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artisteclipsed · 11 months

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"Edge of Darkness" 2023 ⎻Ben J, Also known as Winterkeep (1988 - present)

Digital painting 640px X 1280px Interview with the artist below!

Technique:

"Edge of Darkness" by Ben J is a digital painting that depicts a dreary and wet landscape beneath a cloudy and drizzling sky. The painting is characterized by its subdued color palette and emphasis on atmosphere. A central focal point is a hooded figure made of swirling clouds, reaching out to grasp the sun with one hand while holding a staff made of clouds with the other. The landscape below includes distant mountains, a reflective lake, a muddy green field, and a dark forest of trees.

Paint Application and Color Palette:

Ben J employs a subdued color palette reminiscent of Romantic painters. Muted earth tones, greys, and blues dominate the piece. The colors gradually vignette, creating a natural transition. The palette contributes to the overall atmosphere and mood of the painting, enhancing the somber and melancholic feeling.

Technique Type:

The technique used in this digital painting showcases mastery in rendering weather conditions and atmospheric elements. The use of digital tools allows for precise control over lighting and shading, contributing to the realism of the scene.

Atmosphere:

The primary focus of "Edge of Darkness" is its atmospheric quality. The artist excels in capturing the movement of the clouds, the soft play of light on the landscape, and the overall sense of cold and wet conditions. The atmosphere plays a crucial role in conveying the mood and emotions of the painting.

Perspective:

While linear perspective isn't immediately apparent, the use of foreshortening is noticeable. The accurate depiction of distance within the landscape places the central figure in the background, adding depth to the composition. The foreshortening contributes to the sense of the figure's majestic size and height.

Color Theory:

Cold and muted tones dominate the majority of the painting, creating a contrast with the warm and light tones used to emphasize the figure reaching for the sun. This contrast forms an implied triangle between the sun, the clouds, and the green land below, guiding the viewer's gaze.

Proportions:

The central figure's outstretched hand and the foreshortening of the landscape enhance the sense of scale and size. The figure towers over the land below, reinforced by the presence of the mountain beneath it.

Texture:

While the digital medium lacks physical texture, the painting implies subtle variations in texture through minor differences in color, tone, and hue. The clouds, for instance, are depicted with dark and looming qualities that contrast with the softness of the landscape below.

Transitions:

Distinct transitions between different elements are visible in the painting. The transition between the sky and land, as well as the water and the light, creates segments of clear distinction. These transitions guide the viewer's eye through the composition.

Focal Points:

The primary focal point of the painting is the central figure reaching for the sun. However, the eye is initially drawn to the sun itself, which leads the gaze to the figure's hand and then to its torso and hooded head. The staff the figure holds guides the eye downward, connecting with the land and the lake.

Symbolism:

"Edge of Darkness" reflects influences from fantasy themes, such as "The Lord of the Rings." The symbolism suggests a battle between light and darkness, warmth and cold. The figure's reach for the sun represents an attempt to hold onto warmth and light amid encroaching darkness.

Layering:

The digital medium allows for layering, which is likely employed in this painting to achieve depth and complexity. Different layers contribute to the various elements of the composition, such as the clouds, landscape, and figure.

Above is the image I used for my analysis. Here, I have highlighted my eye's journey across the work in green. I used to pink lines to denote reinforcing lines and form and blue lines to show reinforcing areas of contrast.

Artist Information:

Ben J, an artist known for his captivating artworks, recently sat down for an exclusive interview, shedding light on his creative journey, inspirations, and unique approach to artistry. Hailing from France and showcasing his masterpiece "Edge of Darkness" in late July 2023, Ben J's artistic prowess has captivated his audiences.

Anonymity and Identity:

The artist's choice of the moniker "BenJ" serves a dual purpose of anonymity and authenticity. While maintaining an air of mystery, Ben J reveals that his pseudonym holds a connection to his real name, adding a layer of gravitas to his artistic persona. Despite a growing presence on platforms like Deviantart and Artstation, where he is recognized as "Winterkeep," Ben J acknowledges that his notoriety remains modest. This delicate balance between maintaining privacy and engaging with his audience underscores his commitment to letting his artworks speak for themselves.

Nurturing Imagination:

One of Ben J's invaluable lessons is the art of not coercing imagination. He emphasizes the importance of allowing ideas to naturally take shape rather than attempting to force creativity. As he aptly puts it, envisioning a scene beforehand leads to superior outcomes compared to attempting to execute a vision that hasn't been fully conceived mentally. This approach mirrors the intuitive connection between his artworks and the fluidity of thought.

Artistic Influences:

When it comes to influences, Ben J acknowledges the absence of formal art education, revealing that he embarked on his artistic journey by teaching himself the fundamentals of digital art. He confesses to consulting tutorials on basic Photoshop techniques but emphasizes that the truest lessons are those of patience and persistence. This sentiment resonates strongly with the artist, who believes that crafting one's style and nurturing imagination are critical aspects of artistic growth.

In terms of inspirations, Ben J's aesthetic is profoundly rooted in classic fantasy, Nordic mythologies, and Western RPGs. His penchant for European cultural influences shines through his landscapes, while his admiration for the samurai culture represents a lone exception to his non-attraction to the Asian realm. Ben J draws inspiration from a diverse range of artists, from traditional masters like those of the Hudson River School to contemporary illustrators such as John Howe, Mike Nash, Artem Demura, and Chris Cold. This eclectic blend of influences contributes to the distinctiveness of his artistic voice.

Championing Spontaneity:

Ben J's creative process thrives on spontaneity—a principle he deems crucial to his craft. His advice to fellow artists echoes the wisdom of the late Bob Ross: painting with genuine emotion and alignment is paramount. This sentiment highlights the artist's belief that a genuine connection to the artwork's essence translates into authenticity and resonance with the audience. The notion of allowing imagination to flow, leading to organic compositions, lighting, and atmosphere, resonates with the principles guiding his creative journey.

Closing Thoughts:

Ben J's interview offers a glimpse into the mind of a remarkable artist who masterfully intertwines fantasy landscapes with his unique perspective. His fusion of classic influences and contemporary techniques has birthed a visual language that bridges cultures and genres. As Ben J continues to cultivate his creative style and inspire fellow artists, his commitment to authenticity and organic imagination remains steadfast. With each brushstroke, he invites us into his world—a realm where artistry, identity, and the profound connection between the mind's eye and the canvas converge.

INSTAGRAM

Time Period/Anthropology:

France underwent significant sociopolitical, economic, religious, and cultural changes that shaped the lives of its citizens and had far-reaching impacts on the nation as a whole. This period witnessed the evolution of France from the end of the Cold War era to the challenges and transformations of the 21st century.

Sociopolitical Climate:

The 1990s marked a period of transition in France's sociopolitical landscape. The fall of the Berlin Wall in 1989 and the subsequent dissolution of the Soviet Union influenced global dynamics, leading to a shift in international relations. In France, these changes were reflected in the reevaluation of its geopolitical role. The Maastricht Treaty of 1992 established the European Union, which France played a pivotal role in shaping.

Domestically, the 1990s were marked by debates over national identity and multiculturalism. The rise of far-right movements, such as the National Front led by Jean-Marie Le Pen, underscored concerns about immigration, cultural integration, and economic inequalities. These issues continued to influence French politics and public discourse throughout the period.

