). The republican ideal of the general will becomes the focus of the painting with all three sons positioned in compliance with the father. The Oath between the characters can be read as an act of unification of men to the binding of the state.

 

David, The Death of Socrates, 1787, oil on canvas, 130 x 196 cm
Sócrates tinha a opção de ir para o exílio (e desistir da sua vocação filosófica) ou ser condenado à morte; escolheu a morte.
“[David] seems more «Poussiniste» than Poussin himself; the composition unfolds like a relief, parallel to the picture plane, and the figures are as solid – and as immobile – as statues. […]
[David] was passionately engaged in the issues of his age, artistic as well as political. Socrates, about to drain the poison cup, is shown here not only as an example of Ancient Virtue, but also as the founder of the «religion of Reason»”. H. W. Hanson, A History of Art, p. 472.

 

(Annibale Carracci, The Virgin Mourning Christ, 1599-60)

David, Death of Marat, 1793, oil on canvas, 128 x 165 cm

Jean-Paul Marat (1743 – 1793), was a radical journalist and politician from the French Revolution. At the height of the Reign of Terror in 1793, David painted a memorial to his great friend Marat. As in his Death of Socrates, David substitutes the iconography of Christian art for more contemporary issues. Marat is shown holding his murderess's (Charlotte Corday) letter of introduction. The bloodied knife lays on the floor having opened a fatal gash that functions, as does Marat's very composition, as a reference to the entombment of Christ and to the wounds Christ is said to have received while on the cross. Is David attempting now to find revolutionary martyrs to replace the saints of Catholicism?

 

Jacques-Louis David, Sacre de l'Empereur Napoléon 1er et couronnement de l'Imperatrice Joséphine dans la cathédrale de Notre-Dame de Paris, le 2 décembre 1804, 1805-1807, huile sur toile, 621 x 979 cm

 

Goya, Charles IV of Spain and His Family, 1800-1801, Oil on canvas, 280 × 336 cm

Goya, La cometa, 1777-78, óleo sobre lienzo, 269 x 285 cm

Goya, The Third of May, 1814, Oil on canvas, 266 × 345 cm

Goya, The Sleep of Reason Produces Monsters, from Los Caprichos, 1796-98, etching and aquatint, 21,6 x 15,2 cm

Goya, Grande Hazaña! Con Muertos! , (Desastres de la Guerra), 1810-1820, etching and aquatint    

“Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices”. Goya

 

Goya, The Black Paintings, 1819–1823

…intense, haunting themes, reflective of the artist's fear of insanity, and his outlook on humanity. In 1819, at the age of 72, Goya moved into a two-story house outside Madrid called Quinta del Sordo. Although the house had been named after the previous owner, who was deaf, Goya was himself nearly totally deaf at the time. After the Napoleonic Wars and the internal turmoil of the changing Spanish government, Goya developed an embittered attitude towards man. […] These factors combined are thought to have led to his production of 14 works known collectively as the Black Paintings.
http://www.theartwolf.com/goya_black_paintings_extended.htm

 

Goya, Visión Fantástica o Asmodea, 1819-23, óleo sobre muro traslado a lienzo, 123 x 265 cm

Goya, O Cão, 1820-23, óleo, 134 x 80 cm
Goya, Saturn Devouring His Son, 1819-1823, 146 × 83 cm

 

Goya, El gran cabron (Witches' Sabbath ), 1820-23, oil on plastering transferred to canvas, 140 x 438 cm
The canvas reflects Goya's disillusionment with political and religious developments in Spain following the 1814 restoration of the Bourbon monarchy. He painted the work at a time when superstition was still widespread in Spanish culture, and many rural peasants were susceptible to tales of secret societies, corrupted women and perverted religion. Accusations of witchcraft were often used by Spanish royalists and conservatives as a means to play on the fears of the peasant class.

 

Romantismo – regresso à natureza (oposição ao artificialismo do barroco tardio); emoção enquanto objetivo / libertação dos impulsos; individualismo; subjetividade / visão pessoal; valorização da pintura de paisagem…

 

Caspar David Friedrich, Solitary Tree, 1822

Friedrich has inspired generations of viewers to read in his landscapes the Romantic message of irrevocable spiritual loss and the elusive promise of renewal. The giant oak, though somewhat grotesque in its form, offers support to a wandering shepherd in a domesticated landscape that is far more pastoral than melancholy. http://germanhistorydocs.ghi-dc.org/sub_image.cfm?image_id=2213

 

(Claude Lorrain, Landscape with the Marriage of Isaac and Rebecca, 1648)

Constable, The haywain, 1821, oil on canvas, 130 x 185 cm

Verdade / fidelidade ao real / influência sobre arte francesa.
Constable's painting is based on a site in Suffolk. The haywain, a type of horse-drawn cart, stands in the water in the foreground. Although the painting evokes a Suffolk scene, it was created in the artist's studio in London. Constable first made a number of open-air sketches of parts of the scene. He then made a full-size preparatory sketch in oil to establish the composition. The painting was exhibited at the Royal Academy (1821) and in the 1824 Paris Salon, where the artist was awarded a Gold Medal by Charles X.

