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The Influence of Video Games as Art and Exploring Mental Health

The Influence of Video Games as Art and Exploring Mental Health

    My modern exhibit explores video games as art through their concept and original game art published by various gaming studios. Mental health is an emerging topic across myriad video games since 2010. I purposely chose the original gaming issues to discuss the original intent of the gaming companies’ involvement in exploring mental health through video game art. Individual’s perspectives of video games through their personal art may slightly alter the meaning the game is attempting to convey. I chose six different games in which I have also personally played including Horizon Forbidden West, Hellblade: Senua’s Sacrifice, Limbo, Child of Light, Legend of Zelda: Link Between Worlds, and God of War Ragnarök. Let’s explore mental health discussions (and challenge mental health stigmas) through video games together!

Horizon Forbidden West, by Guerilla Games in Amsterdam, Netherlands. Published by Sony Playstation. 2022.

            Horizon Forbidden West utilizes a vibrant color palette, value, and 3D forms throughout the concept art and gameplay. In my chosen piece of concept art from the game you can get a visual of what it feels like for the main character, Aloy, to explore the Forbidden West universe. The vibrant color palette helps to reconstruct a universe in the post-Apocalyptic format in which Aloy is placed. The colors represent the flourishing flora and wildlife that began to emerge after the events that took place to construct this new normal in Aloy’s universe. The value helps to highlight where the sunlight would reflect over the ocean, the different elevations of the oceans, and the creatures we can see through the clearness of the still water. Finally, the 3D form helps to create a realistic effect that helps to immerse the player into the Forbidden West universe. Everything comes alive with multidimensional shapes to help create a more realistic landscape. A post-apocalyptic world where a character is expected to undergo growth through unique challenges and self discovery is brought to life by interactive art. The progression of the narrative can be curated by the player by going adrift from the main storyline to follow side quests and minor plot points. Solarski stipulates, “A narrative implies that a character has gone through an emotional change, which should be made visible for viewers to comprehend” (2013). The narrative is best expressed through the detail that only art can express through facial expressions, backgrounds, and color choices. The narrative is constructed with art while discussing the challenges of self-discovery and the mental challenges through a digital format. Horizon Forbidden West does a remarkable job of exploring a balance between art and self-discovery.

Hellblade: Senua's Sacrifice, by Ninja Theory. Cambridge, England. Published by Microsoft. August, 2017.

            Hellblade: Senua’s Sacrifice utilizes negative space, color, and sharp lines to enter the psyche of a grieving widow. The negative space highlights the darkness of Senua’s psyche as the player explores the world through her eyes. The background is often murky to see while minimal color is illuminated by her face markings and fire. The fire illuminates the murkiness for a bleak moment as you explore through the rest of the environment. The environment matches the tone of the game as you explore Senua’s psychosis that was created from becoming a widow so suddenly. The zig-zag lines utilized for the dying tree branches and the fire symbolize the anxiety of Senua’s perspective. Takahashi records, “Fletcher said that when [Hellblade] was shown to some of the patients who helped create it, the patients felt like their experience had been validated. The team even changed the ending because the patients felt like it was lacking” (2019). The attention to the art detail to convey anxiety, restlessness, and a vast unknown was not a coincidence. The careful attention to detail helps to create the environment that someone may find themselves in when tackling psychosis. Much of the game’s progression we hear Senua’s thoughts as one progresses through the story. Some of the reality we are given through the art is understood to be through Senua’s perspective, which builds on the anxiety the art does encapsulate.

Limbo, by Playdead. Copenhagen, Denmark. Published by Xbox Studios. July 2010.

            Some individuals may argue that excessive attention to the detail of art in video games can distract from the capabilities of game play. The simplicity of video games that we received from the game art in the 80’s-90’s has vastly changed as digital art has evolved. Bourgonjon states, “Instead of developing innovative games, more photorealistic versions of earlier games are being made. This has caused a number of counter reactions, an important one being a seemingly back-to-basics aesthetics movement in game culture” (2017). There are different approaches to video game art that can roll unto the game play and how it is perceived. 

            Limbo is a suitable example that creates a balance between simple art elements and narratives that describe mental health through gameplay. Limbo utilizes negative space, rigid lines, and contrast to create a gloomy atmosphere. The promotional photo that I have chosen is an example of much of the art throughout the game. The negative space is created by the background and enemies that you come across as one progresses through the story. The rigid lines typically represent environments that will harm the play and/or enemies (such as the spider we see the little boy encountering). The rigid lines did a great job in expressing a harmful environment with zero color throughout the game. The lack of color expresses the void and sadness the character is undergoing as they explore this new reality. Harris observes, “A sparse, quiet world with no music and no color. A lonely child who is too small and too fragile to thrive in this landscape” (2021). Harris understands that this environment was meant to destroy the nameless boy. The art elements curated in Limbo effectively express the anxiety of yearning for a lost loved one.

Child of Light, by Ubisoft Montreal. Canada. Published by Ubisoft Studios. 2014. 

