Famous Art Pieces Archives - Art History With Alder

Pieter Bruegel the Elder’s Hunters in the Snow Analysis

Pieter Bruegel the Elder's Hunters in the Snow, 1565 — Pieter Bruegel the Elder’s Hunters in the Snow, 1565

We are all familiar with the great artists of the Italian Renaissance – names like Da Vinci, Michelangelo, and Raphael easily come to mind. However, the Renaissance wasn’t confined to Italy alone; it flourished in various parts of Europe, including Flanders and other Dutch regions.

In this article, we will delve into the world of one of the Northern Renaissance’s most renowned artists, Pieter Bruegel the Elder, and famous painting Hunters in the Snow. His name deserves recognition alongside those of his Italian counterparts, as his work profoundly influenced Dutch painters like Franz Hals and Pieter Paul Rubens, and contributed to the Dutch Golden Age of painting.

You can also refer to my related YouTube video: Pieter Bruegel the Elder and Analysis of Hunters in the Snow

Context of Hunters in the Snow

The Renaissance Amidst Religious Turmoil

During the Renaissance, Europe was marked by religious conflicts, including Martin Luther’s Reformation and the Catholic Church’s Counter-Reformation.

This religious divide fractured Christendom and led to a century-long civil war between Protestants and Catholics. This tumultuous period posed a challenge for artists, as their primary patron, the Church, was divided. Despite this uncertainty, there was a significant exchange of intellectual and artistic ideas between Northern and Southern Europe.

One crucial idea that made its way north was humanism, championed by the scholar Erasmus. Humanism emphasized the goodness and value inherent in humanity itself, shifting the focus from deities to humans. It celebrated human tendencies and the divine within people, drawing inspiration from Greek and Roman ideals and elevating the human form.

These intellectual ideas fused with Italian Renaissance art concepts, resulting in Dutch artists adopting principles like a focus on underlying structure, human anatomy, and the manipulation of perspective.

The Distinctive Northern Renaissance

Northern European art during the Renaissance differed from its Italian counterpart. While Italian art often centered around Christian themes, Dutch artists sought different patrons among the wealthy elite. Consequently, many Dutch paintings eschewed Christian motifs and turned to “genre scenes” – depictions of everyday life. These genre scenes celebrated the mundane, emphasizing the significance of human experiences.

These Dutch genre scenes often conveyed moral messages through symbolism. For example, seemingly mundane scenes, such as a butcher’s stall or a money changer’s workspace, revealed deeper layers of Christian symbolism and moral narratives, encouraging viewers to look beyond the surface.

Pieter Bruegel the Elder: A Moralist’s Brush

The Painter and The Connoisseur, c. 1565, possibly Bruegel’s self-portrait

One notable figure in the Northern Renaissance was Pieter Bruegel the Elder, not to be confused with his son, Pieter Bruegel the Younger.

Pieter Bruegel the Elder was renowned for his moralistic genre scenes and his profound influence on the Dutch Golden Age of painting. Among his masterpieces, Hunters in the Snow stands out.

Analysis of Hunters in the Snow: Celebrating the Mundane

Painted in 1565, Hunters in the Snow is an oil painting on wood, measuring approximately four by five feet.

Despite its grand scale, the scene it portrays is far from grandiose. Peasants return from a hunting expedition with meager spoils, weariness etched on their faces. The frigid winter landscape is painted in shades of blue, gray, and dull colors, evoking the desolation of late January.

The composition’s strong diagonal lines draw the viewer’s eye to the background, where people appear tiny, like ants. Yet, in true Dutch fashion, there’s more beneath the surface…

Discovering Hidden Stories and Celebrating Mundanity in Bruegel’s Hunters in the Snow

Bruegel often incorporated churches into his works, subtly hinting at their presence with steeples. But it’s not the focus of his Hunters in the Snow painting…

In Hunters in the Snow, keen observers will notice various activities – ice skaters, curling, a hockey game, and children sledding. Each figure becomes a part of the narrative, showcasing the everyday lives of people in the 16th century Dutch countryside.

What makes this painting truly remarkable is its celebration of the mundane. It brings dignity and purpose to everyday tasks, elevating them to the realm of art.

Suddenly, the burdens of our daily lives seem a little lighter. Hunters in the Snow encapsulates the essence of humanism, demonstrating that even in the darkest of winters, there is hope and honor in the ordinary.

Exploring Deeper Meanings of Hunters in the Snow

In Pieter Bruegel the Elder’s Hunters in the Snow, we engage with a masterpiece that not only illustrates the harsh realities of winter but also elevates the human spirit. It acts as a poignant reminder that beneath the surface of the everyday lies an extraordinary beauty waiting to be unveiled.

This painting exemplifies the profound impact art can have in elevating the mundane and revealing the significance within the ordinary.

What does this masterpiece signify to you? What other hidden narratives can you uncover within its intricate details? Share your thoughts and your favorite Dutch artists in the comments below.

6 Famous Self-Portraits from Art History (Art Selfies)

The first photographed selfie is said to have been captured in 1839. (Although the word selfie didn’t originate until 2002.) With today’s front-facing camera, millions of selfies are taken every day. Who hasn’t taken a selfie? But even before the first photographed selfie, art selfies (known as self-portraits in art history) have been around for centuries. Even if you aren’t an art lover, or just beginning your journey, you’ll likely recognize these famous self-portraits from art history.

What is a self-portrait in art?

The art selfie, or self-portrait, is when an artist creates or paints an artwork of themselves. Throughout art history, artists have had the same motivations or reasons for their self-portraits that we tend to have with our modern day selfies. These include portraying our best selves, expressing emotions, showing a unique part of our identity, or giving a snapshot of an impactful experience in life.

6 famous self-portraits from art history

This article dives into six famous self-portraits. Hopefully you’ll see how these self-portraits connect to the selfies you see all around you today. Narrowing my list down to just six was extremely difficult. If your favorite didn’t get on the list, write it in the comments at the bottom of the article.

Sofonisba Anguissola’s Self-portrait at an Easel (1556)

Anguissola was a female renaissance artist. A female artist was very rare during this time period, as men ruled the art sphere. She became an artist after her father taught her, he himself being a famous artist.

This specific self-portrait painting is Renaissance in character. She portrays herself as subdued and calm, yet confident in her craft. You can see she is painting an image of Mary and Christ. By painting herself in the act of painting, she makes it clear that she is an artist. She shows off her skills with the details in the clothing, the colors, and the emotion in The Madonna and Christ child. Perhaps the emotion in the painting portrays her longing for children that she never ends up having.

Caravaggio’s Self-Portrait as Bacchus (1593)

Caravaggio is a famous Baroque artist with incredibly dramatic and powerful art. He completed Self-Portrait as Bacchus in 1593. During this time, records show that Caravaggio had recently arrived in Rome. Shortly after his arrival, he got sick and spent six months in the hospital with what was most likely malaria. And this is the image he painted of himself to represent what he went through.

In this famous self-portrait, Caravaggio portrays himself as Bacchus. Bacchus is the Greek god of wine, fertility, religious ecstasy, festivity and theatre, and more. Basically the god of having a grand time! So, you can see a little bit of Caravaggio’s personality as he portrays himself as Bacchus.