 

Caspar David Friedrich, The Wreck of the Hope, 1821, oil on canvas, 97,8 x 128,3 cm

Imobilidade; solidão; monumento à derrota do homem pelas forces da natureza; técnica meticulosa (impessoal ?)… | Friedrich's own later years were characterized by a growing pessimism. His work becomes darker, revealing a fearsome monumentality. The Wreck of the Hope perhaps best summarizes Friedrich's ideas and aims at this point. Completed in 1824, it depicted a grim subject, a shipwreck in the Arctic Ocean.

 

Turner, Steamer in a Snowstorm, 1842, oil on canvas, 91,4 x 121,9 cm

Turner, Slavers Throwing overboard the Dead and Dying – Typhoon coming on, 1830, oil on canvas, 91 x 122 cm
The subject of the painting is the practice of eighteenth century slave traders who would throw the dead and dying slaves overboard during the middle passage in the Atlantic Ocean in order that they might claim the insurance for drowning. By painting such an emotive subject Turner was perhaps attempting to assist in the abolitionist campaign, though by this date slavery had been abolished throughout the British Empire.

 

Gericault , Delacroix, etc. – Pintura de História retratando acontecimentos contemporâneos

Gericault, The Raft of the Medusa, 1818-19, oil on canvas, 491 x 716 cm

Delacroix, La liberté guidant le peuple, 1831, huile sur toile, 260 x 325 cm

Delacroix, Massacre de Chios, 1824, óleo sobre tela, 417 x 354 cm

Military attack on the inhabitants of the island of Chios by Ottoman forces. Delacroix had been greatly impressed by Gericault’s The Raft of the Medusa, a painting for which he himself modeled as the young man at the front with the outstretched arm. The thirteen civilians—men, women and children— have been rounded up for slaughter or enslavement.

 

Obras de: Poussin-Ingres / Rubens-Delacroix

One of the longest, most divisive, art controversies took place in France during the mid-1800s. The two camps were called the Poussinistes and the Rubenistes after their titular idols, Nicholas Poussin and Peter Paul Rubens. The Poussinistes proclaimed the primacy of drawing and draughtsmanship in painting while the Rubenistes argued that colour should rule the day. The Poussinistes followed the well-worn path of classical art from Greek and Roman antiquities up through the Renaissance. The Rubenistes adored the vibrant colours and aggressive brushstrokes of the more recent Baroque artists.

http://www.humanitiesweb.org/human.php?s=g&p=a&a=i&ID=173

 

Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejecting the emphasis on precise drawing that characterized the academic art of his time, and instead giving a new prominence to freely brushed color.

 

(Jacques Louis David, Portrait de Madame Récamier, 1800, huile sur toile, 173 x 243 cm)
Ingres, La grande odalisque, 1814
Delacroix, Women from Algiers, 1834

 

Ingres, Madame Paul-Sigisbert Moitessier, Seated, 1856, oil on canvas, 120x x92 cm
Delacroix, Frederic Chopin, 1838, oil on canvas, 46 x 38 cm

Epílogo

 

Obras de: Ingres, Delacroix, Donald Judd, Thomas Hirshhorn.

 

Donald Judd, Untitled, 1970, latão e Plexiglas

Thomas Hirschhorn, Crystal of Resistance, 2011

It isn't necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality as a whole, is what is interesting. The main things are alone and are more intense, clear and powerful. They are not diluted by an inherited format, variations of a form, mild contrasts and connecting parts and areas.
Donald Judd, “Specific Objects”, 1965
http://atc.berkeley.edu/201/readings/judd-so.pdf

What prompted me to work with crystals was an experience I had 15 years ago. […] I saw some children who had spread out some crystals on a piece of cardboard - most likely crystals they found themselves - and were selling them. It was a simple, wonderful and universal picture, which impressed me. […] With Crystal of Resistance I want to produce a work that is irresistible. This can only happen if I succeed in creating a work out of my innermost self, without confusing - as it is usually done - the inner self and ‘the personal’. […] My work can only have effect if it has the capacity of transgressing the boundaries of the ‘personal’, of the academic, of the imaginary, of the circumstantial, of the context and of the contemplation. With Crystal of Resistance I want to cut a window, a door, an opening or simply a hole, into reality.
Thomas Hirschhorn
http://thisistomorrow.info/articles/venice-biennale-2011-thomas-hirschhorn-crystal-of-resistance

 

Donald Judd, installation view, Saatchi Gallery, London, 1980’s

Frank Stella, Jill, 1959
Frank Stella, Midnight - Forecastle, 1990

 

Goya, La maja desnuda, c. 1800, óleo sobre tela, 97 x 190 cm
Goya, La maja vestida

Yeondoo Jung, from the series Bewiched, 2001
“Bewitched” takes its title from a well-known American sitcom of the sixties. Yeondoo Jung interviewed local adolescents about their dreams and visions of the future and then recreated them in photos. The series shows a pair of portraits of a single subject; one is from the present real, the other is from the subject’s dream.

