Biographical Analysis of Piet Mondrian’s Broadway Boogie Woogie

Piet Mondrian’s Broadway Boogie Woogie was completed between the years of 1942 and 1943. Prior to the completion of this work, Mondrian made the move to New York from Europe in the year of 1940 as a refugee who was escaping the dangers of World War II. It is believed that after Mondrian made this move to the big city, his art works became more startling and depicted a greater amount of depth than previous works. From this we can assume that Mondrian’s move to New York greatly influenced the creation of the Broadway Boogie Woogie. This painting utilizes the colors of yellow, black, red, blue, and gray. The Broadway Boogie Woogie depicts the New York Streets of Broadway in a a grid pattern. Piet Mondrian did not believed in curves and diagonals. Because of this, the majority of Mondrian’s artistic works contain primary colors as well as vertical and horizontal lines. Mondrian chose to depict the lights of Broadway, cars, pedestrians, and the streets of New York as colorful flat square shapes. The quick switch in colors and the color repetition represents the rhythm of boogie-woogie. Boogie-woogie was a popular and well-known form of music during the time period in which Mondrian created this painting. Mondrian is unique in his combination of using the New York City life with the boogie-woogie musical reference. The combination of these two along with the various colors and shapes, Mondrian illustrates two artistic styles. The Broadway Boogie Woogie depicts both the Expressionist liveliness and the Cubist elements of control and order.

Piet Mondrian’s Broadway Boogie Woogie

Biographical Analysis of Claude Monet’s Impression: Sunrise

The term “impressionism” was created as a result of Claude Monet’s Impression: Sunrise. It became to be defined as so because Monet’s piece appeared to be unfinished and incomplete. In contrast to many scholarly and academic artists of his time, Monet preferred to work outside and apply his paint colors in a sketch-like manner. This type of technique is displayed and utilized in Monet’s Impression: Sunrise. The oil portrait depicts two boats floating on a river with the sun rising in the background. In addition, Monet displays the artistic technique of blending colors, as well as focusing on the concept of light and color. Completed in the year of 1872 the scene depicted in this painting can be assumed to have been of Monet’s view of the Seine River. Monet lived right next to the Seine river from the years of 1871-1878. It is believed that here he created some of his best-known and greatest works of art. He lived in a village called Argenteuil, which was located directly on the banks of the Seine River. Following his beliefs and practices, Impression: Sunrise illustrates an outdoor setting and focuses on the techniques of light and color. Also, by sketching with the various paint colors featured, Monet is successful in his focus on light and color. The sketching both enhances the light present in the outdoor scene, as well as emphasizes the darker areas of focus in the Seine river scene. While there was nothing specifically occurring in his life which influenced this oil painting, Monet shows off his unique artistic techniques rare to the time period in which it was painted.  Claude Monet’s Impression: Sunrise

Benjamin West’s The Death of General Wolfe Biographical Analysis

When Benjamin West first begun painting in England, he started out by illustrating typical characters and people. However after becoming acquainted with the Archbishop of York, Robert Hay Drummond, Benjamin West dove into the work of more ambitious works of art. Drummond believed in West and sought to have West devoted to more challenging and higher styles of painting. Because of this, West eventually developed a relationship and established good terms with King George II. From this point forward, West became a major part in the political sphere as his works consisted more of political persons and issues. For example, one of West’s most influential paintings created from this new political sphere was The Death of General Wolfe. Because West was now in the social and political spotlight, his approach on this painting sparked feelings of consternation regarding conservative elements in the piece. While West’s figures are depicted wearing Classical dress, there was controversy that they should have been painted in togas. It was believed that by doing so, West would have been conveying a universal message to the viewer. West’s The Death of General Wolfe strongly appeals to the past and is said to contain aspects of nostalgia. This technique of appealing to the past and sparking a feeling of nostalgia became popular in nineteenth-century Romanticism. While West generally did not agree with Classical elements, many are featured in this painting. For example, an American Indian is portrayed to the left of General Wolfe and is seen in the traditional pose used for mourning. Finally, West’s incorporation of light and exaggerated gestures are characteristic of Baroque artistic style.  Benjamin West’s The Death of General Wolfe