Upon further analysis, you’ll notice the sickness in Caravaggio’s (or Bacchus’s?) face and skin. Some of the side effects of malaria include jaundice skin, yellowing eyes, and pale lips, which you will notice in the painting. So yes, he looks like he’s having a good time, but he also looks strained from sickness.

Perhaps Caravaggio’s Self-Portrait as Bacchus represents today’s hospital recovery selfie. That selfie of someone recovering in a hospital with a nice cold drink in one hand and the other hand showing a thumb’s up. Like, “I just went through something terrible, but all is good. I’m ready to party again.”

Judith Leyster’s Self-Portrait (1630)

Judith Leyster is a Northern Baroque artist. In fact, she’s one of the first successful female artists from the Netherlands. In the north, they liked to paint genre scenes – typically scenes of the interior of regular people doing regular everyday activities, which you see in this self-portrait.

Leyster most likely did not paint in the outfit she portrays herself in. Just look at that collar – very restrictive. But, dressing herself up like this makes her seem like a more serious artist. She may be trying to portray herself as well-off in order to appeal to her audience of patrons and buyers. In addition, the extravagance of her clothing lets her show off her talents. The lace, the silk, and other details are impressive.

The painting within the painting is of a young fiddler in a typical genre scene. (Common within Northern Baroque art as mentioned above) Leyster holds her paintbrush and palette, to clearly show herself as the artist.

Finally, check out that gaze. She is looking at you in a way that says, “Hey, I’m good at what I do.” But also, she does so with a sly smirk. This painting was likely an inspiration for a young female artist somewhere.

Rembrandt’s Self-Portrait, 1660 (1660)

You cannot talk about famous self-portraits without mentioning Rembrandt. He is probably the most famous self-portrait artist, painting over 40 throughout his career.

This self-portrait was completed in 1660. Around this time, Rembrandt went bankrupt. In addition, he lost a lot of friends and people in the art world. In fact, a lot of his artwork was destroyed at an art auction (terrible!). So, he’s kind of in despair at the time of this painting.

The focus of the painting is definitely Rembrandt, particularly his face. Everything else, even his clothing, is dark and dreary. Now, focusing on his face you can see wrinkles and discoloration in the skin. The look on his face is one of dejected acceptance. Perhaps despondence is the right word. His hair is graying, and he looks tired and sad. On the other hand, his image portrays this feeling of acceptance. Like he’s okay with the situation and he’s ready to move forward. You can see the resolve that he has, which is really powerful.

Elisabeth Louise Vigée Le Brun’s Self-Portrait (1790)

Vigée-Le Brun was a very successful artist. She was the court painter for Marie Antoinette while she lived at the Palace of Versailles, and painted over 40 portraits of the famous French queen. She painted in between the Rococo and Neoclassical art movements, and she balanced those two movements perfectly.

When you look at her, she shows herself as young, vibrant, talented, and of the upper class. She shows off her talent in the way she creates different textures and details. Look at the contrasting textures between the lace collar and the velvet sash. Look at the sheerness of her cap and her amazing hair.

Like some other artists in self-portraits, she’s holding her tools in her hands to solidify herself as an actual artist. Females like to do this because they weren’t taken as seriously as artists. Just like Judith Leyster, she glances at you with this air of confidence. Yet another empowering art selfie that likely helped motivate other women artists.

Gustave Courbet’s Le Désespéré (1841)

The last of my 6 famous self-portraits is by Gustave Courbet in 1845. It’s called Le Désespéré, which means hopelessness or despair. The painting was completed earlier in his career when he had not yet proven himself as a successful artist. It’s romantic in style, although Courbet does go on to help start the Realism movement.

The emotion in this painting is intense. Perhaps this is how he felt at the time, after dropping out of law school and struggling to gain footing in the art scene. He was frequently being rejected. Later in his much more successful career, he would say, “I was made to suffer despair in my youth”, which we can clearly see in this self-portrait. With his big, wide eyes and his hands grasping at his hair, you can see the despair and hopelessness. Yet, you can still see that incredible talent. Just notice the strong diagonal lines, intense details in each strand of hair, and the unique romantic style of high contrast between light and dark in this high-drama painting. This is a talented artist.

Famous self-portraits compared to modern day selfies

So, when you walk through art museums and pass those famous self-portraits, perhaps you might stop next time. Ask yourself, “What is the artist showing or teaching me in this self-portrait?” Or, “How does this self-portrait connect to the artist’s story?” Similarly, the same goes for selfies that you see today from friends or others. Are they trying to tell you something? Are they crying for help? Are they portraying themselves at their best to tell you something? What does it have to do with their life story? We can listen. We can empathize. And we can try to figure out how we can help or connect with them on a deeper level.

How to Understand Mondrian’s Composition with Red Blue and Yellow

Mondrian's Composition with Red Blue and Yellow painting — *Composition with Red Blue and Yellow* by Piet Mondrian (1930)

Composition with Red Blue and Yellow is a post-WWI piece completed in 1930 by Piet Mondrian. At first glance, the painting may seem unimpressive to the average viewer. It seems boring and simple. But, after you understand some background information and dive into some analysis, you may become impressed. If nothing else, you may gain some understanding and appreciation for this painting.

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What is the background of Composition with Red Blue and Yellow?

After WWI, art one got a little weird. Many people were trying to process what had just happened. How could humanity have done such a tragic thing to themselves?

A lot of the artists were processing this trauma in some really interesting ways. Various modern art movements challenged the status quo, as they tried to grapple with their questions. One of the main questions circulating within art was, “What even is art?” Some of the art movements during this time period that you may be familiar with are Surrealism, Dada, and Cubism. These movements pushed the boundaries of what art was thought to be.

De Stijl art movement and Composition with Red Blue and Yellow

Portrait of Piet Mondrian — Piet Mondrian (1872-1944)

One of the movements around this time of pushing the status quo within art was the De Stijl Art Movement. Piet Mondrian was one of the leaders of this movement, and Composition with Red Blue and Yellow is perhaps one of his most well known paintings. Although many of his paintings look similar, this piece has some impressive aspects, which I dive into in my analysis. To set the stage for the analysis, let’s learn a little more about De Stijl Art.

What is De Stijl Art?

De Stijl simply means “the style” in Dutch. Now, many of the other art movements around this time were getting a little crazy with the elements of art and principles of design. In contrast, the leaders of the De Stijl art movement decided to go back to the basics of form and color. In doing so, they decided to focus on three things in their art:

Horizontal and vertical lines. No diagonals were allowed.
The primary colors of red, yellow, and blue along with black and white
Asymmetrical balance. They wanted to have a feeling of balance but they did it in an asymmetrical way.

Although still radical and abstract, the visual composition of the De Stijl art movement was simplified when compared to the other movements of the time. The straight lines and primary colors are what De Stijl artists decided were the universal forms of expression. With this in mind, let’s dive into a deeper analysis to bring out the power of Piet Mondrian’s Composition with Red Blue and Yellow.

What is the meaning of Composition with Red Blue and Yellow

Let’s go ahead and apply each of the three things mentioned above to Composition with Red Blue and Yellow.

