#artanalysis

Caspar David Friedrich, c.1818, Oil on canvas

Romanticism wasn’t just about love — it was about the sublime. Nature as overwhelming, unknowable, even terrifying. And this painting? Peak Romantic energy.

A lone figure stands on a rocky outcrop, back to us, coat whipping in the wind. Before him stretches an endless sea of mist, mountains rising and falling like thoughts. We never see his face — and that’s the point. He’s anyone, he’s everyone. He’s us. Confronting the void and trying to make sense of it.

Friedrich wasn’t just painting a landscape. He was painting an internal one — solitude, awe, reflection, insignificance in the face of something vast and eternal.

Michelangelo Merisi da Caravaggio, The Entombment of Christ (1603-04). Oil on canvas, 300 x 203 cm. Pinacoteca Vaticana, Vatican City.

Michelangelo Merisi da Caravaggio's The Entombment of Christ, painted between 1603-04, stands as a testament to the artist's mastery of chiaroscuro and his ability to infuse religious subjects with raw emotion and intense realism. In this analysis, we delve into the compelling narrative and artistic techniques that make The Entombment of Christ a cornerstone of Baroque art.

The Drama of Grief and Devotion:

The Entombment of Christ captures the poignant moment of Christ's body being lowered into the tomb after the crucifixion. Caravaggio's composition draws the viewer into the scene, where figures mourn and console one another amidst the harsh realities of death. The central figure of Christ, with his lifeless body, becomes the focal point of the painting, surrounded by grieving disciples and mourners. Caravaggio's portrayal eschews idealized depictions, opting instead for a visceral and emotionally charged scene that resonates with viewers on a deeply human level.

Chiaroscuro and its Emotional Impact:

Caravaggio's masterful use of chiaroscuro, the contrast between light and dark, heightens the emotional intensity of The Entombment of Christ. Deep shadows and stark highlights create a sense of depth and drama, emphasizing the weight of grief and the solemnity of the moment. The interplay of light and shadow draws attention to the figures' expressions, casting them in a dynamic play of emotions that range from despair to quiet resignation.

Realism and Relatability:

One of Caravaggio's hallmarks is his commitment to realism, evident in the meticulous attention to detail and the lifelike portrayal of the human form in The Entombment of Christ. The figures' faces bear the marks of sorrow and exhaustion, their gestures and postures conveying a profound sense of loss and compassion. Caravaggio's ability to capture the human experience in all its complexity invites viewers to empathize with the scene and reflect on the universal themes of suffering, redemption, and hope.

A Testament to Caravaggio's Genius:

The Entombment of Christ exemplifies Caravaggio's revolutionary approach to art, characterized by his rejection of idealized conventions in favour of raw emotion and stark realism. The painting's impact lies not only in its technical brilliance but also in its ability to transcend the boundaries of time and culture, speaking to audiences across centuries with its timeless portrayal of human emotion and spirituality.

Engagement Question:

Gustav Klimt’s "The Kiss" is one of the most celebrated artworks of the 20th century, epitomizing the height of his Golden Phase. Completed in 1908, this masterpiece captures a moment of intense intimacy, enveloped in a shimmering golden aura.

The Artwork’s Composition

The painting features a couple locked in an embrace, their bodies entwined in elaborate robes adorned with intricate patterns. The use of gold leaf, inspired by Byzantine mosaics, creates a divine and ethereal quality. The male figure, adorned with geometric shapes, leans over the female figure, whose floral patterns symbolize femininity. Their faces are serene, lost in the timelessness of their embrace.

Symbolism and Themes

"The Kiss" is rich in symbolism. The contrast between the angular male shapes and the soft, flowing female patterns represents the union of masculine and feminine energies. The field of flowers they stand upon suggests the beauty and transience of love. Klimt’s use of gold highlights the sacred and precious nature of their connection, turning a private moment into a universal symbol of love and passion.

Historical Context and Influence

Created during a period of personal and artistic transformation, "The Kiss" reflects Klimt’s fascination with the interplay of sexuality and spirituality. It stands as a testament to his belief in the power of art to convey deep emotional truths. This painting was part of a larger movement towards symbolist and modernist aesthetics, influencing countless artists and continuing to captivate audiences worldwide.

Legacy and Impact

Over a century later, "The Kiss" remains a beacon of artistic innovation and emotional resonance. It invites viewers to contemplate the delicate balance between love’s fleeting beauty and its enduring strength. Whether viewed as an expression of personal intimacy or a universal allegory, Klimt’s masterpiece continues to inspire and move generations.

Perspective Puzzle: Decoding Michael Craig Martin's Architectural Illusion

I've been immersed in studying the architectural drawings of Michael Craig Martin, captivated by their vibrant colors and intrigued by their unique perspective. Throughout the 20th century, I explored various architectural styles and projections, but it wasn't until I encountered Michael Craig-Martin's "Prospect Cottage - 2019" that I was truly stumped. This unassuming piece of architecture seemed to defy traditional perspective techniques, lacking any clear horizon for the eye to vanish into.