            Grief and death are difficult subjects to tackle through myriad art mediums; however, making difficult subjects a successful playable medium is an ode to art expressions. Art has been a medium for centuries to tackle difficult subjects through timeless mediums. Child of Light’s bright and cheerful appearance may disguise itself as a cheerful game visually. However, as the art unfolds the view is given a walk-through grief while utilizing color, curvy and rigid lines, and contrast. The bright colors capture the essence of what it means to be a child and how they view the world despite grief. The usage of both curvy and rigid lines helps to define the differences between enemies and the innocence of the “child of light” throughout the story. It helps to illuminate the combat in a PG friendly manner. Finally, the contrast between the environment (dark earthy tones) and the character’s colorful and cheery demeanor highlight how children can tackle grief with resources. Martinyuk defines digital art such as, “Visual representation is the heart of the game. It is what the story aims to tell its players” (2018). The narrative will be elaborated through art elements and how the art elements are utilized to help progress a story. The story in Child of Light is unique in how it tackles discussing death through the main character (Aurora). Aurora’s mother passes in the beginning of the story. The journey Aurora undergoes is a family friendly journey to tackle a taboo discussion amongst children. Harris states, “The world is pastel bright and charming, and its animation is gorgeous, but its tone is dark and its metaphors convey deep adult themes” (2021). The art in Child of Light helped to illuminate the child friendly playthrough while tactfully using adult subject matter (death and grief). The cheery elements help pull the game together when highlight the importance of life and death through color and contrast.

The Legend of Zelda: A Link Between Worlds by Nintendo. Kyoto, Japan. Published by Nintendo Studios. 2013.

            The Legend of Zelda: A Link Between Worlds is an updated version of the original game of a similar title (The Legend of Zelda: A Link to the Past). This new version has created new life with elevated art. The focus of the game is utilizing art (paintings and murals) to travel between different realms and sticky situations. The promotional art of the two realities (Hyrule and Lorule) utilizes contrast, value, and texture. The contrast between the two realities is created through a reflection in the water that shows Lorule as a reversed Hyrule skyline. This is a game based on the theme of time travel used art to illustrate the parallel universes that mimicked one another with slight alterations. The intensity of color values used in Hyrule are bright and cheerful on an average sunny day. The reflection of Lorule in the water creates a brooding sky, sunset, a dead tree, and darker colors to illuminate a “big bad” that is looming under the surface. The lively texture of Hyrule makes you feel you can almost touch the soft and warm grass underneath the son whereas the grass in Lorule is barren with no texture. The distinct differences highlight the differences between a “light” and “dark’ world throughout the story. Often art will utilize bright intense values to highlight “light” or “good” realities whereas darker values will contrast the light to create “dark” or “evil” realities. Solarski remarks, “upon creating a video game, the game's designers give creative control to the player through interaction, allowing players to experience the very same sensations that a traditional artist would feel when painting” (2013). The art elements guide players to immerse themselves into other’s mental health journeys. Curating the artistic experience through games such as Zelda help to enhance the self-discovery journey. The battle between the light and dark can often be considered a metaphor for the consistent challenges individuals will face during their own paths of self-discovery with positive and negative experiences.

God of War Ragnarök (Freya attacks Kratos) by Santa Monica Studio. Santa Monica, California. Published By Sony PlayStation. 2022.

            God of War Ragnarök is the latest installment in the game series. The art development have vastly improved since the game’s first release in 2005. The advancements in digital art have helped to create new depth to the main character Kratos. The promotional art for the latest God of War utilizes negative space, texture, and 3D form to tell the latest Kratos story. The negative space is created by a blizzard that introduces the story when you’re “surviving Fimblwinter”. The texture is created by the broken branches and Freya assaulting Kratos as she moved through the trees. The texture appears as a broken branch would feel, sharp and harsh. The texture almost creates the sound you hear when a branch falls during a blizzard (for all of us that live in cold climates). Although this scene toggles between gameplay and cut-scenes the 3-dimensional figures create an immersive effect to allow the player to feel involved in the fight (as Kratos). Another art element that should be mentioned is the usage of color for light and fire as we see Freya’s cape fiery with anger and the illuminating lantern as the only source of light against the white blankness of snow. Joho reports, “Yet God of War spares sympathy for that father, too -- a man who was once a child himself. A man who knows nothing but the perpetual cycle of patricidal betrayal and trauma” (2018). In this new path of storytelling in the God of War series that began in 2018, we are given a perspective of a bold main character who now raises a child. Kratos embodies traditional masculine ideals while navigating parenthood. In Ragnarök the players can see the growth of Kratos’s son’s ideals and self-journey as they use art elements to shape the effects of parenthood between two characters.

Let's Conclude!

            In conclusion, digital art being transcribed to video games concept art and gameplay has created new ways to enjoy interactive content. Players can curate the art on command as they progress through stories and navigate different art styles through different games. Gilyard states, “Through aesthetics, creativity in video games takes both a broad and specific approach with its applicability not just towards society in general, but also as an instrumental tool in art education” (2017). Video game art can teach others how to navigate difficult discussions, mental health challenges, mental health stigma, and unique storytelling through the simplicity of art elements. Solarski (2013) does a fantastic job translating the art elements into the utilization of game play and aesthetics for video games (if you are interested in an elaborate discussion). Video games are a very specific digital art medium that deserves more attention throughout the modern art era. If I had the space, I would have loved to explore how music and sound also adds to the art elements (beyond the visual gaze).