Horizontal and vertical lines

Being true to De Stijl art, you only see vertical and diagonal lines. What’s incredible about these lines is Mondrian never used a ruler in his paintings. Look at how straight these lines are. In our digital age, it’s hard to imagine that something like this could have been created without a computer, but when you zoom in, you can see the brush strokes. You can see the artist’s hand. Also notice how the lines create a heaviness on the left. With the thickest line on the left side and the lines crossing in the bottom left, your eyes are drawn to this area.

Now focus on the three horizontal lines in the piece. The longest one extends across the painting towards the bottom. Perhaps you can view this line as the horizon, separating the earth beneath and the sky above. (Horizon and horizontal have the same root word). The horizon often symbolizes hope. Furthermore, it grounds and connects us to the earth that we know, while begging us to think about what exists in the skies, beyond this earth. The unknown.

Then we have two vertical lines in this piece. The vertical lines lead our eyes upwards towards the sky and the unknown. So, this ascension of the vertical is kind of juxtaposed with the earthly of the horizontal.

Primary Colors

First, focus on the color blue down in the left hand corner. Blue is a color of calm. A color of equilibrium and the color of the earth as it appears from space. So, you can consider blue a very earth-bound color.

In the bottom right hand corner, the little yellow rectangle reminds me of the sun and represents joy and happiness. Yellow brings a bright energy to the painting and offsets the calm blue. And remember, when you mix yellow and blue you get green. Another earthbound color beneath the horizon.

Finally, taking over the majority of the space is the red. The red helps create a sense of balance in this clearly asymmetrical piece. As the lines draw you toward the left and bottom corners, the red overpowers and draws you towards the opposite section of the painting. Red can represent the sunrise and sunset. Courage and passion to consider things beyond this world.

Asymmetrical balance

Somehow this asymmetrical painting feels complete. Mondrian uses the lines and colors in a way that creates balance. In fact, Mondrian was known to hate the messiness and randomness of nature. It was something that made him really uncomfortable, so he believed that if you contemplate nature and society long enough it will become balanced. And you see that in Composition with Red Blue and Yellow. If you spend time with the painting it becomes stable and calm. The more you look at the piece, the more you get this sense of stability, calm, and balance.

Final Thoughts

Why do we create art like this? Abstract art can sometimes help us explain and experience the emotions and feelings that we can’t put into words. For me, I love the feeling of stability that Composition with Red Blue and Yellow has, even with the seemingly unbalanced asymmetry. I crave balance and understanding, especially in the chaos of life. So, this piece brings me hope that I’ll find that feeling of stability in all the craziness.

The other thing this painting helps me understand is the idea that two opposing forces can reside in the same space and in harmony together. I love that there’s nuance in this painting. The idea that two conflicting ideas can reside together. Maybe these ideas conflict or don’t agree with each other, but in a way they balance each other out. When the horizontal and the vertical lines converge, there’s balance. When the softer blue and yellow colors contrast against the explosive red, there’s balance. For me, this is comforting.

If you have questions or want to include some of your own thoughts and analysis of Composition with Red Blue and Yellow, please reach out to me or comment below. I’d love to hear your thoughts.

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Significance of the Coyolxauhqui Stone Carving from Templo Mayor

In the year 1978, electrical workers in Mexico City discovered a stone carving while digging underground – the Coyolxauhqui Stone. This led to the discovery of the entire Aztec capital city of Tenochtitlan, which includes their main structure of Templo Mayor. All underneath today’s Mexico City. Crazy!

Picutre of the Tenochtitlan excavation — Excavation of Tenochtitlan’s Templo Mayor, photo: Mike Peel (CC-BY-SA-4.0)

In this article, I’ll dive into who the Aztec people of Tenochtitlan were. Then, I’ll cover the story and analysis of the Coyolxauhqui Stone . You can also watch my full YouTube video analysis of this artwork here.

The Aztec People

The Aztecs (1345 – 1520) were the main empire in Mesoamerica after the Mayans. Unfortunately, they were wiped out by the Spaniards due to disease, murder, and plundering.

Origin story of Tenochtitlan, the Aztec capital

Image of the Mexican flag, depicting the Tenochtitlan origin story — Mexican Flag

Tenochtitlan was the Aztec’s capital city, and its origin story might sound familiar. This story is so seeped into Mexico history that it’s found on their flag. The story of Tenochtitlan goes like this…

The patron god of Mexico, or the Aztecs, was Huitzilopochtli. He had a vision that he needed to walk until he saw an eagle land on a cactus while grasping a snake in its claws. Once he saw this, he needed to build his main city in that location.

So, he and his followers walked and walked until they found this sign. Unfortunately, it was on a swampy island in the middle of lake Texcoco. And so they built their main city, Tenochtitlan, on a swampy island.

Tenochtitlan’s Templo Mayor

In Tenochtitlan, the Aztecs built their main structure called Templo Mayor. When Templo Mayor was excavated following the discovery of the Coyolxauhqui Stone, seven distinct layers to the structures were noticed. These layers have been assigned to each ruler who reigned in Tenochtitlan. Each ruler seemed to build on top of the previous ruler’s portion of the temple to show their power and their connection to the gods.

Templo Mayor is made up of two connected structures. First, the structure on the left with some blue color is dedicated to the deity Tlaloc – the god of water, rain, agriculture, fertility, and that kind of stuff. It is believed that this temple was made to represent a mountain called the Mountain of Sustenance, which is a mountain that provides rain and water to help crops grow.

Second, the structure on the right with some red color is dedicated to the deity Huitzilopochtli, who is the aforementioned patron deity of the Mexica (a term the Aztecs used to refer to themselves). Huitzilopochtli is the god of warfare, blood, power, fire, sun and all of those things. This structure is meant to represent Mount Coatepec, and at the base is where the the Coyolxauhqui Stone was found. This is where it gets interesting…

The Coyolxauhqui Stone

The story

Remember, the discovery of the Coyolxauhqui Stone is what led to the finding of Templo Mayor and Tenochtitla. Therefore, this is an important stone! Even more cool is the story that the stone carving contains.

Coyolxauhqui means “bells her face”, which is why she has bells on her face when depicted in art. Her mom’s name, Coatlicue, means “snakes her skirt”. Which is why she has a snake skirt when depicted in art.

One day, Coatlicue gets impregnated by a feather that enters up her skirt, and Coyolxauhqui thinks this is very dishonorable. She gets pretty mad at her mom for getting impregnated this way, and so she gathers up her 400 brothers and they decide they’re going to attack mom.

Image of the story of the Coyolxauhqui Stone — Huitzilopochtli defeating Coyolxauhqui

They find Coatlicue on top of Mount Coatepec (remember, right-side structure of Templo Mayor), which is snake mountain. When they confront their mom and are about to attack, the baby rips out of Coatlicue’s womb as a fully grown, clothed child. This child ends up being Huitzilopochtli (remember, the god of the right-side structure of Templo Mayor). Then, Huitzilopochtli defends his mom Coatlicue by cutting off Coyolxauhqui’s head and rolling her body down the mountain. Her body becomes dismembered as arms and legs get torn off while tumbling down the mountain.

