The Art of Resistance: Fantasy & Eros
405 E State St. #B. Redalnds, CA 92373
Director: Taemin Ha
Fantasy / Pierre Puvis De Chavannes (1866)
Oil on canvas/ Height: 103.74 in, Width: 58.46 in
2013년 7월 2일 화요일
Exhibition Introduction
The Art of Resistance: Fantasy & Eros
1. Salome / Franz Von Stuck (1906)
2. The Apparition / Gustave Moreau (1876)
3. The Cyclops / Odilon Redon (1914)
4. The Scream / Edvard Munk (1893)
5. Eternal Spring / Auguste Rodin (1884)
6. Zwei Sich Umarmende Frauen / Egon Schiele (1911)
7. Adam and Eve / Gustav Klimt (1917-1918)
8. Skeletons Fighting Over a Hanged Man / James Ensor (1891)
9. Study of Drapery / Alphonse Mucha (1900)
10. The Toilette / Pierre Puvis De Chavannes (1883)
- Posting Concept -
1. Salome / Franz Von Stuck (1906)
Salome / Franz Von Stuck (1906)
Salome / Franz Von Stuck (1906)
Oil on canvas / H: 115.5 cm, W: 62.5 cm
"A formal analysis would describe the soft painterly style, the use of fluid lines accented by the strong vivid diagonal of her earings all creating the illusion of wild ecstatic dance. The dark limited palette of the background focusing the eye on her pale fleshy nudity and then on the menacing dark skinned learing slave bringing the head of the saint."
■ Brief Biographical Information of Artist
Franz Stuck was born in February 24, 1863 in Bavaria, at Tettenweis. From an early age, he showed great interest and passion for art - drawing and caricature. In 1878, he moved to Munich where he began his education in art. And from 1881 to 1885, he attended Munich Academy where he polished and further improved his skills in art. His first exhibition was in 1889, in which he received a gold medal for The Guardian of Paradise. Franz was a member of the International Society of Sculptors, Painters and Gravers. He passed away in Munich on August 30, 1928.
■ Background of the Art work
Salome was inspired by the Gospel story in Mark 6:21-29. The women in the artwork is Salome, daughter of Herodias. John the Baptist criticized King Herod for illegally marrying Herodias. In return, John the Baptist was imprisoned. But, Herodias was not satisfied and commanded Salome to perform a charming birthday dance for her stepfather (King Herod), in return making him promise Salome of any wish she wished for. Salome asked for John's severed head on a platter.
■ Connection Between the Art and the Theme
This piece of art connects to my theme because a women's charm, beauty, and sexuality can be used to persuade certain decisions.
2. The Apparition / Gustave Moreau (1876)
The Apparition / Gustave Moreau (1876)
The Apparition / Gustave Moreau (1876)
Watercolor / H: 105 cm, W: 72
■ Statement
“The mystery of Gustave Moreau is that he pursued not one but many painting ideals, that he followed his imagination determinedly until it brought him to strange junctures that must have startled and baffled even his own lucid intelligence.”
■ Brief Biographical Information of Artist
Gustave Moreau was a French painter born in Paris, France, in 1826. Gustave Moreau is one of the first known symbolist artists. His art focused on symbolic images based on myth and legend. Moreau's style was focused on classical mythology and literature. The importance of mythical femme fatale, sphinxes, sirens, and other dangerous creature on his visionary style categorized Gustave Moreau as a symbolist artist. Symbolist artist are artist that perform arts with themes like death, spiritualism, evil, power or innocence.
■ Background of the Art work
One of Gustave Moreau symbolic famous work was, "The Apparition," a fascinating scene from the legend of Salome. Moreau used watercolor on this intriguing art; that was included in the Salon of 1876. In this painting, you will see a beautiful woman in the middle of the scene, by looking at her; you can tell that the story of this art focused on her. The plot was in a cathedral; the architecture and the lightning are different. There are certain details used, such as the capitals inspired by the Alhambra in Grenada, Spain, and in the center the haloed statue, which, hardly visible in the watercolor. Mainly influential is the evocation of temple caves in India, especially those at Elephanta, photographs of which Gustave Moreau had studied at the Palais de l'Industrie in 1873 (Horsley).
■ Connection Between the Art and the Theme
Religion and sexuality.. although contradicting, it may be biggest fantasy in our lives.
3. The Cyclops / Odilon Redon (1914)
The Cyclops / Odilon Redon (1914)
The Cyclops / Odilon Redon (1914)
Oil on canvas / H: 64 cm, W: 51
■ Statement
"I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased."