The 21st century brought about increased focus on social justice and human rights. The presidency of Nicolas Sarkozy (2007-2012) was marked by reforms aimed at liberalizing the economy and addressing social inequalities. The election of François Hollande in 2012 saw a shift towards more left-leaning policies, including efforts to combat unemployment and promote social welfare.

Economic Climate:

The French economy underwent significant changes between 1990 and 2023. The 1990s witnessed economic liberalization, privatization, and globalization. France embraced the European single currency, the Euro, in 1999, further integrating its economy into the European Union. These changes brought both opportunities and challenges, as French industries faced increased competition in the global market.

The early 2000s saw economic growth, but the global financial crisis of 2008 had a profound impact on France's economy. Rising unemployment, austerity measures, and public protests characterized the aftermath of the crisis. President Hollande's administration implemented labor market reforms in an effort to address economic challenges and stimulate job creation.

Religious Climate:

The religious landscape of France between 1990 and 2023 was marked by debates over secularism, religious diversity, and the role of religion in public life. The 2004 ban on religious symbols in public schools, including the Islamic headscarf (hijab), sparked discussions about the balance between individual religious freedom and the principles of secularism.

The early 2010s saw an increase in debates about Islam and its visibility in public spaces. The 2010 ban on full-face veils in public places highlighted tensions between religious practices and French values of secularism and gender equality. Terrorist attacks, such as the Charlie Hebdo shooting in 2015 and the Bataclan attacks in the same year, raised questions about security, religious extremism, and integration.

Cultural Climate:

Culturally, France experienced a period of introspection and exploration of its national identity. Discussions about the preservation of French language and culture in the face of globalization were prominent. The French government introduced policies to protect the French language from the influence of English and other foreign languages.

The cultural scene also saw the emergence of diverse artistic expressions. Literature, film, fashion, and art continued to play a significant role in shaping French cultural identity and its representation on the global stage. France remained a hub for creativity and artistic innovation, attracting talent from around the world.

Events Impacting Daily Lives:

Several events during this period had direct impacts on the daily lives of French citizens. The aforementioned terrorist attacks, such as the Charlie Hebdo shooting and the Bataclan attacks, led to heightened security measures and changes in public behavior. Increased security checks, changes in public gatherings, and a sense of unease became part of everyday life.

The economic challenges stemming from the global financial crisis and subsequent austerity measures affected employment, social welfare, and purchasing power. Unemployment rates and economic inequalities led to social protests and strikes that disrupted daily routines and sparked discussions about the role of the government in safeguarding citizens' livelihoods.

Debates over secularism, religious freedom, and cultural diversity influenced education, workplace policies, and public interactions. The ban on religious symbols in schools and the ban on full-face veils in public places impacted how individuals expressed their religious beliefs and identities.

While Ben holds fast that local events haven’t influenced his art- they could shed some light on what he has experienced over the last decade.

Personal Note:

I instantly fell in love with this painting and had the privilege of communicating with Ben about it. This is the first article I have written about a living artist and Ben had made it such an easy experience that I look forward to doing it again. If you haven’t, I highly recommend checking out their social platforms and other works. Thank you Ben for being such a good sport, your demeanor and work both serve as inspiration to me as an artist.

#digital art #occult art #dark fantasy #art analysis #fine art

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artisteclipsed · 11 months

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“Mönche im Hof eines Klosters am Meer”

by Franz Ludwig Catel

Oil on Canvas, height: 77 cm (30.3 in); width: 58.5 cm (23 in)

Technique:

Catel is highly meticulous in his treatment of light and shadow, a characteristic feature in most of his works, including this one. His application of chiaroscuro is subtle, yet powerful, balancing the dark shades of the monastic robes with the brightness of the open sky and the glimmering sea in the background. This serves not only an aesthetic purpose but also a symbolic one, emphasizing the contrasting worlds of spiritual contemplation and the boundless freedom of nature.

The artist’s use of perspective is also worth noting. In "Mönche im Hof eines Klosters am Meer," the viewer’s eye is guided by architectural elements of the monastery which frame the monks and lead the gaze toward the sea and sky beyond. This induces a sense of depth and volume, lending a three-dimensional quality to the flat canvas. The foreground and background appear to be in conversation, highlighting the liminal space that the monks occupy—between the walls of spiritual commitment and the expansive, untamed nature outside.

Paint Application and Color Palette

Catel's application of paint is calculated but not overly detailed, a methodology that places him somewhere between the idealized depictions of Romantic landscapes and the gritty realism that would come to define later movements. He employs a restrained color palette, avoiding excessively vivid hues in favor of more muted, natural tones that contribute to the overall tranquility and meditative mood of the painting. The muted browns, grays, and blues harmonize with occasional brighter colors to create a sense of balance and unity in the composition.

Chiaroscuro

While not as dramatically applied as in Tenebrist works, Catel uses chiaroscuro to create depth and volume in both the human figures and architectural elements. The interplay between light and shadow brings out the nuances of the physical forms and contributes to the atmosphere.

Atmospheric Perspective

Catel employs atmospheric perspective to create a sense of depth and distance, particularly noticeable in the transition from the monastery to the sea and sky. Colors and details gradually fade as they recede into the distance, mimicking the effects of the atmosphere on distant objects.

Linear Perspective

The use of linear perspective is evident in the architectural details of the monastery, guiding the viewer's eye through the painting and adding to its three-dimensionality. The lines converge toward a vanishing point, enhancing the sense of depth.

Color Harmony

Catel uses a carefully curated palette of muted colors that work in harmony, such as earth tones and subdued blues. This harmonious color selection adds to the serene, contemplative mood of the painting.

Realistic Proportions

Catel employs realistic proportions for human figures and architectural elements. This adds a sense of authenticity to the painting and makes it easier for the viewer to engage with the scene.

Texture Variation

Although it's hard to discern without closely examining the original painting, Catel likely used varying brushstrokes to create different textures for different elements, such as the fabric of the monks' robes versus the stonework of the monastery or the water in the background.

Soft Transitions

Unlike Tenebrist works where sharp contrasts are common, Catel employs softer transitions between light and dark areas, as well as between different elements of the painting. This technique contributes to the painting’s overall tranquility.

Focal Points

While avoiding the dramatic focal points often found in Tenebrist and Baroque works, Catel subtly guides the viewer’s attention through the painting using compositional balance, the arrangement of figures, and the framing created by the architecture.

Subtle Symbolism

The juxtaposition of monks against the backdrop of the sea, as well as the interplay between the confined space of the monastery and the expansive ocean, suggests a contemplative theme. While not a painting technique per se, this method of conveying meaning is worth noting as part of Catel's overall approach.

Layering

It's likely that Catel employed layering to build up color and texture, a common practice in oil painting. This would allow him to achieve the subtleties in tone and hue that are visible in the work.

The above image is what I used for my analysis. The green line shows the dominant directions that the eye moves across the work, which is reinforced by the light source, the positive and negative spaces, and the interplay between geometric and organic lines.

Medium Composition

Given the time period, location, and mediums used in Franz Ludwig Catel's work, it's likely that the artist employed traditional materials commonly used in early 19th-century European oil painting. Linseed oil would have been the primary binder for oil paints, as it was widely accessible and had been extensively tested and favored by artists for its versatility and durability. It has a propensity for forming a robust, transparent film that adheres well to canvas, allowing layers of pigment to retain their hue over time.

