"Avant-garde"

            In the early 1800’s Modern art began to develop. Artists like Manet helped produce Modernist traditions which utilize a canvas as a flat surface rather than creating an illusion of depth within the canvas. In some cases “avant-gardism” is seen in Manet’s paintings, one of which was Luncheon on the Grass. This is interesting because there have been many different positive and negative connotations for the term “avant-garde” over the years.

Originally the term “avant-garde” meant to move society forward, Saint-Simon thought that art should help change the world. In early “avant-garde” paintings there are characteristics of referencing the art world to express awareness, and was distinctly different than anyone had ever seen at that time. To some, “avant-garde” means challenging conventions striving forward, and creating something different than traditions of the Academy. Sometimes “avant-garde” was used to describe art in a negative way because these paintings could not be read, lacked a story and in many ways appeared odd. Modernist artists began to apply thick layers of paint with many visible brushstrokes in areas of emphasis, traditionally artist at that time were applying little paint with nearly invisible brushstrokes for a smooth finish. Gautier felt that art should be useless, in other words “art for art’s sake.” Later in the 1960’s Greenberg agrees with Gautier in a way that Modern art should be aesthetically pleasing to the viewer and that art should not have any references to the world.

            If someone asked me to define “avant-garde,” I might have defined it as art that takes it to the next level and challenges the norm. I think I would have connected “avant-garde” to artwork produced during the Modern art of the 1960’s. Personally, I feel that “avant-garde” or Modern art can move society forward, express awareness, be useful or art can be nothing and something at the same time. Art should flow from the artist as they see fit.

Perhaps Manet created Luncheon on the Grass in 1863 to present change in art, to move forward in the art world and a reaction to the Academy. Manet submitted the painting to the Academy in 1863 and was rejected. The Academy probably rejected this painting because the surface is not smooth and appears unfinished. The background is splotchy, flat and stage like with very visible brushstrokes. The painting lacks illusion of depth. The woman in the background is too large for how far away she appears. There is no story that explains way the painting is the way it is. Objects in the painting do not make sense together; some fruit are in season while others are not. Later the painting was included in a salon for the rejected paintings. The rejection salon was one of the largest events. Most people likely went to laugh at the art, maybe they laughed because they did not know what else to do, and it was a surprise to see something so different.

            Manet’s painting Luncheon on the Grass could be considered “avant-garde.” This painting was very different than art the Academy was accepting at the time, which consisted of flawless idealized nude women. The Luncheon provides a nude woman, yet she is not provocative, staring at the viewer in a way bringing awareness to how art had gotten increasingly provocative. The painting is “avant-garde” in a sense that the thick layers of paint Manet created are a beginning of creating “art for art’s sake.” Manet creates his painting to be flat like the canvas he began with, rather than a window into a virtual world. One characteristic of “avant-garde” art is it at times makes no sense, as does Monet’s where the subject matter is unclear.

            The term “avant-garde” can mean many different things, positive and negative, it can be a reference to Modern art. “Avant-garde” can be applied to art from the 1800’s to art that is being produced today. Manet’s Painting of Luncheon on the Grass can be considered the beginning of Modern art.

End of the Quarter

During this quarter I enjoyed studying Early Northern Renaissance art and High Italian Renaissance art. When viewing art I am naturally first intrigued by visual details of a piece, and the harmony within. In the 15^th century, artistes were rendering extremely detailed paintings that focus on naturalism and humanism which appear picturesque. High Italian Renaissance art incorporates classical ideals, such as idealism, perfection and anatomy. Overall my two favorite artists from this quarter are Jan Van Eyck from Early Northern European Renaissance art and Michelangelo from the High Renaissance art.

I really enjoyed learning about Jan Van Eyck, his paintings are very harmonious. Eyck’s paintings seem well thought out, he considers every element, and each color complements the others. He painted a self portrait in 1433, Man in a Red Turban; this shows his rich color choice. The painting also conveys that Eyck could capture a presence when painting portraits. In 1434 he painted The Arnolfini Portrait that suggests a presence of a woman whom Eyck never encountered. The Arnolfini Painting expresses every tiny detail, from the fur of their dog to the miniature details on the frame of the mirror. Again Eyck surprises views, the Ghent Altarpiece show how the artist was able to turn wood panels into a portal to another world. Religious characters like Adam seem to be coming out of the painting with naturalism, truly utilizing lighting effects. As the centuries go on Early Renaissance art develops into High Renaissance art.

As time went on, Renaissance ideals of naturalism, idealism, illusionism and anatomy are refined in High Renaissance art. Michelangelo is not only an amazing painter he also created many beautiful sculptures. One of which was Pietà, this sculpture captures a youthful, idealized Christ. Naturalism is still a key element in High Italian Renaissance art. One of Michelangelo’s life achievements was painting Sistine Chapel ceiling, 1508-1512. The ceiling portrayed hundreds of figures that have near perfect anatomy. Each scene has a religious message, with natural scenery. He utilizes illusionism with foreshorten limbs, especially seen in the Creation of Adam. I thought it was extremely interesting that in a May 2010 article said Michelangelo depicts a section of the brain in the Separation of light and darkness; it could be a way to advertise and prove his education. I think it is visually appealing that Renaissance artists incorporated Classical ideals of perfection and idealism. Renaissance figures are modeled naturally, utilizing contrapposto in some cases. Figures are idealized with perfect anatomy. Michelangelo’s David sculpture has the anatomy of a young god, with lots of attention in musculature. Renaissance art uses Classical elements to enhance visual appeal.

Throughout the quarter I found it interesting to see the transition of art from the Early Renaissance period to19th century art. It is also intriguing how art has been affected by patronages, the Catholic Counter reform, and change in ideals like the Enlightenment.  Jan Van Eyck’s paintings stood out to me because visually they are balanced, and he uses complimenting colors. Michelangelo’s work was so interesting to me because he starts from such a young age and over to years he becomes an extremely talented artist.