The Coyolxauhqui Stone and Templo Mayor

As mentioned above, the Coyolxauhqui Stone was found at the base of Huitzilopochtli’s temple of Templo Mayor. The stone depicts Coyolxauhqui with dismembered limbs.

With that in mind, it is understood that the Aztecs performed human sacrifice at the top of this temple (symbolizing Mount Coatapec). After taking out the beating heart, sacrificed bodies would be rolled down the steps (sound familiar?) to where they would come to rest on the Coyolxauhqui Stone itself. Amazing.

Coyolxauhqui Stone Analysis

The Coyolxauhqui Stone is massive at 11 feet in diameter. Done in the low relief style, it would have been brightly painted. Notice the “bells on her face”, which is what her name means, and the feathers in her hair.

Image of the original coloring of the Coyolxauhqui Stone — Supposed original coloring, based on chemical tracing (source, CC-BY-SA-4.0 )

She is also decorated with earrings, sandals, bracelets, and a serpent belt with a skull. The serpent belt is thought to symbolize snake mountain, or Mount Coatepec. While the skull on the belt is thought to symbolize sacrifice and death. The earrings, bracelets, and sandals are signs of wealth.

In this carving, Coyolxauhqui’s head is detached from her torso. Notice how her limbs are pinwheel-shaped around her body and have bones sticking out of them. Coyolxauhqui is also naked, perhaps indicating humiliation and defeat. Her sagging breasts and stretched belly could be indicative of motherhood.

When put into context of the Aztec people, this incredible artwork comes to life. The Coyolxauhqui Stone is amazing art. It has an incredible story behind it. Above all, it’s purpose was sacred and fascinating.

The Raft of the Medusa Painting – Hope on the Horizon

Painting of The Raft of the Medusa — *The Raft of the Medusa* by Theodore Gericault (1818-1819)

As humans we are obsessed with the unknown – sordid tales of mystery, captivating romance, historical events that seem impossible. We are drawn to the macabre, the sublime. These obsessions are perhaps why so many people are attracted to The Raft of the Medusa, a painting by Theodore Gericault. (For full analysis of this painting, watch my video here.)

This blog covers (1) the historical event, or story, that is depicted in this piece and (2) an analysis on The Raft of the Medusa. This analysis will help you identify how Gericault taps into our curiosity and draws us into this artwork.

The Story of The Raft of the Medusa

Shipwreck

The Raft of the Medusa painting was created in 1818-1819, near the beginning of the Romanticism art movement. It’s a contemporary piece because it was created within two years of an event that took place in 1816. But it’s also a history piece, as it shows a historical moment. Here’s the incredible story. . .

In the year 1816, a ship (The Medusa) was headed from France to the coast of Africa. The captain was very incompetent. He was assigned to the ship as a political statement, but he hadn’t sailed for over 20 years! Due to his incompetence, he ended up veering off course and grounding the ship. Eventually it capsized and he and all of the people on the ship were in a state of emergency.

Now, typically when a ship starts to sink the last person off the boat is the captain. In fact, the captain doesn’t often survive. In this story, the captain was the first off the ship with all of his top commanders. They got on one of the few lifeboats that were available and left the other 147 passengers scrambling to make a raft. The captain and top commanders were kind enough to pull the raft behind their lifeboat, until they realized it wasn’t going to work. Then the captain and top commanders cut the ropes, leaving the passengers on the raft of the Medusa at sea. They were left to their survival skills. When the raft was finally rescued, 15 survivors were found.

Stories of the survivors

The stories of these 15 survivors are how we know what happened on that ship. Likely rumors mixed with truths, the stories were told of people turning wild. Uprisings, fights, throwing weak passengers off the raft to save room and supplies. Finally, when the few supplies they did have ran out, they turned to the unfathomable – cannibalism. This was a harrowing event for those 15 survivors, and often they didn’t talk about what happened.

The captain’s trial

The captain was put on trial for his crimes and was convicted, although he did have a very light sentence. Remember, all of this was happening at the fall of Napoleon’s empire, when he was exiled. France decided to reinstate the monarchy and it just so happened that the captain of the ship was a monarch sympathizer. That’s why he got away with barely a tap on his hand.

The Raft of the Medusa Painting – A Gericault Masterpiece

Gericault saw this as an opportunity to paint something the world would not soon forget. He was a Neoclassical trained artist (learn about the Neoclassical art period). But after traveling to Italy and studying the great Baroque artists (such as Caravaggio), he decided to use some of those elements in his artwork. This helped push the Romanticism art movement in the early 19th century.

Gericault’s research

During the approximately 8 months it took Gericault to create this painting, he did intense research. First of all, he interviewed survivors to get first-hand accounts of what truly happened. Second, he attended the trial so he could hear more testimony and get a feel for the captain and what he was like. Finally, Gericault was really obsessed with getting things right, and he didn’t really know the color of dead flesh. So, he went to morgues and studied the color of dead flesh. He even brought home body pieces, including a severed head, that he could reference while painting.

Art characteristics of The Raft of the Medusa painting

The moment he decides to depict in this painting is when those few survivors see help. In fact, if you look at the horizon you’ll see a really teeny tiny little speck of a boat in the distance. This is the climax of the story. This is the apex, after 13 days at sea witnessing all of these horrible events, they see light and rescue. They see the end. This is a very emotional moment, which you can really feel through Gericault’s craft.

So, how does Gericault go about bringing this piece to life? How does he draw you in as a viewer? He does so in four specific ways:

The scale of the painting
The pyramid composition
How he depicts his figures
The color palette

Scale of the painting

This painting is on a larger than life scale. It’s massive – 16 feet by 23.5 feet! There is no escaping this scene.

The Pyramid composition

Gericault uses two pyramid compositions to create drama and emotion. These pyramids help direct the viewers eyes. The top of the first pyramid is the young man holding and waving the flag. Then, you can see two really strong diagonal lines coming down from the young man. Finally, a third line at the base of these two diagonal lines give us the complete pyramid.

The top of the second pyramid begins at the top of the mast, and the diagonal lines follow the ropes or ties coming off of the mast. These pyramid shapes come from the Renaissance movement. Leonardo, Raphael, and other artists use this pyramid shape to give structure and foundation to the art. That’s why it feels really heavy at the bottom of the piece, but it also helps draw your eye to what you’re supposed to be looking at, which is the apex of the man waving the flag.

To visually see the lines of this pyramid composition analysis and how these two pyramids bring interest, chaos, and energy to the piece, watch my full analysis here.

How he depicts the figures

The third thing Gericault does to draw us in is in how he depicts his figures. Gericault is into depicting the common man, but you can see that he has this Italian influence with him as well. A lot of the figures are muscular, healthy and strong. He focuses on the male nude, perhaps showing off his Renaissance skills. But after 13 days stranded on a ship, and fighting for your life, I’m not quite sure they would look this way.

As you look at the figures, you’ll also notice lots of different emotions. Romantic artists like to use the body as a way to express emotion. See what emotions you can find in the faces of the figures.