Other possible binders might include poppyseed oil and walnut oil. These oils dry more slowly and are less prone to yellowing than linseed oil, though they were often more expensive or less readily available. Additionally, they are less flexible than linseed oil, making them less suited for use on canvas but potentially beneficial for panel paintings.

As for varnishes, natural resin varnishes, like damar or mastic, could have been applied to protect the finished painting. These varnishes are organic substances secreted by trees and were commonly used for their clarity, ease of application, and ability to saturate colors, making them appear more vivid. However, they are prone to yellowing and becoming brittle over time.

Artists in the 19th century were also starting to experiment with synthetic varnishes, though their application was not as widespread as natural resins. Shellac could also have been an option, albeit less commonly used for oil paintings due to its high alcohol content and propensity to discolor. Some artists, following the Venetian technique, sometimes used a final layer of wax to saturate colors and protect the artwork. I could not find any history of prior restorations for this painting, so determinations of mediums and varnishes is purely speculative.

Artist:

Born in Berlin in 1778, Franz Ludwig Catel initially embarked on an artistic journey through wood carving and book illustrations, creating plates for literary works like Goethe's "Hermann and Dorothea" in 1799. His artistic acumen expanded as he delved into Indian ink and watercolors, culminating in a 1806 piece entitled "The Death of Nicholas of Bernau," which earned him entry into the Berlin Academy. His repertoire extended further after a sojourn in Paris in 1807, where he honed his skills in oil painting.

By 1812, Catel had reached Rome, significantly enhancing his artistic education through associations with influential figures like Koch, Overbeck, Schadow, and Cornelius. Specializing in landscapes punctuated by architectural or human elements, Catel soon gravitated towards a neoclassical approach in landscape painting. His works notably accentuated the principles of perspective, as well as the nuanced interplay of light and shade. A trip to Sicily in 1818 alongside Prince Golitsuin added an expansive dimension to his artistic vision.

Catel, along with his contemporaries like Granet, focuses less on overt religious imagery and more on the practice of religion within serene environments. Their works, like this one, evoke emotions of piety and spiritual reverence. The setting within the Gothic cloister—a relic of the medieval period and a favorite among Romantic artists and writers—invokes a sense of melancholic nostalgia, also observed in the works of contemporaries like Friedrich.

Enjoying the munificence of Elizabeth, the widow of the 5th Duke of Devonshire, Catel found himself in an advantageous position. Elizabeth, who moved to Rome after her husband's demise, facilitated a vibrant artistic and literary milieu, backing projects such as archaeological excavations and publishing classical texts. Born to a father who was an art aficionado, Elizabeth had been surrounded by ancient monuments throughout her life. It was, therefore, no anomaly that she felt drawn to Rome, where she became a magnanimous patron of the arts, surrounding herself with works from renowned artists including Catel. After her death in 1824, a French embassy secretary in Rome aptly acknowledged her indelible impact on the arts, stating that she had swiftly developed a taste for art, attracting eminent artists to her salon and filling it with their creations.

Sources:

Historical Context:

Between 1850 and 1860, Berlin was a nexus of multifaceted transitions, caught between the ever-changing dynamics of sociopolitical forces, economic developments, religious influences, and cultural shifts. Located in the Kingdom of Prussia, Berlin was not only its capital but also its pulsating heart, epitomizing the very essence of the ongoing transformations that were pivotal in shaping modern Germany.

Sociopolitical Climate

Politically, this decade was a period of flux, characterized by the struggle between conservative monarchist forces and a burgeoning liberal movement. The failure of the Revolutions of 1848 had forced many liberals into a state of quiescence, but their ideals did not dissipate. Political discourse was dominated by issues such as constitutional governance, civil rights, and national unification under a liberal regime. Despite the conservatism of the Prussian monarchy and aristocracy, there were ongoing attempts to incrementally modernize the Prussian state, often impelled by the pragmatism of economic necessity rather than ideological evolution. The government’s wavering position was reflected in policies like the “New Era” which was initiated by King Frederick William IV. This policy was an attempt to placate liberal demands for reform without relinquishing absolute royal authority.

Economic Climate

Economically, Berlin was an expanding urban center. The advent of industrialization had a considerable impact on the city’s labor and trade. Textile mills, metal works, and chemical plants contributed to urban employment, thus attracting migration from rural areas. The role of financial institutions like banks also became increasingly significant, acting as the bedrock of industrial financing. Economic expansion, however, was not uniformly advantageous. While it enabled the burgeoning of a middle class, it exacerbated income inequalities and introduced the social question, the so-called "soziale Frage," into the political discourse, centering on the living conditions of the urban proletariat. Economic considerations were also a driving force behind Prussia's leadership in the formation of the Zollverein, a customs union that was pivotal for future unification.

Religious Climate

Berlin's religious landscape was predominantly Protestant, given Prussia’s Lutheran history. However, it was a period of religious diversity and change. The Jewish community was gradually becoming more integrated, notwithstanding the societal anti-Semitism that persisted. The Haskalah, or Jewish Enlightenment, was active in Berlin, advocating for modern education and integration into German culture while preserving Jewish traditions. Moreover, the critical examination of religious texts became more common among scholars, sowing seeds for the later demythologization of religious narratives. The church maintained its political influence, often aligning with conservative elements within the society, yet it was increasingly coming under the scrutiny of rationalist thought and secular governance models.

Cultural Climate

Culturally, Berlin was evolving into an intellectual and artistic hub. The influence of Romanticism began to wane, giving way to Realism in arts and Biedermeier in interior design and architecture. Intellectual salons hosted discussions on philosophy, politics, and the sciences, frequently serving as conduits for liberal ideas. Universities were not merely academic institutions but centers of political thought. The field of historiography gained prominence, partially influenced by Leopold von Ranke, who stressed the importance of empirical methods in historical study.

Impact on Daily Lives

Various events and developments had a palpable impact on everyday life in Berlin. The construction of railways, for instance, revolutionized transportation, facilitating the movement of goods and people, but also contributing to the urban sprawl. Similarly, advances in medical science led to the dissemination of vaccines, notably affecting public health. Furthermore, the rise of newspapers and journals increased public engagement in political and cultural dialogues, making information more accessible.

The decade was also punctuated by public gatherings and demonstrations, which were met with varying degrees of government repression. Such events were both a reflection of the political aspirations of the populace and an ongoing cause of social tension. Given that Berlin was home to the royal family and the Prussian political establishment, governmental decisions, whether concerning foreign policy or internal administration, reverberated through the city both psychologically and materially.

Personal Notes :

This painting stood out to me immediately due to its portrayal of equal parts intense movement and serene stillness. I can feel the night ocean wind billowing through the bay. The sound of the waves permeates the stone of the monastery. The air is dressed with mystery and a sense of spiritual contentedness. The stones are monoliths of silent persistence, while the arches are a softening of the harshness of the wind. Mist brushes across the skin, the smell of salt. Echoes of a hushed conversation breaks just over the sound of the water.

This artist was introduced to me through a post by @aqua-regia009

(They will likely be tagged a lot in my posts, I highly recommend following them.)