Remembrandt van Rijn’s Self-Portrait as Saint Paul

In the later part of his life, Remembrandt van Rijn shifted his artistic style. Beginning with bright and rich colors and ending with darkened and gloomy essence in his portraits, van Rijn appears to have undergone a change in artistic preferences due to personal struggles which may have influenced his works. In the last few years of the 1650’s, Remembrandt van Rijn struggled financially. During these few years, Remembrandt attempted to sell his own portraits and paintings. However, what is unique about van Rijn is that he would bid on his own art work. Due to the lack of money he initially made on his artwork, Remembrandt was forced to sell his house and printing press. Van Rijn was left with no creative space to work and no utilities in which he could produce artistic material. Because of this financial strain in his life, the observer sees this artistic change and personal struggle in Remembrandt’s Self-Portrait as Saint Paul. In this portrait, the observer notices an older, gloomier, and saddened character. As his future began bright and prosperous, the Remembrandt illustrated in this self-portrait does not appear to be confident in his abilities. In contrast to other works, Remembrandt’s posture and pose is less assertive. His character appears to be looking up from a bundle of worn out pages and is shrugging his shoulders. Rembrandt’s head is titled to the left, and emphasizes the wrinkles forming on his cheeks. Wrinkles are also featured underneath his eyes and above his eyebrows. It is more than obvious to the observer that Remembrandt’s personal struggles have affected his artistic style.

Remembrandt’s Self-Portrait as Saint Paul

Jan van Eyck’s Iconography Analysis of Arnolfini Portrait

In Jan van Eyck’s, Arnolfini Portrait, two people are illustrated in a bedroom scene. The man and woman appear to be a couple, as they are featured holding hands. The man’s free hand, his right hand is depicted raised right above his right breast. While the woman’s left hand is shown laying on top of her belly, which appears to be bigger than normal suggesting a potential pregnancy. On the floor in the bedroom, a pair of shoes lays on the ground. The shoes presence and depiction suggests that the bedroom is also a place of sacredness because shoes were often removed in the presence of royalty. Several smaller illustrations in the portrait also refer back and allude to the woman’s pregnancy. The woman is portrayed in a rather long and heavy looking dress. The way the garment drapes down across the woman’s stomach obviously emphasizes her fertility. In addition, a few pieces of fruit are featured on the desk behind the man. The presence of the fruit suggest perhaps the natural abundance alive in the room. Behind the man and woman, there is a carving of a woman engraved on a chair beside the bed. This carving depicts Saint Margaret, who is known to be the patron of women who will be giving birth. Other pieces to the portrait such as the dog, candle, and signature above the mirror suggest other significant aspects. The dog is illustrated in the middle between the man and woman on the floor. This canine is supposedly representing fidelity, although there are mixed views. The chandelier hanging from the ceiling, features only one candle that is lit. This single candle suggests Christ’s divine presence as well as the symbolism of marriage between the man and the woman. Finally above the mirror on the back wall, Jan van Eyck’s signature is illustrated. The artist’s signature is unique and odd compared to most portraits and paintings of the time.

Arnolfini Portrait

Rose Window in Chartres Cathedral

Rose Window in Chartres Cathedral

The Rose Window is featured in Chartres Cathedral. Because this window is located in a cathedral, it is made completely out of stained glass. In the center of the window, Mary is featured holding baby Jesus. What is unique about this window is that the geometric shapes around the virgin Mary all add up to a total of twelve. The number twelve is significant to the Rose Window, as well as during this time period, because it is a reference to Jesus’ twelve apostles. Moving out away from the center, four doves and eight angels surround the Holy Family. The third ring around from the center features twelve Old Testament kings which symbolize Christ. In contrast to these religious images and icons, the fourth ring includes twelve total quatrefoils, each containing four gold lilies. During this time period, gold lilies represented French kings. The last and final ring of the rose window consists of twelve prophets from the Old Testament. It is said that these twelve prophets are examples for New Testament apostles of Jesus’ time. Underneath the Rose Window, there are five tall panels. Each panel contains a person of religious significance. In the middle, Saint Anne is depicted holding Mary. On the left Melchizedek the priest is illustrated in stain glass. On the right, a priest named Aaron and King Solomon are depicted. The religious incorporation and symbolism was extremely common in Gothic art. Gothic artists aimed at integrating Christian beliefs and ideals into their art, specifically in cathedrals.

Iconography Analysis of Lion Symbol of Saint John

Taken from the Book of Durrow, the Lion Symbol of Saint John features a lion centered in the middle baring its teeth. A patterned design makes up the majority of its body, while another less bold pattern is featured on its tail.  Its tail is also coiled up and curves around the lion’s body. Around the lion, there is a maze-like border pattern. This manuscript has two distinct types of maze patterns. The colors featured on the lion manuscript include yellow, green, red, and some brown used to enhance specific details. Yellow is used to accentuate the lion’s muscles and distinguish its feet. Body parts such as the head and the underbelly are portrayed in brown dots, a technique distinctive from the Lion Symbol of Saint John as a whole.