            All six art pieces are from games that I particularly enjoyed due to the art style and story progression. I chose the theme of mental health as many of these games tackle difficult subjects such as death, murder, and difficult self-discovery journeys. I do own art pieces from each of these games that I personally display in my home. For many of these games such as Horizon and God of War I own collectible statues, key rings, cloth maps, and leather pieces. I have made cosplays and collectible pieces throughout my home that represents my favorite games in addition to the digital art collections I display around my home. One of my favorite aspects of games such as Horizon Forbidden West is using the in game “photo mode” to create screenshots of photos of different aspects of the story and acquired gear. Every mental health journey exploration in a video game will be a unique experience. If this is your first-time diving into any of these games, I hope that you enjoy your journey with this insight in mind.

References

Bourgonjon, Jeroen, et al. “Perspectives on Video Games as Art.” CLCWeb: Comparative Literature                 and Culture, vol. 19, no. 4, Dec. 2017. EBSCOhost, https://search-ebscohost-                com.uaf.idm.oclc.org/login.aspx?direct=true&db=edsglr&AN=edsglr.A529046139&site=eds-live.

Gilyard, Anthony. “A Dissection of Video Games as a Medium of Art: The Utilization of Aesthetics and             the Effectiveness of Video Games as a Tool in Curriculum.” Lucerna, vol. 11, Jan. 2017, pp.                     110–20. EBSCOhost, https://search-ebscohost-com.uaf.idm.oclc.org/login.aspx?         direct=true&db=aph&AN=124104065&site=eds-live.

Joho, Jess. “'God of War' Depicts the Disease and Destruction of Toxic Masculinity.” Mashable, Mashable, 29 Oct. 2021, https://mashable.com/article/god-of-war-fatherhood-patriarchy-destruction-male-power-fantasy.

Martyniuk, Stephanie Veronica. “Game On! Teaching Video Game Studies in the Arts Classroom.” Art             Education, vol. 71, no. 3, May 2018, pp. 14–19. EBSCOhost, https://doi-org.uaf.idm.oclc.org/10.1080/00043125.2018.1436325.

Ninja Theory. “Hellblade: Senua's Sacrifice.” Hellblade, 2017, https://hellblade.com/gallery.

Nintendo. “The Official Home for the Legend of Zelda.” The Offical Home of the Legend of Zelda, Nintendo, 2022, https://www.zelda.com/.

Playdead Studios. “Limbo - Gameplay.” Playdead, Xbox Studios, 2010, https://playdead.com/games/limbo/

Playstation. “God of War Community.” PlayStation, SONY PLAYSTATION, 2022, https://www.playstation.com/en-us/god-of-war/community/.

Plunkett, Luke. “The Art of Horizon Forbidden West.” Kotaku, Kotaku, 27 May 2022, https://kotaku.com/horizon-forbidden-west-concept-art-character-environmen-1848984780.

Solarski, Chris, 2013. “The Aesthetics of Game Art and Game Design.” Game Developer, 30 Jan. 2013, https://www.gamedeveloper.com/design/the-aesthetics-of-game-art-and-game-design.

Takahashi, Dean. “How Hellblade: Senua's Sacrifice Changed Lives with Its Thoughtful Portrayal of Mental Illness.” VentureBeat, VentureBeat, 26 Oct. 2019, https://venturebeat.com/business/how-hellblade-senuas-sacrifice-changed-lives-with-its-thoughtful-portrayal-of-mental-illness/.

Harris, Will. “15 Video Games That Deal with Mental Illness.” TheGamer, 28 May 2021, https://www.thegamer.com/mental-illness-health-video-games/.

Ubisoft Montreal. “Child of Light: Ubisoft.” Ubisoft, 2014, https://www.ubisoft.com/en-us/game/child-of-light.

African American Artists; Revolution Begins with Art

 

Allan Rohan Crite, School's Out. 1936. Oil On Canvas. Created in Boston Massachusetts. Displayed in Smithsonian American Art Museum. 

 

Augusta Savage, Realization. 1938. Photographic Print of Sculpture. Created in New York City. 

Aaron Douglas, Aspirations. 1936. Oil on Canvas. Created in Texas Centennial Exposition in Dallas. Displayed in Fine Arts Museum of San Francisco.

African American Artists; Revolution Begins with Art

               Harlem, New York was the birthplace of the Harlem Renaissance. The Harlem Renaissance began in the 1920s and expanded through the late 1930’s. This movement was an influence of African American Art being celebrated amongst the community that expanded beyond Harlem. The movement was closely tied to challenging African American stereotypes and challenging laws that segregated the African American communities in America. Hutchinson argues, “The Harlem Renaissance is unusual among literary and artistic movements for its close relationship to civil rights and reform organizations” (2022). This was an expansive movement that created a flourishing medium for African Americans through the language of Art.