#art history #fine art #victorian art #berlin #oil painting #art analysis #romance art

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artisteclipsed · 1 year

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"Edge of Darkness" 2023 ⎻Ben J, Also known as Winterkeep (1988 - present)

Digital painting 640px X 1280px Interview with the artist below!

Technique:

Paint Application and Color Palette:

Technique Type:

Atmosphere:

Perspective:

Color Theory:

Proportions:

Texture:

Transitions:

Focal Points:

Symbolism:

Layering:

Artist Information:

Anonymity and Identity:

Nurturing Imagination:

Artistic Influences:

Championing Spontaneity:

Closing Thoughts:

INSTAGRAM

Time Period/Anthropology:

Sociopolitical Climate:

Economic Climate:

Religious Climate:

Cultural Climate:

Events Impacting Daily Lives:

While Ben holds fast that local events haven’t influenced his art- they could shed some light on what he has experienced over the last decade.

Personal Note:

#digital art #occult art #dark fantasy #art analysis #fine art #art history

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artisteclipsed · 1 year

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"The Witch of Endor" 1853 ⎼Edward Henry Corbould (1815-1905)

Oil on canvas 66 x 78.7 cm or 25 3/4 x 30 3/4 in

Technique:

"The Witch of Endor" by Edward Henry Corbould is a captivating painting that depicts a scene from the biblical narrative of King Saul consulting the medium or witch of Endor to conjure the spirit of the deceased prophet Samuel. The artwork offers a rich interplay of artistic elements, symbolism, and narrative context.

Paint Application and Color Palette:

Corbould's painting exhibits a meticulous paint application, characterized by smooth and detailed brushwork. The color palette predominantly consists of earthy and muted tones, reinforcing the solemn and mysterious nature of the scene. The dark background contrasts with the illuminated figure of the witch, drawing attention to the central focus of the composition.

Technique Type:

The painting showcases a blend of academic and narrative painting techniques. Corbould skillfully combines realistic rendering with narrative storytelling, emphasizing both the visual aesthetics and the emotional impact of the scene. This technique allows the viewer to engage with the story while appreciating the technical prowess of the artist.

Atmosphere:

The atmosphere of the painting is charged with a sense of tension and mysticism. The dark background and the intense gaze of the witch create an eerie and otherworldly ambiance, setting the stage for the supernatural encounter between the living and the deceased.

Perspective:

Corbould employs a dynamic composition with a central focal point. The witch and King Saul are positioned prominently in the foreground, while the ghostly figure of Samuel emerges from the mystical mist in the background. This compositional choice enhances the narrative impact and guides the viewer's gaze through the scene.

Color Theory:

The color palette is dominated by subdued and earthy tones, contributing to the somber mood of the painting. The contrast between the warm tones of the witch's attire and the cooler background hues adds visual interest and reinforces the separation between the living and the spiritual realms.

Proportions:

The proportions of the figures are well-balanced and anatomically accurate, reflecting the artist's proficiency in figure drawing. The careful attention to proportion lends a sense of realism to the supernatural encounter, making it more relatable to the viewer.

Texture:

Corbould's painting exhibits a smooth and refined texture, achieved through the artist's skillful brushwork. The fine details in the fabric of the witch's clothing and the textures of her surroundings contribute to the overall realism of the scene.

Transitions:

The transitions between light and shadow are skillfully executed, enhancing the three-dimensional quality of the figures. The play of light on the witch's face and garments creates a sense of depth and volume, contributing to the overall visual impact of the painting.

Focal Points:

The focal points of the painting are the central figures of the witch and King Saul. Their expressions and body language convey a range of emotions, from the witch's intense concentration to King Saul's mixture of desperation and apprehension. These focal points draw the viewer into the narrative and emotional core of the artwork.

Symbolism:

The painting's symbolism is deeply rooted in biblical narrative and spirituality. The witch serves as a conduit between the living and the spiritual realm, embodying the intersection of the mundane and the supernatural. The ghostly figure of Samuel represents the unknown and the spiritual world, evoking a sense of mystery and awe.

Layering:

Corbould employs layering techniques to create depth and dimension within the composition. The layers of mist and haze in the background contribute to the ethereal quality of the spiritual realm. This layering technique reinforces the separation between the physical and supernatural elements of the scene.

Artist History:

Edward Henry Corbould, a prominent 19th-century British artist, left an indelible mark on the Victorian art scene with his captivating narrative paintings and meticulous attention to detail. Born on November 5, 1815, in London, Corbould's artistic journey was characterized by his ability to intertwine historical and literary narratives with artistic technique, contributing to the rich tapestry of Victorian visual culture.

Early Years and Artistic Beginnings:

Growing up in a family of artists, Edward Henry Corbould was surrounded by creativity from a young age. His father, Henry Corbould, was an accomplished engraver, while his siblings also pursued artistic endeavors. The family's artistic environment nurtured Edward's early inclinations towards drawing and painting. He studied at the Royal Academy Schools, a prestigious institution that played a crucial role in shaping his artistic skills and sensibilities.

Narrative Excellence and Victorian Culture:

Corbould's artistic talents blossomed within the Victorian context, a period characterized by a fascination with history, literature, and storytelling. His ability to create intricate narrative compositions made him a sought-after artist for illustrating books, magazines, and historical scenes. His works often featured scenes from mythology, literature, and history, capturing the imagination of Victorian audiences who were eager to engage with visual stories that reflected their cultural values.

Illustrating Literary Classics:

One of Corbould's significant contributions to Victorian art was his skillful illustration of literary classics. He collaborated with renowned authors such as Charles Dickens, providing illustrations for editions of "Oliver Twist," "The Old Curiosity Shop," and "Martin Chuzzlewit." His ability to visually capture the essence of characters and scenes complemented the narrative power of these literary works, creating a harmonious synergy between text and image.

Embodying Victorian Morality and Values:

Corbould's artistry often aligned with the moral and cultural values of the Victorian era. His works resonated with the Victorian emphasis on family, virtue, and social order. His ability to depict scenes that evoked empathy and sentimentality reflected the prevailing sentimentality of the time, as well as his own empathetic engagement with the subjects he portrayed.

Narratives and Technique:

Corbould's narrative paintings were characterized by meticulous attention to detail, a trait that elevated his compositions to a level of historical and artistic significance. His mastery of technique allowed him to create compositions that were not only aesthetically pleasing but also emotionally resonant. His figures were rendered with anatomical accuracy and a profound understanding of human expression, allowing viewers to connect with the characters and stories he portrayed.

Legacy and Lasting Influence:

Edward Henry Corbould's artistic legacy endures through his contributions to Victorian art and culture. His illustrations and paintings continue to be admired for their narrative depth, technical excellence, and historical significance. His work exemplifies the marriage of art and literature that defined the Victorian era, reminding us of the power of visual storytelling to transcend time and resonate across generations.

Later Years and Passing:

As the Victorian era transitioned into the 20th century, Corbould's artistic style encountered evolving artistic movements and sensibilities. Despite the changing artistic landscape, his contributions remained a testament to the narrative and technical achievements of his time. Edward Henry Corbould passed away on November 20, 1905, leaving behind a legacy that continues to inspire artists, historians, and enthusiasts interested in the intricate interplay of art and narrative.