Another thing to point out in the figures is that there are actually four black figures being depicted. The central figure is actually a black man who’s waving his shirt at the top of that pyramid. Gericault has been said to be an abolitionist, and this could have been a political statement he was making as he depicts these men as survivors and central to this artwork.

Finally, the figures tell the story. Remember Gericault interviewed survivors and went to the trial. The figures allude to some of the atrocities that happened on this raft…perhaps a half eaten man on the left? Some figures are deceased, and some seem to be in particular groups.

color pallete

The final thing to talk about in The Raft of the Medusa painting is color. The color is really interesting in this painting. It’s very Baroque with its earthy tones. Also notice how it’s very dark, so he uses some Caravaggio-esque styles of tenebrism and chiaroscuro as he kind of juxtaposes the light versus the dark. (For more on the Caravaggio style, watch my video The Entombment of Christ by Caravaggio.)

You can see the majority of the people have dark shadows on them, maybe to symbolize the dark deeds they’ve done, or just the darkness of the experience. In general, Gericault chooses lifeless colors of browns, creams, and golds. Even the waves are a dark green, instead of vibrant blue.

The only light in the piece is coming from the horizon, where hope can be found. And the only color we see that isn’t like a brown or gray, are the hints of red throughout the piece and little hints of blue in the water. These are the colors of the French flag. Many people believe this to be a very politically charged piece. So, read into that what you want, but Gericault may have been taking a hit on the French.

My Interpretation of This Painting

The colors he uses in this piece give us the impression that this is the moment right before dawn. The moment where the earth is the coldest and when things seem dreary. Then all of a sudden the sun peeks up over the horizon and a ship can be seen.

So, this is my personal interpretation, perhaps my own personal allegory…that in the midst of sadness, destruction, decay, loss, and tragedy, there is often a horizon. There is a light. And, I don’t know about you, but for me that means a lot. Which is why I love this painting – The Raft of the Medusa.

Napoleon Crossing the Alps Painting – Its Place in Art History

Picture of Napoleon Crossing the Alps YouTube video thumbnail — View on YouTube – “Napoleon Crossing the Alps Painting | Details and History”

Napoleon Crossing the Alps is a famous painting finished in 1801 by French artist Jacques-Louis David. The painting was commissioned by the king of Spain and was a token to show the new and improved relationship between Spain and France. Jacques-Louis David and Napoleon Crossing the Alps were tied to the Neoclassical art movement, which I’ll cover in this article.

The Story of Napoleon Crossing the Alps

Image of the Napoleon Crossing the Alps painting — *Napoleon Crossing the Alps* by Jacques-Louis David (1801)

Napoleon rose through the ranks of the military during the French revolution. By the year 1799, he became First Consul in France. Then, five short years after that he would become the first Emperor of France.

In this painting, we see Napoleon (as First Consul) leading The Reserve Army across this dangerous mountain pass called Saint Bernard. They were on a military campaign to regain Italy in the year 1800. It’s debated whether Napoleon actually led the army through this mountain pass, or came through later. Nevertheless, of course Jacques-Louis David depicted Napoleon as the triumphant leader.

The Idealization of Napoleon

The artist depicts Napoleon as a glorious victor with arm outstretched and hand in the shape of a blessing sign. He is seated upon a wild, yet majestic horse. This pose mirrors a typical Roman equestrian statue, which is really important to Napoleon because he likes to connect himself with the great leaders of The Holy Roman Empire. In addition, Napoleon looks like the calm within the storm. He’s surrounded by seemingly unnavigable territory – huge cliffs, wild terrain, and harsh weather. But he looks powerful with his windswept hair and his intense gaze.

Overall, Napoleon Crossing the Alps is a very idealized painting. In other words, Napoleon is meant to look perfect. This is fitting because it’s been said that Napoleon had a big ego. This guy didn’t want anybody to seem more powerful than him. In fact, at his coronation he took the crown out of the pope’s hand and crowned himself. Napoleon wanted to make clear who had more power. At the bottom of this painting you can see some names etched into stone. These are the names of powerful men Napoleon is following – Hannibal, Charlemagne, and look who’s at the very top – Bonaparte Napoleon himself.

Napoleon Crossing the Alps and Neoclassicism

Napoleon Crossing the Alps is a great example of the Neoclassical art style. This art style pulls from the roots of Greek and Roman art. Napoleon really wanted to align himself with this style because he wanted to connect himself with the great leaders of the Roman empire and their values and ideas. This is why he often commissioned Jacques-Louis David to do his paintings.

Jacques-Louis David was a leader in the Neoclassical art movement. In fact, some people call him the father of the movement. During the French revolution he was working for the revolutionists and headed the propaganda department. As the lead artist, his job was to sway people politically through his images, and he was really good at his job. This is when Neoclassicism was born, which was a stark contrast to the Rococo art movement that came before.

Neoclassical Art characteristics

This painting shows a lot of typical Neoclassical art characteristics. Remember, Neoclassicism is a shift back to Greek and Roman art. So, you’re going to see a lot of similarities.

The first characteristic of Neoclassical art to notice is the tight brush strokes. These are clean and crisp. Second, the colors used are earthy and natural. Third, the dynamic posing draws your eye right to the center of the piece, which is Napoleon and very Neoclassical and Romanesque. There are also strong diagonal lines, which gives motion, action, and tension to the piece. Napoleon is dressed in military regalia with soldiers surrounding him. These strong civic vibes, pride of country and of protecting people, and a calling to arms by a strong leader who can fight for your country is all Neoclassical.

Napoleon and Propaganda

In the end, this painting and many of Jacques-Louis David’s paintings were straight up propaganda. Napoleon was depicted exactly as he wanted. He is portrayed as the perfect leader for a fallen country. A man perfect to be titled the next emperor of France, Europe, and the world.

To see how Napoleon Crossing the Alps and the Neoclassical art movement fit within art history, download this condensed Western Art history Timeline.

Lintel 24 and 25 Yaxchilan – Ancient Mayan art

Yaxchilan is a Mayan civilization located on the southern banks of the Usumicenta River in Chiapas Mexico. This place is so remote, you still need to take a boat to get to it. The center building of Yaxchilan is called Structure 23 and is famous for two stone carvings called lintel 24 and lintel 25. These two carvings contain two figures, Shield Jaguar and Lady Xook that you’ll learn about in this article.

(You can also view my YouTube video Yaxchilan’s Shield Jaguar and Lady Xook Lintel 24 and 25)

Photo of Yaxchilan structure 23 — Structure 23 of Yaxchilan (Photo: Joaquín Bravo Contreras, CC BY-SA 3.0)

Yaxchilan Lintel 24

Photo of Lintel 24 Yaxchilan — Yaxchilan’s Lintel 24 (Source, CC BY-SA 3.0)

Bloodletting

In Structure 23 on the left entryway above the door frame on the lintel, looking up at the ceiling, is a beautiful carving titled lintel 24. Depicted here is Shield Jaguar and his wife Lady Xook participating in a very sacred ceremony known as bloodletting. Bloodletting was a really sacred ritual to the Mayans that allowed them to communicate with the gods and their spirits.