Lion Symbol of Saint John

This attention to detail as displayed in the Lion Symbol of Saint John was common during the course of the Middle Ages. As the Middle Age period progressed however, this complex and intriguing art technique became more complex and intricate. The Lion Symbol of Saint John is an example of a piece of Hiberno-Saxon Art. From this art period, we know that this manuscript displays some Irish influence because there was an expansion of Christian art that arose in Ireland. Another characteristic of Hiberno-Saxon art includes the element of individualism. In the manuscript, the lion is featured standing alone. Hiberno-Saxon art began to take on an influence from Northern Europe, which created a more independent approach to art in comparison to more humanistic styles.

Formalism Analysis of The Unknown Barbarian

During the Roman period, the creation of busts and more human-like sculptures arose. Both busts and the majority of sculptures were made out of marble, specifically white marble. Red marble was used to embellish sculptures portraying an emperor. The utilization of white marble was mainly used to illustrate a person’s skin, as well as to display them nude. However for sculptures such as The Unknown Barbarian, black marble is used to emphasize a different skin color. In this sculpture specifically, the artist has chosen black marble to represent the skin of a Nubian. The only colors featured in the sculpture are the black marble for the skin, as well as a mix of white and black intermixed in the background. The sculpture features a Nubian man on one knee with a hand on his knee. The other hand is reaching behind his body carrying a column. The barbarian’s body appears to be proportionately balanced to the overall size of the art. Although the column does not completely overshadow the Nubian, it is obvious that the column is larger and taller than the man. The only details shown on The Unknown Barbarian are the shirt creases, facial features, and the man’s hands. The Nubian man’s body is facing forward, while his neck and face are turned to the right. This contrast in direction gives the observer several different perspectives and interpretations to the sculpture. While formalism only calls for elements such as color, shape, etc., The Unknown Barbarian has great historical context and elements behind it as well.

The Parthenon: Formalist Methodology Analysis

The Parthenon is one of the most highly publicized and iconic architectural structures of the Greek culture. Although much of the structure is in ruins today, the Parthenon thrived during its time period. The Parthenon was constructed in a rectangular shape, and was then divided into two separate rectangular rooms inside the building. It was made from marble and consisted of numerous columns which supported its standing. This building expresses the Classical style of Greek thought. The Parthenon portrays the Greek’s taking to proportionality and unity of each structural piece being equal and balanced. As a whole, the structure  features many refinements to trick the eye of the beholder. The utilization of refinement is a tool used by artists to visually improve a structure or building. On the columns the shape may appear to be horizontal, however the columns actually curve up towards the middle of the pillar. In other words, the indentations on the columns appear to look straight. However, the scroll posts are actually curving up towards the top of the column. While no color is noticeable on the building today, the Parthenon was painted with various colors. Some of these colors include blue, brown, red, green, and orange. These colors were painted at the top of the Parthenon where Roman numerals and several gods and goddesses are illustrated. Even though the color of the building may no longer be today, the textures and shapes of the Roman numerals and gods are still obvious to the naked eye today.

For a picture of The Parthenon in the time of the Greeks see:

Mask of Tutankhamon Formalism Analysis

The mask of Tutankhamon is an example of the variety of art presented during the Egyptian time period. Although there was a strong emphasis on nature and the essence of human life, the Egyptian style of art soon adapted more colors and stronger materials. Pharaoh Tutankhamon’s mask is made of solid gold, a material used to depict the gods and royalty of the Egyptian empire. A substantial amount of turquoise, red, lapis lazuli, and black is added to the mask to properly portray the royalty of the Egyptian reign. In comparison to other portraits and statues created during this time period, the majority of King Tutankhamon’s body features have not been chiseled out. The only separations noticeable in the mask are the facial features, ears, and outline of the neck. According to formalism, the only textures visible to the observer are the ceremonial headdress and the beard. The lack of texture in the mask is perhaps due to the glass and gold material of which the mask is made of. The lines and shapes featured on the mask are geometrically proportional to the mask’s overall size and shape. Tutankhamon’s mask was made specifically to fit the king in his tomb. The detail of the facial features emphasize and highlight the Egyptian’s centrality and focus on the essence of human life and nature during the time period. Tutankhamon’s mask captures the king’s essence in all areas. Specifically, he can be said to be portrayed  before and after his lifetime, as well as his death.

For an image of the mask: