Modern Art Heralds Sexism in Society

John Wayne once said, "Women have a right to work wherever they want - as long as they have dinner ready when you get home." Though this sentiment may have been widely agreed upon in the early and mid 1900’s, is that opinion still floating around the United States? To find an answer, you could ponder modern art. As women struggle to be a voice heard and not just a body seen, the art world has not turned a deaf ear. In Ad Reinhardt’s Yellow Painting, the artists employs shapes, color, and varying proportion to depict how sexism, cowering to a male dominated society, overpowers women.

I was intrigued by both the lines of shapes and the blending of shapes in Reinhardt’s work. The lines represent harsh angles more often than curvatures. The harsher the line, the more visible and dominate its shape is on the canvas. In the upper left hand side, an open triangle is traced with a bold line and shadowed a dark auburn. A curved line can be seen when the viewer relaxes the eye, allowing it to fall over the navy blue curve the left of the canvas. The curve is reminiscent of a woman’s hourglass figure. Comparing these two lines, both harsh and soft, the viewer can begin to realize that this exemplifies an established pattern throughout the piece. Harsh lines are bold, thick, and often repeated while the curved lines are not so boldly drawn though they are in a darker color. The bold male lines in the piece wildly overpower the curved female lines, making this touch of femininity almost unnoticeable. I encourage you to study the painting for just a moment, concentrating on shapes. You may see, as I have, that Reinhardt also employed the use of blended shapes along with lines to depict sexism in American culture. Whenever you may notice a glimmer of femininity in the painting, that image is interrupted by a masculine stoke. One example can be found in the upper center of the image. Look slightly to the right, and you may see the bust of a woman with flowing hair. However, the image is interrupted on its left side by the bust of a smiling man. Looking even closer, you may see that same man wearing a hat. With the technique of blending shapes together, Reinhardt forces viewers to look for whatever they seek to find in the piece.

Reinhardt also uses color to express an opinion of sexism in society. The artist used warm colors alongside cold interjections in this piece. The general palate of the piece is warm. Reinhardt uses golden yellows, and a nearly terracotta red or burnt orange. However, there are injections of colder colors like navy blue and gray to the left side of the piece. The difference in warm versus cool palates can also be distinguished by comparing the whites used on the left and right sides of the canvas. On the left, where the navy blue curvature is, the whites are cooler and almost a fair shade of gray. Now look to the right side of the canvas. These whites are warmer, almost the color of a natural fiber. If one considers the theory that Reinhardt is using this piece to make a statement on sexism in society, it is interesting to point out that the color palate is gender neutral. Common knowledge would tell you that red is associated with women while blue is associated with men. However, yellow is a neutral color. Could Reinhardt be posing a new question for consideration: is a male centered world masked in gender neutrality? What a thought, eh mates?

Another element that you can look at to see how Reinhardt uses this piece to raise discussion about sexism in society is prominence compared to proportion. Proportionately, the masculine shapes are smaller than the curving lines, but the masculine lines are more prominent throughout the piece in number. In contrast, the feminine lines and shapes are the larger in proportion in the piece, but fewer in number. Allow me to cite an example. If you look to the bottom right of the piece, you can see various and multiple shapes with hard lines (these are the shapes which I refer to as male). Now look to the left side of the frame where the curving lines are most evident. These curvy shapes are less prominent in the piece, though they are proportionately larger than the straight lines and shapes. Comparing these two shapes in their respective sections on the canvas, you can see that the male shapes are smaller than the female shapes, but they are indeed more numerous overall.

After elaborating on my interpretation of the work, I realize that some critics and fellow art enthusiasts may say, “Hello. What’s this nonsense about sexism in society? The painting is merely a painting.” To this response, or any other counter thought, I can only say that my opposition may be right. Then again, I beg you to consider that my logic, too, is correct. This, mates, is the true joy of art. There isn’t a right or wrong answer, no matter what a text book tells you. It isn’t a true or false examination. Art is the exercise of free thought, free will, free emotion—all elements of the human nature that we should celebrate. So if you think I’m wrong—say it! Let me hear from you! Let’s start a discussion. Let’s learn from each other!

