10/27/2017 0 Comments FRESH FRIDAY | MEMENTO MORIOne of the most prominent and long lasting themes within art history has been death. Images and symbols of death are a constant within Renaissance and Medieval times, not as a threat, but as a gentle reminder of its existence. When these motifs are present it is referred to as "memento mori", which literally translates to "remember that you must die" and is usually personified through skulls or skeletons. Memento mori has been predominately seen in still life, portraiture, and narrative paintings such as Caravaggio's Saint Jerome Writing (1606), an image of Saint Jerome translating the Bible with a nearby skull sitting on his desk. Saint Jerome's own skull mirrors that of the resting skull on his desk, emphasizing that human beings die, but the word of God lives on. This is a good example of a largely misconstrued ideal about memento mori; that it is associated with religion. While many images were commissioned by the church in these times, others were produced for wealthy collectors who had no association whatsoever. A more specific type of memento mori, ivory objects or rosaries, had absolutely no link to the church. Originated in Europe in the 1500's, memento mori objects, usually in the form of skulls, were carved out of ivory and although some of these were in the foundational shape of a rosary; multiple heads strung in a bead like fashion, they were not meant to act as one. In a more collectible sense, these again held notions of morality and reminders, meant to be merely viewed and not used for prayer. These objects were actually essential to another trend of the time, a curiosity cabinet. These cabinets acted as a collection of memento mori objects and other strange items such as taxidermy creatures, archeology items, and historical relics.
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From an art historical perspective, "the gaze" has always been the backbone of emotion in a piece of art. Over the centuries of portraiture and narrative pieces, artists have conveyed expression through their subject's eyes. With each type of look, whether that be an averted gaze or a coy, direct connection, the viewer and the subject create a dialogue. Furthermore these directions have consistently corresponded to a certain form of symbolism. For instance, the knowing smile of the Monalisa (1503) is one of the first examples of a direct gaze at the viewer/painter. This forthright acknowledgment of the viewer's presence shifts the conversation, making it a mutual exchange between the image and the viewer. In another earlier example, Botticelli's Birth of Venus (1486), Venus is presented nude with an averted side gaze. By not confronting the viewer, we are allowed to observe her nudity. This deep rooted use of the gaze has been manipulated over time to convey a variety of meanings. A Nigerian artist, Uthman Wahaab has again, redefined its purpose. With little use of the gaze, to the point of non-existence, Wahaab paints with a different focus; the body. Wahaab's figures are full-bodied women, usually nude or scantily clad, that are depicted with "shrunken" heads, in an almost scratched out style. Very similar to previously seen images of female nudes throughout history, Wahaab's scenes depict women lounging or relaxing. In a more rare scene, the females are dancing, but even that is reminiscent of Degas' "dancers", another example of a historically predominant female space.
10/6/2017 0 Comments FRESH FRIDAY | ART FOR THE KIDS
9/12/2017 0 Comments FRESH FRIDAY | PHOTOREALISM
8/25/2017 0 Comments FRESH FRIDAY | INSIDE OUT
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