In conclusion, Edward Henry Corbould's artistic journey exemplifies the marriage of artistic technique and narrative storytelling that defined Victorian artistry. His ability to capture the essence of historical and literary narratives through his meticulous paintings and illustrations left an enduring mark on the cultural landscape of his era. Corbould's work continues to illuminate the richness of Victorian visual culture, inviting us to explore the stories and sentiments that captivated the hearts and minds of a bygone era.

Time Period/Anthropology:

During the years spanning from 1850 to 1860, Britain underwent a period of profound societal, economic, religious, and cultural transformation. These decades were marked by significant shifts in various aspects of life, with events and developments shaping the daily lives of the population.

Sociopolitical Climate:

The sociopolitical landscape of Britain in the mid-19th century was characterized by a complex interplay of social classes and political ideologies. The Victorian era, named after Queen Victoria's reign (1837-1901), was known for its emphasis on morality, social order, and domestic values. The Whigs and Tories were the major political parties, and debates over suffrage, workers' rights, and education reforms were prominent. The Great Reform Act of 1832 had expanded voting rights to a portion of the middle class, but efforts for further reforms continued. The Chartist Movement sought political rights for working-class men and led to the presentation of the People's Charter in 1838.

Economic Climate:

The mid-19th century witnessed the height of the Industrial Revolution in Britain, with rapid urbanization and industrialization altering the economic landscape. Factories, mines, and railways proliferated, transforming agricultural societies into industrial ones. This period saw the expansion of the British Empire, which facilitated trade and access to resources. Economic disparities widened, and labor conditions were often harsh, leading to movements advocating for workers' rights. The repeal of the Corn Laws in 1846, which had imposed tariffs on imported grain, reflected a shift towards free trade and liberal economic policies.

Religious Climate:

Religious diversity and change were significant aspects of the era. The Church of England remained the established church, but there was a growing variety of religious expressions. The Oxford Movement, a high-church movement within Anglicanism, sought to revive traditional practices and rituals. Nonconformist groups, including Methodists and Baptists, gained prominence, emphasizing personal piety and social reform. Additionally, the period witnessed the rise of secularism and skepticism as scientific advancements and intellectual shifts challenged traditional religious beliefs.

Cultural Climate:

The cultural milieu of the mid-19th century was marked by a fascination with history, art, literature, and scientific discoveries. The Victorian era saw a flourishing of literature, with authors such as Charles Dickens, Charlotte Brontë, and George Eliot exploring societal issues in their works. Artistic movements like the Pre-Raphaelite Brotherhood sought to reconnect with medieval aesthetics and nature. Photography emerged as a new medium, capturing both the splendor and struggles of the time. Museums and exhibitions provided platforms for cultural exchange and education.

Impactful Events on Daily Lives:

Several events during this period had a direct impact on the daily lives of Britons. The Crimean War (1853-1856) brought attention to poor medical and sanitary conditions in military hospitals, prompting Florence Nightingale's pioneering efforts in nursing and healthcare reform. The 1851 Great Exhibition showcased technological innovations and products from around the world, offering glimpses of progress and advancements. The Public Health Act of 1848 and the Artisan Dwelling Act of 1875 aimed to address urban overcrowding, sanitation, and housing issues. The launch of the first public railways improved transportation and facilitated movement within and between cities.

Personal Note:

I initially came across a cropped version of this painting of just the cloaked figure. Once I found the full painting, I knew that I'd have to cover it. The sheer amount of detail is breathtaking. There is an aura about it that I found captivating.

#art analysis #art history #fine art #biblical art #witchcraft #occult art #oil painting

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artisteclipsed · 1 year

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Tag yourself as this list of “bad art” features, according to a twitter fascist

#fascisim #art #no analysis

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artisteclipsed · 1 year

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"The Penitent Saint Jerome" ca. 1627-1630 — Antonio d'Enrico, often called Tanzio da Varallo, (1580 - ca. 1635)

Oil on Canvas 80.96 x 65.41 cm. or 31 7/8 x 25 3/4 in.

Technique:

Antonio d'Enrico, commonly known as Tanzio da Varallo, was an Italian painter from the Baroque period. His artwork often grapples with religious and spiritual themes, a feature conspicuously evident in this painting, "The Penitent Saint Jerome." Rendered in oil on canvas, the painting delves into the theme of penitence through a portrayal of Saint Jerome, a Christian scholar and translator known for his ascetic lifestyle and significant contributions to theology.

Paint Application and Color Palette

The painting likely utilizes the traditional Baroque palette that leans toward earthy and darker tones, punctuated by sharp contrasts and radiant highlights. Tanzio da Varallo's skill in applying paint would have involved both meticulous detailing and broader brushstrokes, allowing for the creation of multiple layers of varying transparency and opacity.

Technique Type

Given the Baroque era's predilection for dramatic scenes and intense emotional states, the technique of chiaroscuro is exemplified here. This involves using strong contrasts between light and dark to create volume and depth in a two-dimensional space.

Atmosphere

The atmosphere is deeply introspective and somber. The isolation and penitence of Saint Jerome is emphasized through atmospheric elements like subdued lighting and a secluded setting, and featuring a dark cave.

Perspective

Baroque artists often employed linear and atmospheric perspective to lend their works a three-dimensional effect. The figure of Saint Jerome is emphasized through foreshortening techniques, where the subject or other elements are portrayed in picture in depth, which is furthered by the linear shapes of the books.

Color Theory

Tanzio da Varallo utilized a carefully planned color scheme to harmonize or contrast the elements within the frame. Warm colors used for the saint's skin and attire to bring attention to the central figure, whereas cooler, muted colors might fill the background, accentuating the sense of isolation or penitence.

Proportions

In adherence with classical ideals, the proportions of the human figure and the surrounding elements is balanced and harmonious. The figure of Saint Jerome serves as the standard, around which other elements are scaled and positioned.

Texture

There is a meticulous rendering of textures, from the saint's wrinkled skin and coarse garments, as well as the books with their pages delineated in intricate detail. This textural depth is achieved through the layering of paint and nuanced brushwork; some of which is apparent in the cave walls.

Transitions

Transitions between light and shadow, as well as between different elements of the composition, is handled with subtle gradation to maintain a naturalistic appearance. This technique contributes to the overall unity and emotional gravity of the artwork.

Focal Points

The principal focal point is undoubtedly the figure of Saint Jerome. His positioning and the directional flow of other compositional elements would guide the viewer’s eye toward him. Secondary focal points cause the eye to move between objects like a crucifix ending with the book and skull, alluding to his scholarly contributions and a hint of the theme of memento mori.

Symbolism

Given the religious subject matter, symbolism is abundant. The skull represents mortality and redemption. The books serve as symbolic references to Jerome’s intellectual contributions to Christian theology. His line of sight could either represent a presentation or attention to god.

Layering

Multiple layers of paint, varying in opacity and texture, is instrumental in achieving the painting’s complexity and emotional depth. From base layers that set the tonal structure to final glazes that impart luminosity and depth, each layer would contribute to the painting’s overall visual and emotional impact.

The image above is what I used to analyze the work. The green line shows how I found my eye moving through the piece. The pink lines are implied or literal lines that reinforce the movement of the eyes. The blue lines enclose the negative spaces, which also reinforce the line of observation.