Depicted in this scene you can see a long rope with sharp barbs or thorns off to the side. Lady Xook drags the rope through a hole in her tongue. Little droplets of blood flow from her mouth and create rivulets on her cheeks. Finally, the blood is caught in a bowl located near her knees. (Side note, men used to do this on their genitals – ouch!)

Shield Jaguar and Lady Xook

Watching over Lady Xook is her husband Shield Jaguar holding a lit torch. This may suggest that this ceremony was done either at night, in a dark windowless room, or some other sacred space.

If you zoom in on Lady Xook’s costume, you can see the individual threads woven together to create this piece of cloth. You can see that so much care was put into this piece to honor this incredible woman.

She’s also shown in an idolized state, which means she’s perfect, she is the ideal beauty, the height of perfection to Mayans at the time. The height of beauty was to have a long sloping forehead that connected to your nose in this nice vertical line, sloping foreheads, large noses, almond shaped eyes, and being adorned with jewelry made of gold and jade. This is Lady Xook in all of her perfected glory.

Her husband is similarly attired and depicted. You can see that idealized beauty in his face and his structure, but you can also see how much he’s adorned in gold and jade jewelry as well. Look at his headdress – it’s immaculate, it shows power both military and political. And if you zoom in a little closer on that headdress you can see an actual head. Yup, that’s a shrunken head. Definitely there to invoke fear in enemies, but also to promote power of the Mayan ruler. (Side note, to make a shrunken head you remove the skull from the neck and then you just let the skin dehydrate for a couple of days.)

The glyphs and Mayan calendar

Off to the left and upper side of the panel you can see some glyphs. Now these glyphs weren’t translated until the 1960s, which is incredible because Yaxchilan was discovered in the 1800s, so we waited a long time to figure out what was actually being said here. But we found out that they’re very descriptive.

These picture-like squares tell us a couple of things. Mostly they tell us dates, and they tell us names of people involved in the scene, which is how we know this is Shield Jaguar and his consort wife Lady Xook, and it’s also how we know that the date of this panel was October 24th 709 CE.

The Mayans are known for their really complex calendar system. If you were around in the year 2012, you can remember that we thought the world was going to end because this calendar system ended. This really complex calendar system gives us some really specific dates. Which helps us understand when important events happened. The next lintel is a great example of this.

Yaxchilan Lintel 25

Yaxchilan’s Lintel 25 (Source, CC BY 2.0)

Lintel 25 of Yaxchilan is located in the central entrance to that same building where lintel 24 is found, structure 23. But here we have a little bit different scene being depicted. We still have our two main characters Lady Xook and Shield Jaguar. The date off to the side on this one though is in the year 681 in the month of October, which is the date and year that Shield Jaguar ascended to the throne so this is an important event that’s being depicted here.

You still see our famous Lady Xook kneeling in the same position, but this time in her hands she holds that bowl with those maybe pieces of paper or an open codex or book. You can see actual droplets of her blood on there signifying this is after the bloodletting scene.

Next, look at her face. As you look at her face you kind of get this sense that she’s in this trance-like moment. She’s hallucinating. Now after the bloodletting ritual, there would have been a lot of blood loss, and there would have been a lot of incense burning, so hallucinations were not uncommon during bloodletting scenes. Her eyes roll back to her head as her head tilts upward toward this image.

Who is coming out of the serpent in lintel 25?

Now what she’s looking at here is a man emerging from the mouth of a serpent. You can see his body as it kind of curves down the side of the lintel, but there’s this person coming out. We’re not quite sure who this person is, but through the adornment and that incredible headdress we can almost exactly assume that this is someone of high importance.

There’s three hypotheses as to who this person could be the. The first hypothesis is that it could be a spirit or a god of the Mayan culture, that makes sense. The second person it could be is Shield Jaguar coming out of the mouth of the snake, which makes sense because you know this is his party. The third hypothesis is that it’s Lady Xook herself, and she’s kind of having this double out of body experience.

I love the idea that this could be Lady Xook in some sort of mirror trance. This would show her power, royalty, and spiritual side. I love that idea. But the hypothesis that I think makes the most sense to me at least is that of Shield Jaguar. Like I said, this is his party. This is his year, and there’s a lot of connection throughout the globe of ruling kings and their connections to becoming gods. It just makes more sense.

The Human Connection

Lintel 24 and 25 of Yaxchilan would have been brightly painted in their full glory. You can see remnants of blue and red paint that really would have popped with the design. I love these pieces because of the stories they tell. You can see that the Mayans really tried to show their connections to each other, their king, and spiritual realm. This connection is what drives a lot of art throughout history and across the globe. And they are the same connections we are trying to make sense of today.

Top 5 Rococo Artworks

Rococo artwork is known for its flamboyant depiction of wealth and the aristocracy in the 18th century. This article covers the top five Rococo artworks that I think are important to the movement. You can also watch my video of these 5 artworks on YouTube.

Pilgrimage to Cythera (#1)

Pilgrimage to Cythera by Jean-Antoine Watteau was completed in 1717. This artwork was the catalyst to the Rococo movement. Approved by the French academy of painting and sculpture, this piece introduced wealth, flamboyance, and a new art style into painting. Characteristics of this new art style (Rococo) included loose brush strokes, pastel colors, and flamboyant escapades of the wealthy class – which is what the Rococo art movement would become known for. They even had to create a new genre in the academy called the fete gelante in order to fit this into their hierarchy of art.

Madame de Pompadour (#2)

Madame de Pompadour by Francois Boucher - Rococo artworks images — *Madame de Pompadour* by Francois Boucher (1756)

Francois Boucher completed Madame de Pompadour in 1756. Boucher took over the Rococo art movement after Watteau. In fact, he was one of the most well-known artists of the 18th century. A lot of this had to do with his main patroness, the Marquis de Pompadour, aka the Madame de Pompadour, aka King Henry the 15th’s famous mistress.

The Madame de Pompadour loved Boucher’s work so much that she had him paint almost every single one of her portraits. These artworks all hold a typical Rococo style in portraiture – loose brushstrokes, pastel colors, whimsical looks on their young idealized faces, and lots of symbols of wealth and power. Because of her wealth, power, and connections (you know, being connected to the king and all), she actually helped propel the Rococo art movement forward.

Self-Portrait, Elisabeth Louise Vigée-LeBrun (#3)

Image of Self-Portrait, Elisabeth Louise Vigée-LeBrun (A Rococo artwork) — *Self-Portrait, Elisabeth* Louise Vigée-LeBrun (1790)

Number three of my top five Rococo artworks is Vigee Le Brun’s self-portrait. Vigee Le Brun shifts between Rococo and Neoclassical. The style she does is Rococo, but her subject matter is more Neoclassical. I think she is an important Rococo artist because first of all, she was the lead portrait artist of Marie Antoinette who lived in Versailles and was an important figure in Versailles history. Second, her husband Victor Le Brun was the interior decorator of Versailles, which was very Rococo/Baroque. Victor also started the French academy of painting and sculpture. So, she’s just kind of a big name.