The Masks We Wear

We wear the mask that grins and lies,It hides our cheeks and shades our eyes,--This debt we pay to human guile;With torn and bleeding hearts we smile,And mouth with myriad subtleties.

The above is the first stanza of a poem titled We Wear the Masks by the African American poet Paul Laurence Dunbar. The poem is a reminder that there are many people who wear masks which in turns allows for them to be defined socially, emotionally, as well as culturally. Perhaps it was the poem that may have inspired the artist who created the African mask on display in the Ackland Museum. Although masks may have been intended to exaggerate costumes, or animate characters, and even for religious purposes, one way or another they have come to serve an alternate purpose. Today, the ultimate purpose masks have come to serve is providing false identities and characterizations.

Upon first glance at the mask displayed in the museum, it is easily seen that it is rather grotesque and the facial features are extremely distorted. However such features may be due to the mask representing African art. The mouth, nose, and eyes are the most prominent as well as the most disfigured facial features. The mask is adorned with real human hair that includes strands of gray. Attached are tacks that serve as eyebrows and accents for the forehead. The bottom of the mask has several bells attached to it perhaps representing a beard of some sort.

The artist behind the mask obviously had quite a few interrelated messages for the audience, as most works of art do. The mask is not only a representation of African culture but also of how people of African descent have been historically portrayed. For thousands of years it has been thought of as unattractive to have big lips and noses. Slit like eyes were perhaps uncommon but yet another feature that was not widely accepted by most cultures. In fact it is because of society’s disapproval of such features that rhinoplasty, lip and eye surgeries have become wildly popular throughout the world. Needless to mention that pop icon Michael Jackson was so incredibly obsessed with his image that he had endured several rhinoplasties to the extent that his nose is almost unrecognizable. How attractive is that?

The mask is elegantly yet subtly portraying beauty within a particular culture. The leathery material of which the mask was created represents old age as well as the strands of gray in the real human hair used. The bells which seem to be reminiscent of a beard are so elaborately placed, as well as the tusk that serves as a piercing in the nose. Incorporation of such features is yet another reminder that beauty, as it is often said is held within the eye of the beholder. With that in mind, it comes as no surprise that one particular culture or society may find the mask extremely beautiful whereas another may think of it as despicable.

The tacks which adorn the mask would represent acne in our culture. Despite acne being natural and part of the maturing process, it has labeled young youth as being unattractive if they have bad acne. Therefore the artist is undoubtedly trying to intertwine yet another message into his artwork. The artist is perhaps trying to convey the message that as a world with many different cultures, the definitions of beauty as well as the barriers formed need to be broken. People should not have to conform to a society’s idea of beauty, but rather society needs to accept people as they are. The artist exemplifies such by creating an uneven skin tone as well as incorporating various dots throughout. These dots, which could potentially serve as freckles symbolizes society’s disapproval for such imperfections of the skin. For this particular reason, is perhaps why many people feel as though they must wear both physical masks such as make-up for women, and beards for men.

It has become socially acceptable for people to mask themselves, and I think that not only the creator of the mask is trying to convince its audience that thinking in such a manner is incorrect but can become in conflict with diversity, which is something that should be valued by all. There is a reason why people look different, have different skin tones, and speak different languages which goes far beyond any scientific theory perhaps. Therefore it should be unacceptable for any society to try to alter that. Unfortunately, it isn’t, which is perhaps why the artist of the mask is trying to get people to become comfortable with their self-mage and break out of the shell that society has molded for them. The artist successfully illustrates his or her idea of breaking from the mold by making the mask with a nose piercing with is often gawked at within most modern day societies as being socially undesirable.

You may or may not agree with the interpretation of this challenging artwork. One thing is clear however, which is despite being an African mask it is a tribute for all cultures across the world, and a challenge to all who wear masks. To that end, I would like to personally extend a challenge to all mask wearers, asking that they remove them and reveal their true beauty, and see others in the world as they really are, rather than viewing them through a tainted mask.