The line of Saint Jerome's vision also supports the movements as well, which helps bring a deeper sense of life and animation to the painting.

Artist History:

Antonio d'Enrico, better known as Tanzio da Varallo, was an Italian painter born around 1575-1580 in Alagna Valsesia, a town in the Piedmont region of Italy. He is most closely associated with the Baroque period, an era marked by the exploration of dramatic emotion, elaborate ornamentation, and intricate technique in art. Although comprehensive records of his life are scarce, what is known suggests a career deeply embedded in the religious and cultural milieu of 17th-century Italy.

Tanzio da Varallo apprenticed under Giovanni Battista Crespi, also known as Il Cerano, an established painter in Milan. This early phase would have been formative in shaping his artistic skills and exposure to the Mannerist and Baroque styles prevalent at the time. Crespi was instrumental in bringing the Counter-Reformation style to Lombardy, and this influence likely impacted Tanzio's own thematic focus on religious subjects and mystical experiences.

Around 1613, Tanzio went on a pilgrimage to Rome, an experience that further enriched his artistic vocabulary. Here, he was exposed to the works of Caravaggio and his followers, assimilating the Caravaggesque techniques of chiaroscuro and tenebrism into his own style. These techniques involve the dramatic use of light and shadow to create a heightened emotional tone.

In the years following his return from Rome, Tanzio spent most of his career in and around his native region. He is best known for his work on the Sacro Monte di Varallo, a complex of chapels in Varallo Sesia dedicated to the life of Christ. His contributions to this pilgrimage site included frescoes and panel paintings that were both spiritually evocative and artistically innovative. His work here is often cited as the pinnacle of his artistic achievement.

Despite his primary focus on religious themes, Tanzio also painted secular works and portraits. However, these are considerably less known compared to his religious art. Many of his works were destroyed or lost over time, and therefore the exact scope of his oeuvre remains uncertain.

Tanzio da Varallo passed away in 1633, but the specific circumstances of his death are not well-documented. His legacy lives on primarily through his contributions to the Sacro Monte di Varallo and other religious sites, where his art serves as a testament to the Baroque spirit of emotional intensity and technical mastery.

His name is sometimes confused with that of his brother Melchiorre, who was also an artist, but Antonio remains the more renowned of the two. Despite the scarcity of biographical information, Tanzio da Varallo’s surviving works offer valuable insight into the religious and artistic currents of 17th-century Italy, as well as the innovative techniques and thematic focus that characterized the Baroque period.

Time Period:

The period between 1627 and 1630 was an epoch of significant upheaval and transformation in Rome, both within its walls and beyond. This juncture is primarily positioned within the wider timeframe of the Baroque era, which spanned from the late 16th century into the 18th century. This was a time marked by exuberant art, grandiose architecture, and complex compositions in music; but also, it was a period of profound intellectual and sociopolitical changes that influenced various facets of life—economic, religious, and cultural alike.

Sociopolitical Climate

In a sociopolitical context, Rome was a focal point of power, being the seat of the Papal States. The papacy had vested interests not only in spiritual governance but also in political dominion. Urban VIII (Maffeo Barberini) was the reigning pope during this period, and his pontificate was marked by a degree of nepotism and an aggressive foreign policy. The Barberini family amassed wealth and influence, much to the chagrin of other Roman nobility and city-states in the Italian peninsula. Urban VIII's geopolitical machinations extended into conflicts such as the War of the Mantuan Succession, indirectly involving the Papal States in broader European affairs.

Economic Climate

Economically, the 17th century was not a period of unabated prosperity for Rome. While the city had its affluent nobility and clergy, there was a widening gap between the rich and the poor. The accumulation of capital through ecclesiastical avenues had led to an investment in monumental architecture and art, with men like Bernini and Borromini shaping the Roman cityscape. However, this did not necessarily translate into economic affluence for the common populace. Jobs were scarce, and many were dependent on ecclesiastical charity. In fact, Rome's economy was so deeply entwined with the Church that it could be said to have been a "pre-industrial" economy, lacking a robust commercial or manufacturing sector. The very grandeur of Rome’s architecture and art was partly a façade masking an underlying economic frailty.

Religious Climate

The Church’s Tridentine reforms, initiated in the mid-16th century, continued to reverberate. This was a time when the Counter-Reformation was in full swing, and Rome was its epicenter. The Roman Catholic Church was still reacting against the spread of Protestantism in Northern Europe, and this religious fervor had both positive and negative impacts. On one hand, it led to an unprecedented proliferation of art and architecture intended to glorify the Church and underscore the spiritual profundity of Catholicism. On the other hand, it also led to the increasing power of bodies like the Roman Inquisition, which pursued heretics with dogged determination. Fear of heresy and a rigid orthodoxy impacted academic and intellectual pursuits, notably in the case of Galileo Galilei, who faced an inquisition for his heliocentric views.

Cultural Climate

Culturally, Rome was a crucible of innovation and tradition. The Baroque style was flourishing, characterized by its emotional intensity and complexity. Artists like Caravaggio had already set the stage for a form of realism that imbued even religious scenes with a visceral, earthly quality. The presence of various academies like the Accademia di San Luca served as nuclei for artistic and intellectual discussions. Literature, too, was a crucial part of Roman cultural life. The epic poems and librettos of the period often displayed both religious fervor and a newfound interest in human psychology.

Daily Life and Events

As for events that impacted everyday life, the increased taxations and levies to support the Papal States' military involvements were deeply felt. In addition, the period was not devoid of plague and disease, with the risk of outbreaks often being a constant specter over the city. Public health was a significant concern, compounded by the limited understanding of medicine and sanitation at the time.

Natural disasters also had a role in shaping the Roman experience. For instance, the River Tiber was known to flood, and each flood brought not just the immediate destruction but also long-term economic repercussions. Food scarcity was another everyday issue, especially for the lower strata of society. Bread riots were not uncommon, and the Roman "annona," a grain dole similar to ancient practices, was often a critical aspect of urban stability.

Furthermore, religious festivals and public ceremonies were regular occurrences, impacting everything from traffic to business operations. These events were not merely religious in nature but were intricately tied to the city's political and social fabric. Participation was not just a matter of piety but also a declaration of civic allegiance.

Personal Note:

This piece is hung in the Nelson Atkins Museum of Art in Kansas City, Missouri. I first saw it when I was 14 years old and it has remained in my mind ever since. The book laying over the skull, marked by the clear disturbance of Saint Jerome who seems to be glancing at the heavens, in wait, as if interrupted. The calmness of the dark cave and the flowing fabric of his clothing contrast with his facial expression.

#baroque art #art analysis #art history #christian art #Kansas City #Fine Art #memento mori

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artisteclipsed · 1 year

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"She Broke Your Throne, She Cut Your Hair”, oil on panel, 24 x 30 in.

A part of my upcoming show at Arcadia Contemporary, opening next week.

https://arcadiacontemporary.com/exhibitions/44-patrick-kramer-lost-and-found/overview/

#no analysis #trompe l'oeil

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artisteclipsed · 1 year

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"Vanitas still-life with Frog and Lizard in a Landscape"

by Johann Philipp (?) von Purgau (1678-1754)

Oil on copper plate, 12.1 × 19 cm (with frame): 17 × 23.5 × 2 cm, 1 kg

Technique:

Given the absence of concrete information about Johann Philipp von Purgau's specific painting "Vanitas still-life with Frog and Lizard in a Landscape," the ensuing discussion is largely hypothetical and aims to offer a framework for evaluating his style, mediums, and techniques in the context of 18th-century Austrian art and the art of his uncle(/brother?).