               The Harlem Renaissance was just one of myriad roadways that helped lead to the fight for Civil Rights to combat racism, Jim Crow Laws, and combatting systemic racism. Three works of art that I chose express African American life and how the community aimed to viewed positively by those who opposed them: Allan Rohan Crite’s, School’s Out, Augusta Savage’s, Realization, and Aaron Douglas’, Aspirations. These three works of art encompass the spirit of African American Influence during the Harlem Renaissance through black artists.  

               Allan Rohan Crite’s, Schools Out, gives viewers the perspective of what school time appeared as in African American communities. Black communities were often stereotyped as violent, incompetent, and as villains – whereas this visual art piece gives us a sense of community. Shira Wolfe states, “half a million African-Americans had left the American South for industrialized Northern cities like New York, … in search of employment and communities less rife with bigotry” (2022). In this painting we are seeing community in a Boston town amongst the black community. The contrast between the people and the background highlights a peaceful harmony amongst the black community as they endure everyday life in school (as a teacher and/or a student). The round shapes of the bodies and faces create a peaceful tone that outlines the community to be a harmonious one. The depth of the buildings creates the reality of how close they were to their school buildings and homes with attention to detail to the materials used to create these buildings. The closeness to detail suggests strong ties to buildings and events that would help raise the African Community such as education.

               Augusta Savage’s, Realization is a sculpture that was created in New York City. This sculpture shows African Americans in deep thought. An African American man and woman are leaning on one another while they possibly think of all the wrongs that have been done to their community. The mass of the sculpture that appears to be life size suggests that this is the idea Savage was trying to inspire with her art. The life size suggests the severity of discussing this issue and why she had to use art to portray African Americans as people – as they were often treated less than regardless that slavery had ended. The emphasis on the facial expressions is shock and mourning as there are lot of events to reflect on and challenge as the African American community creates a path to the Civil Rights Era. The material appears to be soft and represents the human condition and how it can break down communities when they are targeted with racist rhetoric. Gage notates, “Sadly, it seems that many of Savage’s sculptures have not survived, because she lacked resources during her lifetime to cast them more permanently in metal, and also because she destroyed much of her work” (2016). Not every black artist was given proper recognition during the Harlem Renaissance and minimal information is known about the moving pieces of art. Each art African American Art piece is central to understanding how the Civil Rights Era formed and where it stemmed from throughout the United States.

               Aaron Douglas’, Aspirations blends Egyptian mythology and African American imagery with one another. The color is vibrant and gives the viewer a sense of celebration, excitement, and embracement of the culture. The shapes and lines are curvy and circular creating a happy and peaceful effect that is contagious each time you take a gander at the visual art. The contrast between the background and the people gives you multiple instances to look at as you view this through the lens of celebrating African-American culture. As the title of the art suggests, there is an aspiration to reach the star, and be seen in the same light that artist views African American culture. Visual art was one of many forms in which black artists would challenge stereotypes. Hutchinson stipulates, “Visual artists of the Harlem Renaissance, like the dramatists, attempted to win control over representation of their people from white caricature and denigration while developing a new repertoire of images” (2022). Visual art gave the power back to black artists to create their own narrative and express their own truth that were not muddled through racism and politics.               

               In conclusion, the Harlem Renaissance created powerful imagery that was expressed through the influence of African American artists challenging dangerous stereotypes. I would likely not own these 3 pieces of art; however, I would appreciate them being displayed in museums (as two already are) that celebrate the inspiration of African American art and explores the Harlem Renaissance in more depth. School’s Out, Realization, and Aspirations are all moving pieces with different stories to tell. My favorite of the 3 is Aspirations with the mythological context and the contrast of reaching for the stars. 

References

Archives of American Art. “Augusta Savage with Her Sculpture Realization.” American Art, The Federal Art Project, https://www.aaa.si.edu/collections/items/detail/augusta-savage-her-sculpture-realization-2371#:~:text=Augusta%20Savage%20with%20her%20sculpture%20Realization%2C%20circa%201938.,of%20American%20Art%2C%20Smithsonian%20Institution.

Carolyn Gage. “Realization by Augusta Savage.” Carolyn Gage, Weebly, 2016, https://carolyngage.weebly.com/blog/realization-by-augusta-savage.

Crite, Allan Rohan. “School's Out.” Smithsonian American Art Museum, 2022, https://americanart.si.edu/artwork/schools-out-5965.

de Young Museum. “Celebrate Black History Month and See Aaron Douglas's ‘Aspiration.’” De Young Museum, 12 May 2020, https://deyoung.famsf.org/deyoung/announcements/see-aaron-douglass-aspiration-de-young-galleries#:~:text=Aspiration%20(1936)%2C%20by%20the,Texas%20Centennial%20Exposition%20in%20Dallas.

Hutchinson, George. “Harlem Renaissance: African American Literature and Art.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 6 Oct. 2022, https://www.britannica.com/event/Harlem-Renaissance-American-literature-and-art/Visual-art.

Wolfe, Shira. “Art Movement: Harlem Renaissance Art.” Artland Magazine, 26 Sept. 2022, https://magazine.artland.com/art-movement-harlem-renaissance/.