Reinhardt's Simple "Yellow Painting"

Desmond, as a frequenter and patron of your restaurant I have come to value your thoughts ideas. However, I have a different approach to the interpretation you put forward.

My interest in visual art began during a tour of abstractionist art in a Sydney gallery four or five years ago. At this art show there were many paintings that didn’t seem to “make sense” in a conventional symbolic or referential way. Instead the art seemed to be completely open to interpretation as it seemed many of the works’ artists had no agenda when creating them. As I walked through the tour I began to realize that my stereotype for analyzing art in a symbolic nature was completely outdated and very narrow-minded. What really interested me was that I could understand, appreciate, and enjoy art as an intellectual without having to force myself to enjoy anything more than the aesthetics of the painting itself. This specific painting by Reinhardt is simply titled “Yellow Painting.” In this painting Reinhardt attempts to convey the fundamental appealing aspects of visual art, specifically through the use of the color yellow.

(Image courtesy of Ackland.org)

One of the most striking characteristics of this painting is that it was painted primarily with a single color. Aside from a few spots of blue, all of the colors are just different shades and combinations of the color yellow (sometimes complimented by a minor second color, like red to attain a more orange tone). Reinhardt also uses a very large variation of shades of yellow in the painting and does not focus on a certain tone.

Reinhardt’s color choice tries to convey the idea that using a multitude of colors is not a definitely appealing color usage. Instead it is how the artist manipulates each individual color (as we can see the yellow used in a variety of ways) that is an attractive use of color. Reinhardt could also be explaining that a widely ranged and contrasting use of a particular color is the essence of visual appeal. The artist’s use of a secondary color (specifically blue here) also has a substantial purpose. By including just a little blue it can be used in conjunction with the yellow to create a distinct color (green). Generally speaking, an artist can use merely a hint of a second color to help manipulate a painting’s diversity, without having to sacrifice appeal with the addition of discrete, extraneous, and complicating colors.

Another unique feature of this painting is the artist’s use of abstract shapes. The different geometrical figures Reinhardt includes do not have strict boundaries and do not resemble any realistic figures. While there does seem to be some vertical placement pattern of the objects, there is basically no symbolic reason for their placement.

The reason for the artist’s use of meaningless shapes allows him to reveal another appealing characteristic of visual art. Reinhardt is trying to make the point that visual art is not appealing because of discernable, distinct figures an artists adds that make the art attractive (such as people or furniture), it is instead the artist’s utilization of geometrical shapes in an interesting fashion. In “Yellow Painting” he weaves different shapes together to make a sort of interesting rhythm or harmony of the shapes: these include triangles, rectangles, arcs, circles, and even a shape that looks like a character from the Japanese language. While Reinhardt uses these shapes in an interesting way, they make no distinguishable figure and don’t seem to symbolize anything apart from themselves; but Reinhardt is still able to create an attractive and interesting image without those features.

Similarly, Reinhardt’s use of depth reveals what his painting stands for. None of the objects or the ground in “Yellow Painting” have any correlation to depth as Reinhardt has excluded it in order to make a completely two dimensional image. Reinhardt is again explaining that “real” objects in the world are not what are appealing in art, as he has removed a vital part of these realistic objects: a third dimension.

Reinhardt’s use of lines in the painting also seems to make a similar statement concerning visual art. The placement of lines seems to be random in certain places and none of the lines seem to be placed in a way to create continuity or depict direction, except when they function to outline shapes. Instead the lines in the painting seem to be used break continuity. The lines seem to increase appeal by creating more textural definition rather than just having all of the colors run together; they also server to help define objects from their surroundings.

Sometimes the artist’s choice of medium is almost arbitrary (it may just be his or her preference) but Reinhardt uses canvas specifically for its blending qualities. His use of medium also seems to convey a message that is concurrent with the rest of the work. Reinhardt created his “Yellow Painting” with oil paint on a canvas base which allows him to create a harmony, a softer transition than is usually afforded by paper and most other common mediums where transitions seem to be more bold and noticeable. Harmony is the last aspect of appealing art that Reinhardt is explaining through his use of canvas and oil.