Not only was she connected to important Rococo persons, but she is a very talented painter. Vigée-LeBrun is fantastic with the Rococo styles of loose brush strokes (just look at her hair in the above picture!), pastel colors, and whimsical youthful faces. She also shows us what Rococo artists thought of themselves. She paints herself in the manner of painting, a serious artist. In addition, you can tell by the way she is dressed that she belongs to this wealthy class that she’s so associated with. It’s her way of bringing artists to the level of those people who are doing fete gelante.

Marriage A-la-Mode (#4)

Marriage A-la-Mode by William Hogarth (1743)

The Marriage A-la-Mode, by William Hogarth was completed in 1743. This Rococo artwork is a series of six paintings that makes fun of Rococo. It’s not necessarily done in the Rococo style, but in order to better understand the Rococo movement, you have to check this piece out.

In this piece, Hogarth satirizes the upper class – those people who can spend all of their money conversing in salons and going on fete gelantes. The six paintings show the story of an arranged marriage full of wealth and class that does not end well. It dramatizes the downfall of living a life like the aristocracy was doing during Rococo. What happens when you age and you no longer look beautiful and you no longer can go on these escapades? Or even worse, what happens if you lose all your money?

The Swing (#5)

Image of The Swing by Fragonard - A Rococo artwork — *The Swing* by Jean-Honoré Fragonard (1767)

Finally, I can’t not pick The Swing by Jean-Honoré Fragonard. Fragonard was able to build on the foundation that Watteau and Boucher had created for him to create a masterpiece. And in my opinion, this is the quintessential Rococo art piece. It has the perfect representation of all of those Rococo art characteristics – it’s frilly, it’s frivolous, it’s frothy, it’s full of wonder and secrecy. There’s lots of dynamic movement that connects it to the Baroque art period. You’ll find loose brush strokes, pastel colors, and this feeling of romance and love. The Swing is just perfectly Rococo.

Understanding these top 5 Rococo artworks helps you connect with the history, artists, and people surrounding the Rococo art movement.

The Palace of Versailles History and Overview

The Palace of Versaille history is full of wealth, luxuriousness, and power. The palace itself is one of the most magnificent buildings in all of art history.

Who Built the Palace of Versailles?

King Louis XIV image — King Louis XIV’s showed his power and wealth through the Palace of Versailles

To understand the opulence of the Palace of Versailles, you need to understand the main guy who built it – King Louis XIV. King Louis and the Palace of Versailles history go hand-in-hand.

Now this guy was obsessed with himself. He made people call him the Sun King because he thought the Earth revolved around him. The day began and ended with Louis. He’s even been known to say “l’etat, c’est moi”, which means “the state, it is myself”, which basically means “I am France” – everything French is a reflection of me.

Now having this big of a head, needed to be matched with his surroundings. The palace at the Louvre was not big enough for him.

How big is the Palace of Versailles

This “little” chateau began as a hunting lodge, a vacation home of sorts, before it was transformed into what we know today.

It’s estimated to have cost somewhere between two billion and three hundred billion dollars (in today’s money). This is a huge range, but records don’t actually tell us. Nonetheless, billions of dollars!

This place was large enough to house 5,000 Aristocrats and over 14,000 servants. There are 700 rooms, 2,153 windows, and 67 staircases. The building covers 721,182 square feet of floor space – that’s over 12 football fields!

Palace of Versailles Façade

Palace of Versailles exterior image — Palace of Versailles exterior

The façade, or exterior, is quite simple compared to the inside. But like St. Peter’s, this palace draws you in, arms open wide. It is done in a pretty classical, yet more austere manner.

The palace is horizontally composed and balanced, symmetrical, and repetitive.

Palace of Versailles Interior

Louis’ entire life was a spectacle, and the interior of this Palace was decorated to match it. Built on an east to west axis, there’s a chapel, apartments, and even its own Opera House. All of the finest materials were used; expensive
marbles for the walls; glass imported from Venice for the mirrors; and lavish paintings on every surface, including the ceilings.

Most of the art reflected a motif of power – Louis riding triumphantly after victorious battles and busts of him staring at you wherever you go. And of course, there was a lot of gold and silver.

The King’s Bedchamber

Versailles King's Bedchamber image — Versailles King’s Bedchamber

At the center of this palace is the King’s bedchamber, surprise surprise. The rays of sun hit his bedroom first, awakening the Sun King for a new day. The rest of the world could wake up after the king.

This was such an event that the king required an audience each morning he woke up. There were literally hundreds of honorable people in his room each morning, and depending on your social status, you had certain duties. It was considered a high honor to empty the king’s chamber pot, or to remove his nightshirt, or to buckle his shoes.

The Versailles Apollo Room

This is the Apollo room, or the royal throne room that was built for Louis XIV. The style is very Baroque – drama, intensity, over-the-top lavishness.

Hall of Mirrors

The most infamous room in this Palace is the Hall of Mirrors. Hundreds of years after Louis XIV built this, a very important document was signed here – The Treaty of Versailles, which ended the first world war.

This Basilica, light-barrel vaulted hallway overlooks The Gardens from the second floor from 250 feet up.

The Hall of Mirrors is the perfect representation of Baroque architecture. Used as a reception hall, this room is full of dramatic movement and dramatic scale. Every surface is decorated in a way to impress, inspire, and intimidate. There is this harmonious balance of organic, yet geometric shapes, everything is covered in either gold or silver, the ceiling is painted, and there are motifs everywhere of civil and military achievements of King Louis.

The barrel-vaulted hallways tend to feel like tunnels. In order to alleviate that feeling, mirrors were placed on the opposing side of the windows to reflect the gardens, making the room feel wider, larger, and more impressive.

Glass at this time was one of the most expensive materials that were being made, and Venice had a monopoly. King Louis XIV entices a bunch of Venetian mirror makers to create the 357 mirrors that encompass this room.

The Gardens

King Louis envisioned a park for himself. He wanted a place to play and relax and have fun, so a park and more is what he got. His gardens cover over a mile in width, and almost twice that in depth. There are 2,000 acres of cultivated land.

This is an incredible feat in and of itself, but what makes this more crazy, is the park was originally a swamp and many workers died of malaria.

The design of the gardens are done in a traditional French style. There is symmetry and harmony in the scrolls, the perfectly shaped topiaries, and the many fountains filtered throughout.

Manicured laws were a way to display how much land you owned. It’s a way to brag about how much land you can play with without having to cultivate it to make living. This practice actually continues today. just drive around your neighborhood and see how many folks are outside mowing their lawns.

The Water Features

The grounds house 55 fountains, and over 20 miles of water pipe. There are two huge reflection pools that reflect the façade of the palace, having the same effects as the Hall of Mirrors. There were few issues with these water features
though.

Versailles was higher in elevation and not close to a water supply, so there was not enough water to supply these fountains. To combat this issue, fountains were turned on when the king walked by and turned off when he left.

Versailles Apollo Fountain

This is an example of one of the fountains in Versailles. The fountain shows Apollo riding his chariot, bringing up the sun for the day.

When this fountain is turned on, the effect is breathtaking as the sun god literally rises from the pool.

Marie Antoinette’s Hamlet

Versailles hamlet image — Marie Antoinette’s Hamlet

One of the main attractions of the gardens is the famous Hamlet Village built for Marie Antoinette in 1783. The village is an eclectic cabin-like place
where she would play at raising animals and living a more simple life.