Impressions by Nature and the Human Experience

 

Wanderer above the Sea of Fog (c. 1818) by Caspar David Friedrich; Caspar David Friedrich, Hamburger Kunsthalle in Hamburg Germany

Salisbury Cathedral of the Meadows (c.1831) by John Constable. United Kingdom. Oil on Canvas.

Wheatfield with Crows by Vincent Van Gogh. July 1890. Van Gogh Museum. Amsterdam.

The Scream by Edward Munch. (C. 1893). National Gallery and Munch Museums in Oslo, Norway.

Impressions by Nature and the Human Experience 

            Wanderer Above the Sea Fog by Casper Friedrich, Salisbury Cathedral from the Meadows by John Constable, Wheatfield with Crows by Vincent Van Gogh, and The Scream by Edward Munch are four examples to compare landscapes to impressionist art. Landscape art utilizes watercolors, depth, and natural lighting to depict romantic period pieces. Each landscape is unique to the time it was constructed in. Spicer states, “Landscape painting had long played second fiddle to history painting. The latter sought to instruct and inform, while the former was required to be a little more than pleasing to the eye" (2014). Although landscapes are not technically defined as historical art – they create a story through the landscape that is observed through the art elements. Impressionist art helps to evoke strong emotions with hyperbole as we view figures and landscapes through various brush strokes and contrasts. Neelam observed that, “The scenes were always realistic and human figures conveyed distinct emotions and expressions” (2020). Realistic scenes that convey human emotions through exaggerated art elements created unique art to understand the human condition.

Wander Above the Sea Fog by Casper Friedrich creates a contrast between dark and light colors. The rocks against the ocean that the man is standing over elicits a feeling of wanderlust. The man is pondering over the landscape of the ocean and how it may relate to the beauty around the world behind him. The rigid and sharp lines create an anxiety or wonder around the ocean. The brightness of the ocean and daylight compared to the figure elicit this happiness that can be found in the ocean as it is explored. This landscape suggests a place for intense thought and/or solitude that can be found in the solace of nature’s beauty. Artable states, “he [Friedrich] continued to paint according to his own artistic convictions, not for approval” (2017). Friedrich’s paintings were unique in that they were curated for the artist’s eyes instead of the eye of others. Friedrich used his perspective to view the world from a solitary exploration that may have created a possible self-portrait over the sea.

The beauty of the landscape is found in the perspective of the painter and how they want the ocean to be seen through their eyes. Salisbury Cathedral from the Meadows by John Constable is a religious landscape. Constable uses contrast to distinguish the sky between the architecture. The depth almost creates an illusion that makes the viewer feel as if they are viewing from afar. The depth suggests the distance of the cathedral from the water. Lastly, the dark color choices compared to the bright sky help to illuminate the broodiness of the buildings and the way architecture is its own piece of art. These two landscape pieces utilize the art elements to create different period pieces of the same theme. Both artists created art that benefited their interests and how they wanted to pass their perspective unto art consumers. The beauty of the church is defined by the light coming from the sky (heaven) unto the landscape and water below.

            Wheatfield with Crows by Vincent Van Gogh uses traditional impressionist elements. The wide brush strokes create the wheat field with the unblended colors to create the circular shapes of the wheat. The landscape creates a calming emotion as we look over the field with the crows (the black specs over the field). The contrast and only lighting in the picture is curated from the moonlight and highlights bits and pieces of the cornfield. Nighttime represents anguish or loneliness. Van Gogh Museum dictates, “Van Gogh did want his wheatfields under stormy skies to express 'sadness, extreme loneliness', but at the same time he wanted to show what he considered 'healthy and fortifying about the countryside” (2022). The natural lighting of the countryside gives the art consumer insight into the beauty of landscapes through impressionist style. The stormy weather creates the tone of the art by delivering a lonely feeling.

Unlike Van Gogh’s landscape, The Scream by Edward Munch gives us an emotive figure. The scream uses contrast between the moonlight and the figure to create lighting that only highlights the emotion we are given. The scream itself is created through neutral colors. The only color we see throughout the painting is the landscape behind the screaming man and the bright red sky. The circular creates distortion of the screaming man but keeps the background in perspective. The depth between the water, the bridge, and the man almost makes each layer appear on the same level. Every piece of the painting begins blending in with itself as we observe each aspect of it. EdwardMunchOrg stipulates, “the scream could be interpreted as expressing the agony of the obliteration of human personality by this unifying force”. (n.d). The scream is hyperbole to the describe emotions felt when being separated from comforts and others. This depicts the way people feel when they are alone despite the beauty and normalcy around them.

Landscapes and impressionism help to define the Romantic era through different forms of beauty. In conclusion, I would not necessarily own these pieces of art in my home. However, I do have a modern version of The Scream in my home with Ghostface from Scream. I prefer impressionist art for the colorful contrasts and the emotional expression through the broad-brush strokes. Each artist in the romantic era had their own agenda to portray in art during a period of loneliness and self-discovery. Everything is changing during the romantic era that created this disassociation between reality and how individuals continue to confront their emotions about change.

References

Artable. “Salisbury Cathedral from the Meadows.” Artble, 7 May 2015, https://www.artble.com/artists/john_constable/paintings/salisbury_cathedral_from_the_meadows

Artable. “Wanderer above the Sea of Fog.” Artble, 19 July 2017, https://www.artble.com/artists/caspar_david_friedrich/paintings/wanderer_above_the_sea_of_fog.

The Scream, 1893 by Edvard Munch, https://www.edvardmunch.org/the-scream.jsp

Neelam. “A Comparative Study of Romanticism and Impressionism Art Movements, Artists and Their Art Works.” International Journal of Creative Research Thoughts, vol. 8, no. 12, Dec. 2020, pp. 2124–2127., https://www.ijcrt.org/papers/IJCRT2012220.pdf

Spicer, Emily. “A Dialogue with Nature: Romantic Landscapes from Britain and Germany.” Studio International: Visual Arts, Design and Architecture, 2014, https://www.studiointernational.com/a-dialogue-with-nature-romantic-landscapes-from-britain-and-germany.

Van Gogh Museum. “Vincent Van Gogh - Wheatfield with Crows.” Van Gogh Museum, 2022, https://www.vangoghmuseum.nl/en/collection/s0149V1962.

Wikipedia. “Wanderer Above the Sea Fog.” Wikipedia, Wikimedia Foundation, 9 May 2014, https://en.wikipedia.org/wiki/Wanderer_above_the_Sea_of_Fog#/media/File:Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg.

Revolution through Art

 

Massacre of the unfortunate French King, with a view of la guillotine, or the modern French beheading machine, (English) artist unknown, 1793

Louis XVI in Sacred Costume. By Antoine Francois Callet. Created in 1779. Palace of Versailles, France.

Marie Antoinette Being Taken to her Execution. By William Hamilton. Produced in 1794 in France. Oil on Canvas.

            My three chosen pieces are Massacre of the Unfortunate French King (1793), Louis XVI in Sacred Costume (1779), and Marie Antoinette Being Taken to her execution (1793). These three art pieces constructed by various artists highlights the French Revolution. Louis XVI in Sacred Costume creates a contrast between the king’s adornments and the background with soft textures and circular shapes. The softness this painting represents can elicit a proud feeling, as if to serve as propaganda during the upcoming times of the French Revolution. Both paintings depicting the execution of the King and Marie Antoinette create a contrast that highlights the monarchy being executed against the populace. The white gowns contrast against the dark backgrounds that can help to suggest a sense of rebirth that was going to arise from beheading the monarchy. Both execution art pieces emphasize a facial expression that appear to lack empathy. Furthermore, a picture of the King in adornments versus execution highlights the differences in priorities that the heart of the French Revolution was striving for.

            There is no argument that can deny that death by guillotine is a brutal means to an end. However, execution is depicted (through tone, contrast, color), the brutality is defined the mechanism itself. Paris Musees states, “Pro-revolutionary depictures of Louis’ execution were, if anything, more gruesome than anti-revolutionary ones. Only the rhetoric of the captions distinguished them”. The only way propaganda can be distinguished through paintings is by understanding the context of the captions that were passed along with the artwork. Cartoons such as The Massacre of the Unfortunate King suggests there was much to be celebrated about the brutal end to French monarchy. Of course, in our point in history we understand the French Revolution and future revolutions went well beyond the execution dates.  The king’s execution in contrast to his sacred costume are the difference between the inspiration of the French Revolution and the beginning of the French Revolution. Ja-Ae Kim dictates, “France had a great influence in costumes of Europe as they represented European culture in the early 18th century”. Louis XVI in Sacred Costume represents the French Monarchy and the means they were willing to impress the rich and other royals. These paintings were made for royals and commissioned by royals. The attitude behind the inspiration of the French Revolution is found at the heart of the painting’s creation.

            Lastly, Marie Antoinette being Taken to her Execution shows the woman married to the “unfortunate French King” walking to be beheaded. Marie Antoinette was one of the royal’s executions that marked the beginning of the French Revolution. Marie Antoinette was rumored to have stated, “let them [the peasants] eat cake” without official record or proof to support this claim. The mentality that the rich and royal blood were better than the peasants was common amongst most monarchies of this time. The wage game and quality of life between the working class (the peasants) and the royals were wide enough to create mass hunger that eventually erected the French Revolution.

            In conclusion, both execution artworks display a strong sense of security that can be found in the rebirth of a country that it is not structured around a monarchy. You can sense a feeling of proudness and relief as many French citizens felt it was necessary to meet their goals at this time. I would not own these paintings, but I would visit them in a museum display. King Louis’ sacred costume helps to showcase the ignorance behind the royal family’s consideration for the working class. I would not own this piece as well as this is not a painting, I would be proud of. However, I can appreciate the well-structured art that creates colorful contrast between the adornments and the background. When discussing the French Revolution, it is important to discuss what inspired the event and what helped to create the event. 

References

Google Arts. “Louis XVI in Sacred Costume.” Google, Google,         https://artsandculture.google.com/asset/louis-xvi-in-sacred-costume-antoine-fran%C3%A7ois-    callet/8QH8TKMDlNfQMA.

Kim, Ju-Ae. “The Symbolic Meanings of Louis XVI’s Costumes in the Portraits.” Journal of the Korean Society of Clothing and Textiles, vol. 35, no. 12, The Korean Society of Clothing and Textiles, 31 Dec. 2011, pp. 1409–1417. Crossref, doi:10.5850/jksct.2011.35.12.1409.

Paris Musees. “'A Slight Freshness on the Neck’: Prints Depicting the Execution of Louis XVI (Ca. 1793).” The Public Domain Review, Bibliothèque Nationale De France, https://publicdomainreview.org/collection/execution-by-guillotine-of-louis-xvi. 

Wikipedia. Marie Antoinette Being Taken to Her Execution, 1794. https://commons.wikimedia.org/wiki/File:Marie_Antoinette_being_taken_to_her_Execution,_1794.jpg.

The Hand of a Woman; The Baroque Perspective

 

Judith Beheading Holofernes by Artemisia Gentileschi. Oil on Canvas. 1620. Rome/Naples.

            Judith Beheading Holofernes is the second version of a painting by Artemisia Gentileschi. The dark background sets the tone that highlights women taking their own power back from a man. The tone is a dark background to make the graphic murder the sole talking point. The contrast between the dark background and bright red blood help to symbolize a victory of sorts for the women. Judith Beheads Holofernes is a female curated painting that shows women working together to fight for Christianity. The bright red blood trickles down the white sheets before it fades away into the dark abyss of the background. The negative space (the dark background) helps to highlight the biblical story behind Judith. Uffizi Gallery states, “‘The Lord has struck him down by the hand of a woman’. So says Judith, a young Jew from Bethulia” (2022). Judith was a woman empowered by Christianity. This biblical image serves as a visage for Christian story telling.

This is a powerful painting that I could not pass the opportunity to discuss. Dr Esperanca Camara stipulates, “Rivulets of blood run down the white sheets, as Judith, a pious young widow from the Jewish city of Bethulia, beheads Holofernes, general of the Assyrian army that had besieged her city” (2015). Judith, despite being a woman was defending herself against the aggressor in this story. The dark tone of the painting is created by the painter, as she constructed the visceral image of women claiming their power through religion. Judith uses a large cross to behead Holofernes while the maid holds him down. The Christian symbolism was like several works of Artemisia, where she depicted biblical scenes and figures.

This biblical art relates to the Council of Trent. The Council of Trent shaped the Baroque Art Period to depict biblical matters as they are written. This suggests that biblical art cannot be paired with the Old Gods and must depict the written word. Dr. Lauren Kilroy-Ewbank remarks the council of Trent influence as such, “Most people at this time were illiterate, so the educational role of images was of paramount importance for teaching the Catholic faithful – a significant role” (2021). The statement that individuals were illiterate was due to minimal access to education, which stresses the significance of art during the baroque period. The Council of Trent taking charge of biblical images sets the stage of how critical biblical art was to influencing Christian ideologies. Art is its own language that helpsdifferent people speak universally. The abrasiveness of the cross-beheading Holofernes represents the desire to expand and colonize Christian ideas beyond Europe.

            Artemisia Gentileschi was a unique artist during the Baroque period, as a woman she was an outlier creating myriad art pieces. Angelica Frey writes, “[Judith Beheads Holofernes] has been interpreted by historians to convey the artist’s female rage, both as a rape victim and as a woman in a male-dominated field” (2019). Artemisia was a rape survivor who was using a medium to tell her story through biblical verses, as a testament to her personal strength. We can see this strength in Judith as she thrusts a cross through a man’s neck and entirely passes through all the blood and guts. The brute strength needed to perform such a maneuver would be the rage Artemisia identifies in herself, and in Judith. Judith, although dressed like a lady of her time, is an outlier, as she fights against men hat challenge her ideologies and town’s safety. This painting feels personal as we look at the brutality of the blood trail and how gore is depicted by the female hand (through a brush stroke, and through Judith’s weapon).

            In conclusion, Artemisia Gentileschi was a bold artist who followed The Council of Trent doctrine through her art mediums. Artemisia used art to express herself and her biblical interpretations. Dr. Esperanca Camara stated, “One of the cameos on Judith’s bracelet appears to depict Artemis, the ancient goddess of both chastity and the hunt” (2015). The plausible connection to the Greek goddess, Artemis, implies a strong connection to women who challenge men for harming then. Women acting against men during this time is unique, as it was not revered to speak above the men they were expected to serve. I would not personally own this piece of art, but I can appreciate the strength and life that crafted into it. I typically do not have Christian images in my home as I am pagan myself. The contrast behind Judith Beheads Holofernes inspired me to choose this piece of art for my analysis.

 

References

 

Dr. Esperança Camara, "Artemisia Gentileschi, Judith Slaying Holofernes," in Smarthistory, July 19, 2015, accessed October 13, 2022, https://smarthistory.org/gentileschi-judith-slaying-holofernes/.