This specific painting by Reinhardt seems to explain a lot about his artistic style and from where he receives inspiration on how to paint his images. “Yellow Painting” has done this by outlining most of the fundamental aspects of appeal in visual art. This painting has really changed my view of painting as a whole, where I used to judge all art as overbearing and symbolic but now know that I can appreciate art under much simpler circumstances.

Slow Down Freight Train

Monday nights I allow the Synical Factions to meet at the bar and discuss art. They observe and analyze old art pieces from various museums and archives. They have gained access to numerous knockoffs and photocopied paintings. A few locals call the group the artsy bootleggers, but I however enjoy their company. I even encourage the avid art critics to hang interesting pictures and paintings. Monday night, as I performed my nightly bar stroll after close, one painting caught my attention.

The painting possessed a depressing tone; something different than the other bar’s paintings. The other pictures and paintings consist of ocean waves and pleasant landscapes. People tend to hang paintings and pictures that have a pleasant tone to liven up their moods. Excessive alcohol consumption tends to leave sadden drunks at the bar pouring their hearts out. I have found that maintaining an aesthetic atmosphere greatly decreases this occurrence. As I looked closer, the painting acquired the caption that the majority of art museums post at the painting’s right.

According to the paragraph, Rose Piper’s oil painting Slow Down Freight Train reveals her cubism and modernism interest. The painting’s cubic shapes and simple lines contribute to the painter’s aesthetic goal of simplicity. However, the painting immaculately portrays a hopeful yet forlorn African American aboard a freight train.

The distressed, painted man mournfully watches as the distance between him and his homeland drastically increases. He leaves behind beloved friends, family members, and familiarity. The painter attempts to elicit the same emotions through her painting as a detailed photograph. Like my ma says, “there are deeper meanings to the simple things in life.” The simplicity of Piper’s oil techniques enhances her overall aesthetic goal, to convey a sense of hopefulness yet loneliness.

Slow Down Freight Train surfaced during Trixie Smith’s recording, "Freight Train Blues". This composition illustrated the emotions of African Americans during the Great Migration. Many artists used the blues to convey their feelings and popularize important issues. The Great Migration, the time period between 1913 and 1946, occurred when black men, and sometimes women, moved from the Rural South to the Urban North. The majority traveling were men searching for better and higher paying employment. Once these men earned enough money for accommodations and travel, they would send for their eagerly awaiting families. These transitions proved difficult for both the migrant workers and their families.

The painting utilizes very few colors, mainly yellow, white, black, green and red. The darker colors establish the gloomy, dark aspect of their journey. There was not much room to travel and many feared being caught. Many travelers illegally boarded trains because they did not have money for a ticket. As the man travels alone he is reminded that his family’s future success depends on him. This type of pressure can make anyone nervous and nauseous.

The brighter colors, such as yellow, symbolize hope and success. The window is painted yellow which could be an indicator of a brighter tomorrow. The grass is painted a lush green with shadows of dark power lines towering over the ground. Since the man is headed to the Urban North, land becomes infested by industry and pollution. Pollution has given the sky its darker, murky tent.

Piper also accomplishes her motives by making the black man’s grasp one of the main focuses in the painting. The man has a strong grasp on the freight train which conveys a sense of fear, while one of his legs is the position that would enable him to jump. This aspect of the painting contributes to the painter’s aesthetic goal. The viewer senses the fear and reluctance of the traveler. The travel seems to contemplate rather this is the right decisions for him and his loved ones.

The title of this painting, Slow Down Freight Train, supports this conclusion by illustrating that more time is requested. The man is obviously torn between two decisions and wanting the train to slow down is not an option. He leaves behind everything that is familiar. However, as hard as it might be, he continues to be confined in the freight train by his earnest grasp.

The African American in the painting also looks towards the heaven as he embraces the outdoors. It is likely that he is seeking guidance and help from a heavenly being. His mouth is open which would imply that he is singing. He could be singing a song that reminds him of home or just a tune for entertainment. During this time period blues was extremely popular. These train rides would last for countless hours and some had to travel secretly by themselves with cargo. Since there are no one people in the painting, this could be the case for this particular man.