Overview

The painting, an oil on copper plate, carries the tradition of "Vanitas" and "nature piece" genres, melding them together to provide both aesthetic pleasure and allegorical resonance. Vanitas paintings often involve symbols of mortality or transient life, like skulls, clocks, or rotting fruit. And this work is no exception. Combining this with a nature piece that showcases living creatures creates a unique dichotomy between life and death.

Paint Application and Color Palette

Given the period and von Purgau's adherence to Dutch influences, we can expect a rich yet restrained color palette. Dark earthy tones for the background and brighter, more vivid colors for the flora and fauna might dominate. The copper plate medium allows for intricate detailing, likely manifesting in meticulous brushwork to render textures like the frog's skin or the lizard's scales.

Technique Type

Being influenced by Otto Marseus van Schrieck, it's plausible that von Purgau would employ the "sotto in su" technique, where objects are viewed from a lower perspective as if looking up. This might be particularly effective in the representation of overhanging foliage or tall grasses.

Atmosphere

The painting achieves a sense of tranquility but with an undertone of foreboding, a common trait in Vanitas paintings. This ambience is delivered through the precise modulation of light and shadow, directing the viewer's focus toward the painting's principal subjects—the Skull and flowers, before circling around the entire piece back to the frog.

Perspective

While there is no linear perspective, there is an atmospheric perspective. The lightness of the dull blues of the mountains gives the impression of depth, aided by the stark contrasting tones of the foreground.

Color Theory

Considering the vanitas elements, a measured interplay between warm and cool colors leads the eye around the painting. The cooler and darker tones lead the eye to skip over details in the initial viewing, only to be seem the second go around. The most prominent figure, the skull, provides the eye with a point of focus, which then leads the visual flow over to the horizon line.

Proportions

The painting adheres to traditional proportions, seemingly guided by the Golden Ratio, to place key objects at focal points, achieving an aesthetically pleasing balance and harmony within the composition.

Texture

The copper plate's smooth surface would allow for the application of thin, even layers, facilitating the creation of nuanced textures. Brush strokes would appear upon close inspection within gradients. The dabbing of light paint for highlights would likely contain the most texture.

Transitions

Soft transitions in light and tone would be expected, with calculated contrasts employed to add drama or focus. Chiaroscuro might be used to give the piece volume and depth, while keeping the eye continuously moving across the tableau.

Focal Points

The frog and lizard, coupled with any vanitas elements like a skull or timepiece, would serve as the primary focal points. Their placement would likely align with key intersections if the painting were divided using the Rule of Thirds.

Symbolism

The frog and lizard, often viewed as transitional creatures (aquatic to terrestrial, reptile to mammal), could symbolize the transient nature of life, well-suited to the vanitas theme. Other elements like overripe fruit or wilting flowers could serve as additional symbols of the fleeting nature of earthly existence.

Layering

Given the complexity of subjects and the possible play between light and shadow, multiple layers of paint would be indispensable. These layers, when observed closely, would reveal themselves as integral to the work's depth and texture, providing a richness that invites closer scrutiny. This being said, the copper plate would allow for the paint to lay smoothly on its surface. The texture would likely be faint.

Above is the image I used for my analysis. Here, I have highlighted my eye's journey across the work in green. I used to pink lines to denote reinforcing lines and form and lavender lines to show reinforcing areas of contrast.

For a lot of Purgau's history, I have had to speculate based on his uncle or brother (Their connection is unknown). This family member is very likely who taught him to paint, and there are records of them working on paintings together. The elder von Purgau, active primarily in the first half of the 18th century, specialized in the meticulous painting of still lifes, particularly those depicting natural scenes often referred to as "forest floors" or "nature pieces." These works typically exhibited a microcosm of the natural world, containing an assortment of wildflowers, thistles, and small creatures like frogs, lizards, toads, and snakes.

Stylistically, the elder von Purgau was influenced by the Dutch painter Otto Marseus van Schrieck, who was known for inventing this specific genre of painting. This stylistic orientation falls under the larger umbrella of Baroque art, with a focus on realism, intricate detail, and dramatic lighting. However, his paintings diverged somewhat from the opulence and grandeur commonly associated with the Baroque, as he employed a restrained, contemplative approach that captured the intimate intricacies of nature.

As for technique, his medium of choice was oil on copper plate. The use of copper as a substrate suggests an interest in longevity and durability, as copper is less susceptible to environmental degradation compared to canvas or wood. Additionally, copper plates offer a smooth surface that allows for fine detailing, an essential element in the highly intricate still lifes for which he was known.

Von Purgau also exhibited a mastery over the treatment of light and shadow, adding depth and drama to his compositions. While specific details about his techniques are scant, the level of realism and detail in his work implies a deep understanding of color mixing, layering, and perhaps even glazing to achieve luminosity and depth.

He also held the role of a conservator or restorer, especially around the area of Linz, including contributions at the Monastery of St. Florian. This aspect of his career suggests a broader understanding of art materials, techniques, and preservation methods, which may have informed his own artistic practices.

Although specific art techniques are not explicitly documented, his skill set would have likely included techniques relevant to the era and the still life genre, such as chiaroscuro for capturing the nuances of light and shadow, and tenebrism for emphasizing dramatic contrasts between light and dark.

Thus, the elder von Purgau's art style and techniques can be described as a nuanced blend of Baroque realism, enriched by a focus on natural details and enhanced by a masterful command of light, all executed primarily in the enduring medium of oil on copper plate.

History

Johann Philipp von Purgau, born in 1681 in Linz, Austria, emerges as an enigmatic figure in the record of art history, primarily because of the scant information available about his life and works. His oeuvre specialized in bird and hunting still-lifes, yet much of what is known about him is occluded by the more pronounced legacy of a close relative, likely his uncle, also named Johann Philipp von Purgau (1678–1754). This familial connection offers a lens through which we can infer aspects of the younger von Purgau’s artistic inclinations and possible training.

The older von Purgau was a renowned Austrian painter who gained acclaim for his detailed still-lifes, often set on forest floors replete with wildflowers, thistles, and small fauna such as frogs and lizards. Active primarily in Linz for most of his career, he later relocated to Vienna. Known for his work in oil on copper plate, he was an esteemed conservator, notably contributing to restorations at the Monastery of St. Florian near Linz. Given his reputation and the overlap in their lifetimes and localities, it is plausible that the younger von Purgau's artistic path was influenced or even directly mentored by his older relative.

The elder von Purgau was deeply inspired by artists like Otto Marseus van Schrieck and Carl Wilhelm de Hamilton, pioneers in the domain of nature pieces. This lineage of stylistic influence could have trickled down to shape the younger von Purgau's own predilections for natural subject matter, albeit focusing more specifically on bird and hunting scenes rather than forest floors. Such thematic focus on birds and hunting scenes would resonate with the era’s penchant for capturing intricate details of nature, an aesthetic element notably prevalent in the works of the older von Purgau as well.