 

Dr. Lauren Kilroy-Ewbank, "The Council of Trent and the call to reform art," in Smarthistory, May 20, 2021, accessed October 13, 2022, https://smarthistory.org/the-council-of-trent-and-the-call-to-reform-art/.

 

Frey, Angelica. “How Judith Beheading Holofernes Became an Art Historical Icon of Female Rage.” Artsy, 4 Apr. 2019, https://www.artsy.net/article/artsy-editorial-judith-beheading-holofernes-art-historys-favorite-icon-female-rage.

 

Uffizi. “Judith Beheading Holofernes by Artemisia Gentileschi: Artworks: Uffizi Galleries.” By Artemisia Gentileschi | Artworks | Uffizi Galleries, 2022, https://www.uffizi.it/en/artworks/judith-beheading-holofernes.

 

Humanism, Medici, and Pagan Archetypes!

         

Sandro Botticelli, The Birth of Venus (c. 1484-1486). Tempera on canvas. 172.5 cm x 278.9 cm (67.9 in x 109.6 in). Uffizi, Florence

 

Humanism, Medici, and Pagan Archetypes!

              Sandro Botticelli’s, The Birth of Venus, gives me a delight as an ode to pagan subject matter. The round curves of the waves and Venus’ body create a calming effect that welcomes the goddess of love. The painting celebrates woman’s beauty by centering Venus, a female goddess celebrating her own body and having autonomy to project her nude body as she wishes. This was painted by Botticelli as it was commissioned by the Medici family to display in their home. The goddess of love painted in a Christian world during the renaissance could be viewed as the birth of love, in place of accepting Venus as a true deity. 

The Birth of Venus represents the personification of love as BYU stipulates:  

This commission reflects the Florentine custom among the wealthy of preparing a chamber for the newly married couple in the family palace of the groom, adorned with art that contained either romantic themes of love or heroines famous for their exemplary virtues. While these paintings reference classical mythology, the scenes do not represent any known story, but instead serve as allegories of the various stages of love. (2009) 

Love can be the birth, intimacy, romance, infidelity, and/or platonic. Love has various stages that can elicit joy or extreme anguish during times of grief. The freedom and happiness eluded by the arrival of Venus is evident by the cool colors and curves utilized in Botticelli's work. The decorative canvas and love centered theme suggest a connection to the Medici family. The Medici family were wealthy patrons and consumers of art. Much of their collection were humanist pieces that were grounded in classic literature allegories. Many of the commissions were inspired by classical novels and poems that expanded an idea beyond the church. Venus is one of many pagan concepts and deities that are often expressed in classical works.

The painting came to life in Florence where art was flourishing during the early renaissance period. Zucker and Harris state, “Florence saw itself as the ideal city state, a place where the freedom of the individual was guaranteed, and where many citizens had the right to participate in the government” (2015). Florence’s freedom during the renaissance period inspired art to challenge boundaries and ground itself in humanism-based practices. The freedom to explore themes beyond Christian theocracy was a product of the government that was in place in Florence. Artincontext documents, "The Birth of Venus was made for home display, possible for the Villa di Castello, which belonged to Lorenzo di Pierfrancesco de Medici in 1486" (2022). There is not any certified documentation on who the painting was commissioned for. However, the intricacy of the painting paired with the classical theme allude to a Medici family relation of their art consumption.

 The wealthy families that contributed to the art movement have helped birth humanist ideologies that challenged the Christian influence myriad art works have prescribed to. The freedom Venus is given to explore her identity as the archetype for love challenges the position woman were viewed as second to man (in Christian ideologies). On the contrary, using woman as a love symbol still perpetuated the idea that woman’s purpose was to be the embodiment of love and superficial adoration, but not appreciated and revered as an equal. The unique visage of Venus’ authority in The Birth of Venus helps to highlight the degree in which the female body was surveyed as entertainment. In conclusion, Venus is albeit empowering in The Birth of Venus, but serves as an allegorical contrast to the reality where women were still second to men.

References

Artincontext. (2022, February 4). "The birth of venus" botticelli - an analysis of the birth of Venus Painting. Art in Context ORG. Retrieved October 2, 2022, from https://artincontext.org/the-birth-of-venus-botticelli/

Botticelli, S. (n.d.). The birth of venus by Botticelli: Artworks: Uffizi galleries. The birth of Venus by Botticelli | Artworks | Uffizi Galleries. Retrieved October 2, 2022, from https://www.uffizi.it/en/artworks/birth-of-venus

BYU. (2009). Birth of Venus and Medici Venus. Digitial Collections. Retrieved October 2, 2022, from https://contentdm.lib.byu.edu/digital/collection/Civilization/id/730/

Dr. Steven Zucker and Dr. Beth Harris, "Florence in the Early Renaissance," in Smarthistory, August 9, 2015, accessed October 2, 2022, https://smarthistory.org/florence-in-the-early-renaissance/.

Dr. Beth Harris and Dr. Steven Zucker, "Sandro Botticelli, The Birth of Venus," in Smarthistory, December 5, 2015, accessed October 2, 2022, https://smarthistory.org/sandro-botticelli-the-birth-of-venus/.