As in every painting, there are numerous other valid interpretations. The man in the painting could be excited about this new stepping stone in his life. This train ride could serve as a new beginning and opportunity. The look on his face could be a look of awe and wonder. His mouth could be open in disbelief that he has finally reached the land of opportunity, the Urban North. He very well could be leaving a life of turmoil and disappointments.

Reply and let me know what you think! I enjoy reading your comments.

Design by Death

“Design by Death” (originally “Charlie Parker’s Favorite Painting”), oil on massonette, Gertrude Abercrombie (1946)

Good day mates. We will never know whether Gertrude Abercrombie was trying to portray a dark episode of her life or whether it was just a thought. We do know however, that “Design by Death” (1946), is a battle between the cowardly death and the brave continuity to live. This painting portrays that no matter how sad, dark and tragic life has been, there is still a way to save ourselves. It represents a reminder of our greatest asset; free will. To me mates, this piece of art exhibited by the Ackland Museum of Art is a dream the author had one night in which she had the chance of taking her life away because of the sadness she had within, or choosing to continue to live.

This “oil on massonette” uses low key dark colors, suggesting darkness, sadness, tragedy or even evil. The desertion portrays loneliness, and the clear sky and full moon gives a perception that something or someone is watching you. The powerful brightness of the moon certainly illuminates the night, and the low-level cloud gives a perception that this must be the top of a mountain or a hill.

The range of colors are in the white and black scale, except for the objects such as the ladder, book, socks, and box which are painted with strong colors to emphasize their importance to the painting’s situation. The horizon line between the ground and the sky is very clear, and the absence of any sort of foreshortening makes the painting pretty straight forward.

Its simplicity in art and color actually makes the painting more intriguing and interesting, since it allows for the analysis of the philosophical and moral encounter the author is trying to show rather than having to get tangled in trying to understand and interpret the art techniques used by Abercrombie.

At a first impression, the painting might seem like it is designed for someone to kill himself, and in fact it is. It is important to understand though, and this is strongly hinted by the painting’s name, that this design was not made by the person about to commit suicide but was rather a situation already set up by the time she got there. The painting is called “Design by Death”, not “Design for Death”, meaning that the author of this scheme is something or someone representing death.

Looking at the painting, one can notice several things. There is a rope hanging from a tree, a ladder, and a box. It would seem like the person would climb the ladder, tighten the rope around his neck and then kill himself. However, this is not the case. This design by death allows also for a way of salvation and choice; let’s analyze this.

If there is a ladder, then why is there a box? And vice versa. There is no need for a box if you can climb the ladder and attach the rope to your neck. Likewise, there wouldn’t be any need for the ladder if you could just step onto the box, put the rope on your neck and then kick the box away. Yes it is true that somehow the rope had to be tied to the tree, but once it was tied; there is no reason for the ladder to still be standing if you already have the box to step onto. Obviously one of the two objects is not part of “death’s design” and is in fact a way of salvation; this object is the ladder.

The box by itself is an easy way for the person to kill himself, but the ladder however, if looked upon from a straight angle (as if one is right in front it), is pretty much aligned with the full moon. This suggests that the ladder is actually a way out of this design for death. This may sound too imaginary, but that is in fact the whole idea the author is trying to put through.

It seems like you could jump from the ladder to the moon, which might represent god, heaven, or just a way out of the painting. Had Abercrombie not wanted to put so much importance onto the moon, she would have made it less bright and perhaps a little darker. Let’s remember mates that when one is trying to glorify the meaning of something good, it is usually done with bright colors such as white, while the emphasis on evil is created with colors such as red and black.

Other important objects are the socks. It seems like the person was taking off her socks prior to climbing onto the box. Why would anyone do this? Does being barefoot as opposed to wearing socks make a difference if she was about to commit suicide? The action of taking off the socks represents the indecision and fear about what to do. One sock is next to the box, and the other one is on the ladder. What made the person ultimately climb the ladder?