Instead of a conventional horizon, "Prospect Cottage" presented depth through its roof, reminiscent of the Parthenon's architectural elements. However, there was no discernible vanishing point on the horizon, leaving me perplexed. Even the timber cladding boards and roof eaves failed to provide a consistent reference dimension across the structure. Undeterred, I attempted to tackle this visual puzzle by rotating the image anticlockwise, shifting the perspective to view architecture from a different angle.

ohghgo thank you SO much for asking I am just a little bit obsessed with hopper, but particularly with this painting. get ready for a rant

‘Automat’ (1927), Edward Hopper, oil on canvas, 71.4cm×91.4cm

I like to interpret it as a snapshot of a fleeting moment, as well as a reflection of alienation in big cities. first off, I am obsessed with liminal spaces which are spaces seemingly between spaces and time, like empty train stations, waiting rooms, your high school on the weekend, etc. these spaces are only for moving through and not really for staying in, which is why I feel like they are constantly charged with this incredible anticipatory energy. 

anyway back to the point: the woman (who was modeled after his wife Jo, but made younger) only has taken off one glove, so she probably isn't staying very long. automats were places where you'd serve yourself food and stuff so the place itself is a very empty-diner-at-midnight vibe. so the whole painting can be seen as a fleeting moment of rest where a busy city woman briefly stops still in this 'liminal space' where time doesn't really exist. the composition also implies that the viewer is sitting at another table or walking past, which makes us feel rather voyeuristic. as if we are just glancing out of the corner of our eye before moving on with our lives. how many moments or people or ideas have we missed because we’re so busy getting from one place to the next?

and my favourite part: there's no reflection in the windows except for the lights?? that wouldn't happen in real window, so hopper leaves this huge empty space behind her that makes her look small and solitary. even though his painting is almost a century old, we can still empathise with feeling lonely and isolated in huge cities (and especially nowadays).

the bright, blocky colours that are so iconic in hopper's work also creates a striking contrast against the black that dominates the canvas. this reminds me a lot of convenience stores at night where you come in from the dim street and into this garish, flashy and white space and you have to blink a bit. honestly, his use of almost unnatural colour combinations is very similar to contemporary digital art of cities and cyberpunk-esque stuff (see yuumei’s iconic ‘fisheye placebo’ series). obviously very different, but you can totally see how even now we still use bright colours against dark backgrounds to represent cities. 

hopper has this incredible skill of capturing the experience of being lonely. he often places a lone figure among sharp and faceless architecture with these great washes of empty space (see ‘office in a small city’, ‘western motel’, ‘morning sun’, or ‘new york office’). 

“The outcast” by Richard Redgrave 

Painted in 1851, Richard Redgrave uses oils to depict a Victorian family’s response to a daughter bringing home an illegitimate child. Reminiscent of the romanticism movement, Redgrave has filled this painting with emotion and drama. The father, firm in his decision to cast out his daughter and grandchild- I’m assuming, reflects the unmovable societal principals and morals that were held at the time. Redgrave has depicted a daughter begging to her father in the fore-ground of the painting to no effect, while what could be a son, weeps behind, being comforted by his mother as another looks on in confusion. The begging daughter being placed in the fore-ground, in a yellow garment which is noticeable against the other colours, is important as it highlights the desperation caused by the situation, helping the onlooker to feel sympathetic. The daughter being noticeable also highlights her fathers’ character, which is portrayed as cruel and harsh. However, to a Victorian onlooker, the father could be a symbol of strength, holding his ground to do what was deemed “right”.  This is because during the Victorian era, Christianity was the main religion, and they believed that bearing a child out of wedlock was sinful and would bring shame upon the family.  Another family member seems to be praying in the background, Redgrave has painted her as almost looking desperate, as if she is begging to God but to no avail, again, this shows the feelings of desperation but also the views that society held at the time in regards to bearing children out of wedlock.

The women bearing the child is being cast out into the snow, this painting seems very biblical so reminds me of Eve being cast out of the garden of Eden and having to survive in a wasteland for committing a sin. Redgrave seems to be suggesting that having a child out of wedlock is sinful, and will only cause a family sorrow. However, this painting is quite ambiguous and it could be interpreted in a different way. This painting evokes sympathy towards the young mother being abandoned by her family, and sparks the feelings of resentment towards the father, as I mentioned earlier. I believe that Redgrave doesn’t agree with the societal principals held at the time, as otherwise he would not have painted such a dark scene full of anguish and despair. However, it could have been interpreted in a manner that could have harmed young mothers in situations similar to the one depicted here, or would have left the viewer with conflicted opinions on the matter. Therefore, I believe that when tackling a message such as this one, it would be helpful to the viewer to make the message clear, as otherwise it may lead to a misinterpretation, or cause a divide of opinion on the matter. 

Sources:

https://www.royalacademy.org.uk/art-artists/work-of-art/the-outcast