■ Brief Biographical Information of Artist
French painter Odilon Redon (1840 – 1916) dissociated himself from all artistic movements and trends with his fantastic black and white depictions of amorphous creatures, and insects and plants with human heads. Inspired by his dreams, Redon equated his bizarre creations to music, with its ability to transport the audience to ambiguous realms. Redon’s nocturnal world was also related to writings by Poe, Baudelaire and Mallarmé. During the last 15 years of his life, Redon unexpectedly painted luminous pastels and radiant oils of flowers and mythological subjects. Producing 200 prints in his lifetime, Redon laid the groundwork for Surrealism and Dada.
■ Background of the Art work
The Cyclops is a painting by Odilon Redon depicting a myth starring an "unlucky naiad Galatea, loved by Polyphemus, the most famous Cyclops." Like most Cyclops in mythology, Polyphemus was villainized as a wild creature that hunted its victims and then consumed them. This subject had been painted before by artists such as Moreau; however Redon has taken this myth and given Polyphemus a makeover. In Redon's version, Polyphemus is shown as a non-threatening passive creature. The normally menacing beast is shown softly gazing with a large eye that has been seen in previous Redon works. Galatea, the naiad, is shown naked and vulnerably lying on a patch of vegetation. It appears Polyphemus is keeping one gentle eye watching over the "sexualized maiden." He has hidden himself from Galatea behind the rocky terrain, too shy to directly confront her "helpless" form. Redon was not typical in his topics or artistic ventures, his departure from the normal depiction of Polyphemus was influenced by his dream like style and departure from artistic norm.
■ Connection Between the Art and the Theme
Its original painter "Max Moreau" was painting this art work to express erotic beauty of the elf. On the other hand, Odilon Redon tried to express the monster's sadness, but he since has only one eye, he cannot propose to her.
4. The Scream / Edvard Munk (1893)
The Scream / Edvard Munk (1893)
The Scream / Edvard Munk (1893)
Oil on canvas, H:91 cm, W: 73.5
■ Statement
"One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red. I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The color shrieked. This became The Scream."
■ Brief Biographical Information of Artist
Edvard Munch (1863–1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893.
■ Background of the Art work
Edvard Munch created four versions in various media. The National Gallery, Oslo, holds one of two painted versions. The Munch Museum holds the other painted version and a pastel version from 1893. These three versions have not traveled for years.The Scream is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time."
■ Connection Between the Art and the Theme
This art work is really popular to express people's anxieties, stresses, and pain in our life. By the face of the painting, we can easily imagine the theses anxieties, stresses, pain, and maybe even the stress that might develop with an individual's fantasy & eros.
5. Eternal Spring / Auguste Rodin (1884)
Eternal Spring / Auguste Rodin (1884)
Eternal Spring / Auguste Rodin (1884)
Bronze
■ Statement"It is Michelangelo who has freed me from academic sculpture."
■ Brief Biographical Information of Artist
In a career that spanned the late nineteenth and early twentieth centuries, Auguste Rodin (French, 1840–1917) was deeply inspired by tradition yet rebelled against its idealized forms, introducing innovative practices that paved the way for modern sculpture. He believed that art should be true to nature, a philosophy that shaped his attitudes to models and materials. Many know Rodin for the controversies surrounding certain of his works, such as the scandals around The Age of Bronze or the Monument to Honoré de Balzac, and for his unfinished projects, most famously, The Gates of Hell. But few who recognize Rodin's sculptures have failed to be moved by them. His genius was to express inner truths of the human psyche, and his gaze penetrated beneath the external appearance of the world. Exploring this realm beneath the surface, Rodin developed an agile technique for rendering the extreme physical states that correspond to expressions of inner turmoil or overwhelming joy. He sculpted a universe of great passion and tragedy, a world of imagination that exceeded the mundane reality of everyday existence.
■ Background of the Art work
The torso of the woman in this group is recognizable as that of a model named Adèle Abruzzezzi. Rodin used it repeatedly, and it appears, for example, in a very different context in The Gates of Hell. Eternal Spring is in a lighter vein, however, full of awakening sensuality and implying neither guilt nor punishment to come. The sculpture was extremely popular, and Rodin repeated it often both in marble and in bronze. In 1898, he sold his plaster foundry models with the reproduction rights for this sculpture and its spiritual twin, The Kiss, to the firm of Ferdinand Barbedienne, the commercial foundry. This marble, commissioned from Rodin in 1906 and finished in March 1907, displays the sensuous, veiled quality of carving that creates an impressionistic play of light and shade on the surface of the medium characteristic of the marbles of Rodin's later career.
■ Connection Between the Art and the Theme
Eternal Spring, created with the theme of neither guilt nor punishment can also be seen as a fantasy to some individuals.
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