The green book. This book made the person change his or her mind about suicide. The person came in from the right side of the picture wearing her socks. She was almost determined to end her life with the “design by death” but was very nervous and still had some doubt going through her mind. Before climbing onto the box, she decided to take off her socks. However before she could fully take the second one off, she saw a book on top of the box. This book was perhaps the bible, letters from her family, a prayer from god, or something that completely changed her mind and gave her a spark of hope to continue living.

She decided to climb up the ladder, and as she was doing so, her remaining sock that was half on fell off as she climbed the ladder. She jumped into the moon and woke up in her bed with a new outlook on her life and feeling good that she was able to escape death’s design.

I understand that many of you out there might not fully agree with my interpretation of the painting, and may actually strongly disagree with it. However, when one wants to analyze art and the message that the author is trying to send out, one must do it with an open mind and much imagination. We all look at things in a different way, and when a piece of art is subject to many distinct interpretations, it can be considered a brilliant painting because it allows for the human mind to dig into its deepest thoughts. I hope you have enjoyed my posts this last couple of months; this is not a good bye but a see you later mates!

http://www.ackland.org/tours/classes/abercrombie.html

L’Enseigne de Gersaint

Hiya mates, how’s everything been? What fine weather we’ve been having down under, I hope all is well where you are. So just the other day, a friend of mine from France came to visit. Her name is Kate and she is a rather lovely lady. In any event she is a curator for a local museum and somehow or another we ended up talking about art. Now I know absolutely nothing about art, but she kept talking about an article that she had read recently. Kate persisted that the author had absolutely no idea what he was talking about, so I had to check it out for myself. After reviewing the article, I decided to write my own art analysis. Please check out what I wrote below and as always let me know what you think:

L’Enseigne de Gersaint is without doubt a beautiful portrait as expressed by Kenneth Clark, however the extent to which Clark analyzes the artwork must be challenged. Clark, a renowned art critic states in his book that the painting is reminiscent of the aesthetic movement when critics had previously debated the meaning of the term ‘pure poetry’ and that there is no doubt that the painting has the quality of ‘pure painting’. It is undeniable that the painting is one of high quality, however stating that it is a ‘pure painting’ is a bit drastic, and comparing it to the painting Queen of Sheba is perhaps extravagant.

Before I could properly assess Clark’s claims, I had to find out what exactly what ‘pure poetry’ meant. After conducting a little research I found that ‘pure poetry’ as defined by Google is poetry that is written without a specific message or purpose for the audience and focuses solely on pleasing the reader through the use of imagery or musical flow. With that in mind, pure painting can be defined as painting without a specific message or purpose and focuses on appealing to the audience by way of imagery, which in this particular case would be portrayed by used of color, texture, as well as tone. Now that the definition ‘pure painting’ is somewhat refined, the painting L’Enseigne can be analyzed more effectively.

Upon first glance of L’Enseigne, one would agree that it is quite an extravagant piece of art. The painting successfully depicts a shop in which the nobility have come to purchase various portraits and paintings of scenes. The extraordinary detail in which Wattue put into his work is absolutely phenomenal and almost unbelievable. The meticulous detail of all the portraits looming in the background of the painting is amazing. The texture of the painting is very refined to the extent that just by looking at the picture, one might say that the lady wearing the lavender dress on the right is made of silk. The colors used in the painting are so contrasting that it creates distance within the painting, that wouldn’t necessarily be seen in moderate paintings.

In Clark’s analysis of L’Enseigne he compares it to another painting called the Queen of Sheba. Some may argue that the textures of both paintings are somewhat similar. That may be so, but despite similarities, the colors in Queen Sheba which Clark uses in his comparison are almost non-comparable in that respect. The colors used in the L’Enseigne are subtle yet bold whereas the colors used in the Queen of Sheba are bright, and bold. The colors used in the Queen of Sheba painting provides a wonderful rich texture throughout the painting whereas in L’Enseigne de Gersaint, the texture can only be seen in the lady’s dress on the right, and the lady’s dress on the left. Therefore, L’Enseigne is a far cry from the Queen of Sheba.

