Art Blog#1

                                                                                                                                  The Raft of the Medusa ( C.1818-19 )                 By: Theodore Gericault 16’1 x 23’6 on oil canvas                     Louvre Paris                                    The Kiss ( C.1859)        ...

    During the 1700s, morality played a large part in arts; the styles of these arts were classified as Rococo and Neoclassical. This was because the commoners found that the Church officials were spending unreasonable money. In Rococo art, morals were not considered the most important thing. Instead, it was enjoyable. Unlike Neoclassical, the arts were backed up by good morals. The goal of this was to inspire people to live with good morals and spread positivity.  The first piece I am displaying today is " Pilgrimage to Cythera" by Jean Antoine Watteua . Some say Jean Antoine was the birth of the Rococo Era. This was created by oils in Charlottenburg Palace, Berlin, in 1717-1718. "This piece takes influences from Flemish master Peter Paul Rubans and Venetian Renaissance giants like Titans " (Artsy)     What sticks out to me the most is the Renaissance landscape. On the right, we are shown a forest. In the middle, we see very light blue, indicating a bod...

Today, I am presenting The Dead Christ Mourned By Annibale Carracci, done in 1604 with oils. This was not an art intervention but was used as a tool and designed by the Catholic Church. A group called the Protestant Reformation fought ruthlessly against this piece of art. The Protestant was a religious reform movement that swept through Europe in the 1500s. The Catholics fought against them and got close to their followers, as they thought this canvas was relatable and eye-catching, and it created an emotional response. At the time, the Catholics did not believe true faith had a direct connection and relied solely on emotions and feelings. Carracci was known in his works to paint with his whole emotion. This piece is loud and painful, with heart-wrenching signs of loss and grief.  What makes this such an emotional canvas is Carracci's use of colors. We see Christ laid out in a white loincloth that almost matches his skin color, representing a harsh death. We then are drawn to his...