Art Paper Assignment

For this assignment, I really wanted to specifically choose three pieces that conveyed not just my senses, but rather, I wanted something to reach out and pull me in, like a moth drawn to flames. As naïve as this might sound, I searched for pieces that had a certain quality that would take my breath away, make me feel as if time had stopped; I guess what I was searching for was something that appealed to my emotions. Even though the museum was filled with many beautiful pieces of art, I only found one piece that stood out and grabbed me in the way that I wanted. With the other two pieces that I chose, I found myself asking why the artists of those pieces would go about doing things in the way that they did. I found myself drawn to the last two pieces, not in an emotional manner, but rather enthralled by an intellectual curiosity. Regardless of the way I was drawn to each piece, I found the analysis of piece to be equally interesting. I will describe, to the best of my abilities, the physical description of each piece, their individual significance, what the pieces conveyed, and my personal reflections on each of the pieces.

The artist of the first piece, entitled “Motherhood” (1930-1931), is Roberto Montenegro, a Mexican artist (1885-1968), and it was done through the medium of watercolor on paper. The first thing that is noticeable in the painting are the two figures, one feminine and the other masculine, that are seated with their backs against each other on a blanketed floor within a small enclosed space, perhaps a simple shelter. Both figures are nude and exposed, but the woman has a deep crimson colored throw draped across the region of her lower thighs and knees; aside from that, her upper abdomen are covered by an infant that she is nursing. The woman, which I assume is the baby’s mother, holds the child, which is bundled up in a burgundy colored cover, in loving and nurturing fashion. Her focus seems to be solely focused upon fixed upon caring for the child despite the fact that she is in an exposed, vulnerable state. The male figure that has his back against the woman’s is depicted in a very different way. His knees are bent and he is slightly hunched inward toward his knees in a sulking manner. His head is slumped over in between both knees; it is difficult to decipher whether his body posture is meant to express fatigue, shame, or sorrow. It is very similar to a fetal position, perhaps a metaphor for being as defenseless as an unborn child. The focal point of the piece seems to be the woman since she is, more or less, at the center of the painting and is depicted somewhat differently than the man and child. It could also be that she is not the focal point of the painting at all, but rather how she cares for and nurtures the child, hence the title, “Motherhood”. I have determined the watercolor painting to be representational, despite the fact that there is a certain hazy aspect to the piece which distorts the clarity of the piece. Even so, the hazy effect amplifies the visual texture that is expressed in the painting; the painting give the illusion of an actual human touch, as if you could touch the woman’s hand, the man’s shoulders, or the baby’s face. The colors that were used in the painting are very deep rich and earthy; from brown and deep reds to shades of grey. As far as what is being conveyed by the artist, I would have to guess that it is in reference to the Mexican Revolution since the timeline when it was finished is very close to the revolutionary era. To be more specific, I think the painting is some kind of allegory in reference to the effects that the revolution had on the Mexican populace. I chose to write about this piece because this piece literally grabbed my attention and did not let go. I honestly do not know if it was the use of rich earthy colors, the abundant visual texture, or the vulnerability that was conveyed that lured me; perhaps it was a combination of those factors, regardless of the reasons, I can honestly say that this painting truly did grab me in the way that I was hoping for.

I actually had a difficult time choosing between this next piece and another statue made of bronze entitled, “Venus Marina”. Both statures were located in the European antiquities section of the museum, but in the end I chose this piece over the other because of its subdued nature. Ernst Matthai (1779-1842) is a German artist that crafted “Venus” (1816-1820) from a plaster molded by Bertel Thorvaldsen. I found myself rather curious about the marble sculpture since the goddess Venus is positioned in a rather modest pose. This is quite different from other depictions of the goddess of love and beauty, who is usually depicted in an confident and sometimes flirtatious manner. This statue was nothing like many other incarnations of Venus, instead this depiction radiates with a rather shy and bashful nature. The white marble statue stands erect with her back arched, ever so slightly, forward. Her right arm holds an apple above the level of her breasts, but slightly beneath the level of her shoulder. Her left arm is relaxed, holding a veil or cloth which is draped over a two foot stump of some kind. Her face is expressionless, but her physical facial features are very similar to that of other Greek and Roman statues of women. The entire off-white colored statue is made up of marble and is situated on top of a black marble block. I would guess that the sculpture is representational as it depicts the Greek goddess Venus. The smooth, curved lines of the statue imply a feel that is soft to the touch, but the cold, lifeless appearance of the marble nullifies that effect. It is quite difficult to say what the significance behind this piece is since, according to the text from the museum, it was commissioned by a king for his castle. If I had to change something about the statue, it would be the fact that it looks so devoid of life and expression. The goddess of love and beauty is meant to embody just that, love and beauty. From my perspective, the cold marble canvas does very little to convey either or. The statue seemed to resemble a common woman, nothing about it captured or illustrated the depiction of a goddess.
My last chosen piece was a photograph (print from collodian negative) by Auguste Giraudan’s Artist, (Anonymous French Artist that was active in the 1870’s) and the photograph is entitled “Two Young Peasant Women in the Hay” (1878). The photograph is in black and white and is actually somewhat small, so I had to do quite a bit of squinting, even with my glasses on. Two young women are captured in the middle of a daily routine or what might be considered a chore. One of the young ladies is standing carrying a load of hay over her shoulder. The other is draped across the ground resting on top of some hay. Both women are wearing garments that would be considered common for the times, long dresses that flow to the ground, white long sleeve shirts, and what appear to be white handkerchiefs wrapped, covering their hair. The young lady that is standing is also wearing a dark colored vest. In the background, there is an abundance of brush, bushes, and hints of trees, which would lead one to assume they are in a rural area. The portion where the woman is laying down is mostly exposed dirt covered by a portion of hay. The focal point seems to be the young woman that is standing and from there the eye is lead to the one that is laying down, then the background. Because of the camera’s angle, there is not a visible glimpse of either woman’s face or facial gestures. I would say that the photograph is representational since it depicts an everyday occurrence that was common for the time. Because the picture is in black and white, it really does not have any visual texture. I think the artist was trying to capture rural life in its purest form. I really would not change anything about the photograph, especially since it accomplishes its purpose so well. I chose to write about this specific photograph because it seemed to me that there was a story being told visually. My mind started to wonder and question what was going on in the places that were out of reach for the photographs perspective. Was there someone else standing beyond the camera’s angle? Why was there only one woman working? Why were there no men doing this labor? My mind began to conceive all kinds of possible scenarios and they all stemmed for this one photograph.

In searching for art pieces that would stir up some kind of reaction within me, I found two other art pieces that left me asking, “Why?”, instead. Of the three pieces “Motherhood” truly did reach out and pull me toward it. Even though there was a piece by Frida Calo just a few feet away, my attention did not waiver. In retrospect, I think it was the way that the piece conveyed vulnerability within the subjects of the picture that grabbed my attention. The last two pieces really pushed my critical thinking skills. With the statue, I questioned why the artist approached the piece in a certain manner and not another. With the photograph, I just kept wondering about the things that were out of the camera’s view. Overall, I would say that this was a pleasant experience, especially in regards to taking in all the sights in a different way that I am normally accustomed to`; examining, evaluating, analyzing, seeing and approaching art in the same way that one would listen to music or savor a culinary dessert.