While the older von Purgau's roles as both an artist and a conservator underscore his community standing, little is known about the younger von Purgau's societal engagements or patronage. The elder's affiliations with religious institutions, especially monasteries around Linz, may suggest that the younger von Purgau might have had similar avenues of patronage or at least had the opportunity to learn the mechanisms of ecclesiastical commissions and conservation from his older relative.

The younger von Purgau remained active until at least 1720, and the paucity of information beyond that year leaves much of his life obscured. It is conceivable that he, like his older relative, might have eventually migrated to a larger artistic hub like Vienna, although records do not confirm this.

In summary, the life and works of Johann Philipp von Purgau remains largely elusive. Nevertheless, the career and stylistic orientations of his older relative offer insights that may shed light on his own artistic endeavors. While his own focus diverged into the realms of bird and hunting still lifes, the family's shared affinity for capturing nature in meticulous detail serves as a connecting thread that might help illuminate the obscured contours of his artistic journey.

Time Period/Anthropology:

The early 18th century was a critical period in the history of Linz, Austria, situated within the larger context of the Holy Roman Empire and, more specifically, the Archduchy of Austria. This period was marked by complexities in sociopolitical, economic, religious, and cultural domains, factors that played an instrumental role in shaping the lives of its inhabitants, including figures like Johann Philipp von Purgau.

Sociopolitical Climate

During this time, the War of Spanish Succession (1701-1714) was a seminal event that impacted not only the balance of power in Europe but also the sociopolitical milieu of Linz. Although Linz was not directly a battlefield, the war had repercussions on the local populace. Soldiers would often pass through the city or be stationed there temporarily, leading to a transient surge in population that strained local resources. Additionally, this period also saw an intensification of feudal obligations for serfs, many of whom were required to offer more extensive labor services to their feudal lords, both for economic sustenance and military needs.

In 1705-1706, the Bavarian Rummel uprising reached Linz, although its impact was limited compared to other regions. This event exemplified the latent dissatisfaction among the commoners against the feudal system and was symptomatic of the larger sociopolitical unrest. It was a time of changing political allegiances and border recalibrations, where local autonomy often came into conflict with imperial aspirations.

Economic Climate

Economically, Linz was in a period of gradual transformation. The city was a regional hub for trade, particularly in salt, grain, and timber. The Danube River served as a vital artery for trade, connecting Linz with markets in both Western and Eastern Europe. However, war and subsequent troop movements often disrupted trade routes, leading to periods of economic stagnation. These interruptions would have affected everyone's daily life, from the merchants whose livelihoods depended on stable trade, to the commoners who faced price inflations for essential goods.

During this period, Linz also saw a rise in artisanal crafts, a sign of nascent industrialization. However, the guild system remained entrenched, often making it difficult for new innovations to take root. Artisanal crafts like painting and restoration were tied into this economic system, offering opportunities for figures like the von Purgau family to practice their art, although likely within restrictive parameters set by guilds and patrons.

Religious Climate

Religiously, the region was predominantly Catholic, a legacy of the Counter-Reformation. The influence of the Catholic Church was ubiquitous, shaping education, art, and social services. Monasteries and religious institutions were significant landowners and wielded considerable power. These institutions often commissioned artworks and served as repositories for art and culture, which likely provided opportunities for artists like von Purgau.

However, the period was also marked by a religious thaw, with the Protestant minority enjoying a modicum of toleration. The Peace of Westphalia (1648) had already set a precedent for religious coexistence, but the constant state of war and political flux had delayed its full implementation. By the early 18th century, though, some level of religious plurality was evident even if Catholicism remained the dominant force.

Cultural Climate

Culturally, Linz was influenced by both Italian and Dutch artistic traditions. The influx of ideas was facilitated by trade as well as by the movements of artists and scholars. Dutch influence was particularly strong in genres like still life and landscape painting, evidenced by von Purgau’s artistic influences. The period was also marked by an interest in natural sciences, with "cabinets of curiosities" being popular among the educated elite. These collections often included paintings of natural scenes, providing another avenue for artists specializing in such subjects.

Baroque architecture and art were the dominant styles, emphasizing grandiosity, emotional intensity, and intricate detail. These stylistic choices were not merely aesthetic but were laden with ideological and religious undertones. For instance, the exuberance of Baroque art was often seen as an extension of the Church's triumphalist narrative, celebrating its role as the true path to spiritual salvation.

Everyday Impact

The lives of Linz's residents during this period would have been affected by these larger forces. The constant state of war meant that men were frequently conscripted, leaving women to manage households and even businesses. The high tax levies to fund the war led to increased poverty and food scarcity. The influence of the Church meant that religious festivals and obligations were a regular part of life, providing both spiritual solace and, at times, a burden of orthodoxy.

The economic emphasis on trade meant that many families were involved in mercantile activities, even if only tangentially. For the artisan class, this era offered opportunities but within a tightly regulated framework that dictated what could be produced and sold. For artists like von Purgau, this meant that their livelihoods were closely tied to the patronage of religious institutions and the nobility, who dictated both form and content.

In summary, Linz in the early 18th century was a city caught in the crosscurrents of European geopolitics, economic transformation, religious orthodoxy, and cultural flux. These macroscopic changes trickled down to affect every aspect of daily life, from the food people ate, the work they did, to the art they produced and consumed. It was a period of both constraint and opportunity, shaping the lives and works of its residents in profound ways.

Personal Note:

Finding information on this artist was a tribulation! I wrote assuming that his family member was the one who taught him to paint, considering the similarities between their subject matter and mediums. The era of Vanitas, or "Memento Mori" artwork is a favorite of mine, and I found this research to be very engaging.

#fine art #memento mori #art analysis #art history #occult academia #austrian art

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artisteclipsed · 1 year

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About Me

My name is Grey, I am currently double majoring in chemistry and fine art. I'm 27 years old and have hopes of developing a career in art restoration. I am an artist myself, focusing mostly on multi-media fine art and digital art, though I love working with any medium I can get my hands on. This blog exists as my own personal research archive. I hope to gain inspiration for my own work, a thorough understanding of a diverse range of art techniques, and a reservoir of art history knowledge. I may also share my poetry and other artwork here.

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“Mönche im Hof eines Klosters am Meer”

by Franz Ludwig Catel

Oil on Canvas, height: 77 cm (30.3 in); width: 58.5 cm (23 in)

Technique:

Paint Application and Color Palette

Chiaroscuro

Atmospheric Perspective

Linear Perspective

Color Harmony

Realistic Proportions

Catel employs realistic proportions for human figures and architectural elements. This adds a sense of authenticity to the painting and makes it easier for the viewer to engage with the scene.

Texture Variation

Soft Transitions

Focal Points

Subtle Symbolism

Layering

It's likely that Catel employed layering to build up color and texture, a common practice in oil painting. This would allow him to achieve the subtleties in tone and hue that are visible in the work.

Medium Composition

Artist:

Sources:

Historical Context:

Sociopolitical Climate

Economic Climate

Religious Climate

Cultural Climate

Impact on Daily Lives

Personal Notes :

This artist was introduced to me through a post by @aqua-regia009

(They will likely be tagged a lot in my posts, I highly recommend following them.)

#art history #fine art #victorian art #berlin #oil painting #art analysis #romance art

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