Within Clark’s analysis of L’Enseigne he states that it is pure painting. However, it is not indeed a pure painting because there is indeed a meaning behind it. In fact, Clark gives actually contradicts himself and gives the reader the meaning behind the painting. According to Clark, the painting is vindictive of a stage and the portraits are like walls boxing the stage in and the people sitting within the shop are the actors. That alone, is enough to refute Clark’s interpretation of L’Enseigne as a pure painting because it conflicts with the restrictions of a pure painting.

To that end, Clark’s analysis of the L’Enseigne should be viewed somewhat lightly because of his misunderstanding a pure painting and misinterpretations of how the Queen of Sheba and the L’Enseigne are similar in color as well as texture. It is due to these misconceptions that destroy Clark’s credibility as an art critic. But hey, you can be the judge. Below I have provided links to both paintings. Feel free to leave comments! Until next time, that’s all mates!

To veiw L'Enseigne click here:http://www.artchive.com/artchive/W/watteau/gersaint.jpg.html

To veiw Queen Sheba click here: http://www.artchive.com/artchive/P/piero/sheba.jpg.html

SOURCES

http://www.artchive.com/artchive/W/watteau/gersaint.jpg.html

www.google.com definition of "pure painting"

Whistler's "Nocturne: Blue and Gold"

Being so involved in the outdoors, I can really appreciate beauty on a visual level. Modern art seems to shy away from this obvious beauty as it isn’t quite as thought provoking or intellectual oriented. However, older artists such as James Whistler created art mainly for art’s sake.

James Whistler was a 19^th century artist whose primary craft was painting. One of his most popular pieces, “Nocturne: Blue and Gold,” is a part of his Nocturne series that focuses (content wise) on night time images of various landscapes. This particular image is of London surrounding the Thames River (Power).

Rachel Power in her Princeton Blog gives her interpretation of the painting’s meaning and Whistlers motivation for doing so. Her belief is that the main idea involving this painting is “bridging the gap between East and West” (Power) and unifying. This view, in my opinion, is a good educated deduction that contains a few imperfections.

Firstly Power begins by describing Whistler’s style of painting. She describes this painting as having a strong resemblance to the Japanese artist Heroshige’s woodblock prints. This similar oil on canvas style of painting leads Power to believe that Whistler intended the work to show and make a connection between western (English) and eastern (Japanese) cultures.

In comparison to Heroshige (one of his similar works given below) it is very apparent that both artists used the same medium for their paintings, a canvas with a strong grain (Shaolin Legacy).

As Power points out in their similarities, these artists also use similar colors. These are colors that don’t seem to clash but instead show harmony – a trait Whistler is trying to express between the two cultures. Similar also is both painting’s way for pulling attention away from objects (the bridge and the trees respectively) and drawing towards the "ground” that is between the faded objects. This also seems to follow the concept of unity as attention is not given to a certain part of the painting but the scene as a whole. Similar to the French artistic style of “nocturne” Whistler is attempting to show beauty plainly through harmonious composition.

One objective I do have to this reasoning concerns Whistler’s background as an artist. Whistler developed a very idealistic stance of creating “art for art’s sake;” meaning one just creates art for nothing besides its aesthetically pleasing function (not for religious/political/idealistic statements). This information seems to contradict what reasons Whistler may have made and what meaning (if an at all) he intended to bestow upon the painting. However, Whistler didn’t necessarily have to follow this policy rigorously and since the painting involves not just cultures but the beauty of each of them (painting styles/dwellings specifically); so Whistler is still fulfilling his role for appreciating art at its face, visual value (Wikipedia).

Power’s main argument is strongly supported by the painting’s composition, but I feel for her argument to be completely sound she needs to include at least some reference to Whistler’s idealistic beliefs on the aesthetics of painting.

Power, Rachel. “Bridging the Culture Gap: Retitling Whistler’s ‘Nocturnes.’” Impressionism & the Making of Modern Art. http://blogs.princeton.edu/wri152-3/rpower/

“Shaolin Legacy.” The Shaolin Society. http://www.shaolin-society.co.uk/shaolin_legacy/images/hiroshige.jpg

“James McNeill Whistler.” Wikipedia. 14 April 2007. http://en.wikipedia.org/wiki/James_McNeill_Whistler