 

Andrea Pozzo, Allegory of the Missionary Work of the Jesuits, fragment, Sant'Ignazio church, fresco, 1688-90
Sam Taylor-Wood, Self-portrait Suspended VII, 2004, C-print, 136 x 163 cm

Maurizzio Cattelan, Turisti, 1997

Tobias Rehberger, Untitled, 2008, mixed media

Michael Craig-Martin
Contraponto: elevação (dimensão mística)  / espaço do dia-a-dia (terreno)

 

Raymond Pettibon (1957 – ), To Wit, installation view, David Zwirner Gallery, 2013
To Wit presents a wide range of drawings and collages unified by their bold, vivid lines and striking compositions. Fragments from American society have been distilled into key images, which often incorporate texts of varying length, from one word to several paragraphs. The selection of texts, spanning a broad array of influences from popular media to Marcel Proust, William Faulkner, Henry James, Gustave Flaubert and the Bible, relate both rhythmically and narratively to the visual content of his drawings, although their relationship may not always be immediately apparent.
http://worleygig.com/2013/09/30/raymond-pettibons-to-wit-at-david-zwirner/

 

Chardin, Still-Life with Pipe and Jug, 1737, oil on canvas, 32,5 x 40 cm
Morandi, Still Life, 1949, oil on canvas, 32,5 x 42 cm

 

Laura Letinsky, I Did Not Remember I Had Forgotten, Untitled #58, 2002, 49 x 66 cm
Letinsky seems to document the aftermath of a sumptuous gathering or dinner party… these scenes are often filled with a fresh, clear light, as though one is viewing from the perspective of the morning after…

 

Fischli and Weiss, A Day's Work, c. 1985, fotografia
Ver: Fischli and Weiss, The Way Things Go, 1987, film, c. 30 min
http://www.youtube.com/watch?v=GXrRC3pfLnE&feature=related
http://www.youtube.com/watch?v=AA0mFjJbNH8
"Their masterpiece to date... Using elemental means - fire and fireworks, blasts of air, gravity, and a variety of corrosive liquids - the artists manage to sustain a chain reaction of evermore absurd materials and events for 30 minutes." – New York Times

 

Caspar David Friedrich, Solitary Tree, 1822

Gerhard Richter, Troisdorf, 1985, oil on canvas, 85 x 120 cm

Christo and Jeanne-Claude, Valley Curtain, Rifle, Colorado, 1970-72, installation view

Mungo Thomson, The American Desert, For Chuck Jones, 2002, video stills

 

Turner, Slavers Throwing overboard the Dead and Dying – Typhoon coming on, 1830, oil on canvas
Atlas Group - Walid Raad, The Operator #17 File; I Only Wish That I Could Weep, 2000, video

Established by artist Walid Raad, The Atlas Group is an imaginary foundation whose aim is to research, document, study and produce audio, visual and literary artifacts that shed light on the contemporary history of Lebanon.
http://www.frieze.com/issue/review/walid_raad_the_atlas_group/
Like in the majority of the works by The Atlas Group / Walid Ra’ad, in the video «I Only Wish That I Could Weep» the main concern is a fictional document drawn from an imaginary archive. The video consists of the found visual material of a secret agent meant to watch suspicious characters on the beach promenade of Beirut, but who neglects his duties because of the breathtaking sundown at sea...
http://www.medienkunstnetz.de/works/i-only-wish/

 

Goya, The Third of May, 1814
Picasso, Guernica, 1937

Goya, Grande Hazaña! Con Muertos! , (Desastres de la Guerra), 1810-1820, etching and aquatint

Chapman, Jake & Dinos, Great Deeds Against the Dead, 1994, mixed media, 277 x 244 x 152 cm

Jeff Wall, Dead Troops Talk, a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, 1992, detail

Paolo Canevari, Bouncing Skull, 2007, video 12min, shot in former Serbian army headquarters Belgrade

 

Delacroix, La liberté guidant le peuple, 1831, huile sur toile, 260 x 325 cm
Cristina Lucas, La Liberté Raisonnée, 2009, video, 5 min.

Balseros (2 imagens da Internet)

Kcho, In My Mind, 1995-97, installation view

 

Francis Alÿs, Bridge-Puente, 2006, Performance, Florida and Havana, March 29, 2006
On a bright day in late March, scores of local fishermen in Key West, Florida, and Havana, Cuba, assembled to realize Francis Alÿs’s Bridge-Puente, a work for which two chains of rowboats would extend from their respective harbors to the horizon—poignantly suggesting a link between the two countries.
 http://artforum.com/inprint/issue=200605&id=10864