There were 12 structures originally, but only 10 remain today, and they stand in a Normandy Village style. The structures include a farmhouse, a dairy, a mill, a boudoir, a pigeon loft, a lighthouse tower, and a cottage with a billiard
room for the queen to entertain her guests.

Literally in this palace’s backyard is an actual village – that is out of control.

What Happened to Versailles?

So basically Versaille was a huge power play. It was a way for the king of France to flaunt his money, hold tight to his power, and intimidate anyone who came into his presence.

This makes it a little bit easier to understand when in October 1789, a group of seven thousand women marched up to Versailles and took the king with them back to Paris, beginning the French Revolution.

The royal family never returned to Versailles after the French revolution. The French Court still sometimes uses it for large events, like when Queen Victoria came to visit France, but for the most part it remains as a tourist attraction. In fact, in the year 2017 there were over 7.7 million visitors.

If you’d like to see how the Palace of Versailles fits within the larger picture of art history, you can download my condensed timeline of Western art history.

Please reach out with any questions.

CREDITS

Marie Antoinette amusement at Versailles.JPG / Daderot / Wikimedia Commons / GFDL

Versailles Bassin d’Apollon 001.jpg / Moonik / Wikimedia Commons / CC BY-SA 3.0

Orangerie.jpg / Urban / Wikimedia Commons / GFDL

Chateau Versailles Galerie des Glaces.jpg / Myrabella / Wikimedia Commons / CC BY-SA 3.0

Appartement du Roi (Versailles).jpg / Jean-Marie Hullot / Wikimedia Commons / CC BY-SA 3.0

Cour de Marbre du Château de Versailles October 5, 2011.jpg / Kimberly Vardeman / Wikimedia Commons / CC BY 2.0

Château de Versailles, salon de Diane, buste de Louis XIV, Bernin (1665) 00.jpg / Coyau / Wikimedia Commons / CC BY-SA 3.0

Versailles Château de Versailles Innen Apollon-Salon 1.jpg / Zairon / Wikimedia Commons / CC BY-SA 4.0

License Links

CC BY 2.0 license – https://creativecommons.org/licenses/by/2.0/deed.en

GNU Free Documentation License – https://en.wikipedia.org/wiki/GNU_Free_Documentation_License

CC BY-SA 3.0 license – https://creativecommons.org/licenses/by-sa/3.0/deed.en

CC BY-SA 4.0 license – https://creativecommons.org/licenses/by-sa/4.0/deed.en

Pilgrimage to Cythera by Jean-Antoine Watteau

Pilgrimage to Cythera by Jean-Antoine Watteau is one of the most important pieces of art in the 18th century. It took 5 years to complete (1717) and was Watteau’s submission to get into the French Royal Academy of Painting and Sculpture. His acceptance into the academy with Pilgrimage to Cythera was a key turning point in art history.

Historical Context

In the 1700s, the French aristocracy was gaining power and clout both politically and socially. They had so much time and money on their hands that they were able to gallivant through gardens, have large parties, and dress pretty outrageously. The aristocracy was gaining more control and power within the art scene of the time. In art history, this art movement is called Rococo and Pilgrimage to Cythera was the catalyst for the movement.

What’s Happening in Pilgrimage to Cythera by Watteau

The Pilgrimage to Cythera by Jean-Antoine Watteau (1717)

At first glance you may see a lot of wealthy people gallivanting in a park, and you’re not too far off. What we have here is a group of luxuriously dressed couples and they’ve made a Pilgrimage to Cythera

What is the importance of cythera?

Cythera is the supposed birthplace of the goddess Aphrodite, who’s the goddess of love. It’s an island in Greece and known for its beautiful, gorgeous, and fertile landscape. Cythera is a place to fall in love. In fact, off to the right you can see a statue of Aphrodite robed in flowers. The statue is a bust, so the top half is nude. She looks beautiful as she looks down on the group of lovers that have come to pay homage to her.

The lovers in pilgrimage to cythera

Let’s take a look at the couples in the painting, starting from the Aphrodite statue on the right and working our way left across the painting. You’ll notice they are all separate couples. Looking at the first couple on the right, you’ll see a young woman elegantly dressed. Her eyes look down, and she looks demure. The young man with her is kind of whispering in her ear. Maybe a flirtatious conversation. At their feet you’ll notice two things: (1) his weapon or walking stick is laid down as if to show this is harmless and his focus is on her, and (2) a little cupid. The cupid is half clothed and tugging at her dress, seemingly egging her on or goading her to fall into this flirtatious conversation. This couple doesn’t look overtly sensual in any way. Their romance feels harmless and cute.

Then, as your eyes go across the painting you can see this act of romance and falling in love kind of taking shape. With the next couple, the young woman is being helped up by her admirer. It seems she’s fallen into the flirtatious conversation. Moving on, the man in the next couple has his arm wrapped around the woman and is leading her away. Then, as you continue to look at the rest of the couples from right to left, you can see the couples getting more comfortable with each other. They have their arms wrapped around each other and there’s no more pressuring needed. No goading. More sensuality is happening. Remember, this is the island of love.

The boat

The couples who have fallen in love are making their way to a boat in the left-hand corner. The boat is gilded and you can see it’s wrapped in this beautiful red drapery. Next, notice the putti or little cupid baby angels. They’re very cute and playful and their purpose is to inspire romance and love.

the background

When looking at the trees, clouds, and landscape, you’ll notice individual brush strokes (a painterly style). The painterly style gives it a kind of airy feel. It feels feathery and flowy – a perfect scene for these couples to fall in love.

In the background, if you follow the river back to the left, you can see what looks like a little town in the distance. Historians flip-flop on whether the couples are leaving the island of Cythera or going to the island of Cythera. Due to the fact that we’ve got the Aphrodite statue, to me the evidence is convincing that the boat is at Cythera. Also, because the level of intimacy increases from right to left, in my opinion they are heading back to the boat after a luxurious, love-filled trip to the island. But this is all up for debate.

Pilgrimage to Cythera is the Catalyst to the Rococo Art Movement

Pilgrimage to Cythera was a very unique painting at the time. We’re coming from the Baroque period, when the art is heavy and has really sharp lines and contrasts between light and dark. Pilgrimage to Cythera shows a dream-like landscape depicting the aristocracy on a beautiful love-filled escapade to an island where they can fall in love. It’s a very new feel in 1717.

As already mentioned, Watteau uses this famous piece for his entrance into the French Royal Academy of Painting and Sculpture. He gets accepted, and this is really important not only him but also to art history in general. The academy had a hierarchy of categories in which paintings could fit into. They couldn’t find a category that fit perfectly for this piece, so they created a new category called fete gelante, which basically means wealthy people doing things in nature.

So, with this piece he not only creates a new category to display art but he also is a big part of starting the Rococo Art Movement, which starts in Paris and moves throughout Europe. The movement is characterized by depicting the aristocracy doing fun, sensual things. Rococo art is also full of pastel blues, yellows, greens, and pinks. For a perfect example, just take a look at my blog “The Swing by Fragonard – The Quintessential Rococo Piece”.