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Art and its Proximity to Power

The art we make cannot be divorced from the context it is made in. As much as one can parrot the idea of separating the art from the artist, the person who created a work and the environment it was created in is integral to understanding a work of art—be it a book, a painting, a sculpture, a composition, a building, or more, each work of art is a product of something, and as a result of that "something” it is made with a purpose. 

Throughout history, the purpose of many famous works of art was power. This came in multiple forms. The power a work would create could be through its contents, through who it is made for, or through its ownership. For much of history, those who owned custom works of art were the powerful, thus it comes to reason that the works created for and about them would be their mirror. Art has played a vital role throughout history as a means for different civilizations, organizations, and rulers to exert their authority. Each work presented throughout this tour through history are examples of the influence these motivations have over art, both in its inception and in its survival.  

Steele of Hammurabi, c. 1792-1750 BC, Babylonian. From Sippar, Mesopotamia. 

The Steele, or Code, of Hammurabi is one of the first examples of written legislature in history. Currently displayed at the Louvre, the work is made up entirely of engraved basalt, with inscriptions of Hammurabi's code in cuneiform covering the entire surface. This is with the exception of the engraving on the front of the stone. This depicts Hammurabi and the god Samash, the Babylonian god of justice. This is the only non-cuneiform engraving on the sculpture. The contents of this engraving tie both Hammurabi himself and the words he is delivering to something divine. The engraving is used to give more weight and authority to the ruling Hammurabi is putting in place. That is, supposedly, its purpose.

It is something to note that one of the oldest pieces of written legislature in history is tied to something that makes it a work of art. It feels, almost, that the history of the two is tied together. Art feeds the powerful, and in return the powerful fund the creation of art. This has changed somewhat in modern times, and there was definitely art made for personal consumption even in the earliest times of human existence, but the sentiment rings true for the work we know to be most prevalent.

Bust of Nefertiti, c. 1351–1334 BC, New Kingdom. From Tell el-Amarna, Egypt.

The Bust of Nefertiti is a stucco and limestone bust depicting the queen Nefertiti. It is a portrait, with scans indicating that a full sculpt of the queen was done underneath, with certain features being more smoothed over during the process of making the outer layer (Staatliche Museen Zu Berlin). The bust is lifelike, but idealized, as shown by the previously mentioned features being smoothed over in the final sculpt. It presents a heightened version of the queen, with still vibrant colors and angular features. It glorifies her, and by proxy glorifies her husband, King Akhenaten, by proxy. It is the sort of portrait only nobility of the time could afford.

Parthenon, c. 460-450 BC, Classical. In Athens, Greece.

The Parthenon, though no longer in pristine condition, is a prime example of Classical Greek architecture. It was a temple to the goddess Athena, and contained several notable works of sculpture. Supported on columns and with a fully engraved frieze and pediment, the whole structure is dedicated to the reverence of Athena (The British Museum). The frieze itself also depicts an idealized version of the Athenians. This presentation of idealized forms would influence a number of different artistic movements in the future.

Riace Bronzes, c. 460-450 BC, Classical. Reggio Calabria, Italy.

Recovered from a shipwreck in 1972, the Riace Bronzes depict a pair of men, though who exactly these men are remains unclear (Museo Archeologico Nazionale Di Reggio Calabria). They are a prime example of the statue work one can often find during the Classical era of Greek sculpture. Both are lounging in their poses, with muscular and athletic forms. They each have an arm posed to hold something-- though whatever it is in unknown, but is likely a spear of some sort. Their features and forms are idealized, and given that it is likely that they are meant to depict some sort of mythological figures, this is expected. Greek sculpture during this era placed this idealized form above all else, as it reflected well on the Greeks and by proxy placed them on a pedestal. After all, if all of the gods and goddesses are depicted with features matching your cultures, than those features must be better than others, no? Of course, this is nothing actually objective, but the purpose of sculpting the works in this way is clear: It makes the Greeks look good--more powerful.

The Pantheon, c. 113–125 AD, Roman Empire. In Rome, Italy.

The influence Ancient Grecian architecture had on that of Ancient Rome is made clear in the Pantheon. The style of its front face is similar to the Athenian structure whose name could be mistaken for the Pantheon, the Parthenon. It has a pediment and frieze, which sit atop the sort of columns one would expect to see in Ancient Greek architecture. These elements were borrowed in an effort to make the Roman Empire feel more established. The Romans are the primary source for much of our knowledge of Greek art and architecture, as they preserved many famous works through copies and casts (Marconi). There is respect in this action, but also an element of superiority. The majority of the Greek works we know of exist only as Roman copies. It makes one remember quite immediately that the Romans were the ones who came after-- who outlived the Greeks. It makes their rule feel more prevalent.

The influence, then, that both Greek and Roman architecture has had on modern architectural styles must be mentioned. Their traits can be seen clearly in government buildings throughout the US. Just as the Romans used these traits to establish themselves, so too does the US government. Even if not made out of the same materials, the pale white pillars of the White House or the entrances of the Pentagon speak to the message that these styles provide. It makes a place feel strong-- powerful, even.

Equestrian Statue of Marcus Aurelius, c. 166-180 AD, Roman Empire. From Capitoline Hill, Rome, Italy.

The influence of Hellenistic Greek styling can be seen in the Equestrian Statue of Marcus Aurelius. Meant to pay reverie to the Emperor Marus Aurelius, the statue is cast out of bronze and uses the typical features one would find in Roman sculpture. Aurelius has tight curls, and strong, stoic features as he extends an arm as if addressing the crowd from his horse. The subject of this statue is of particular interest in this case, as it depicts an emperor. The statue places Marcus Aurelius at a place physically higher from the viewer, creating an immediate sense of disconnect and superiority. In order to address the viewer he must look down. The borrowed elements of Greek sculpture become especially interesting in this context knowing that the subject of sculpture in Ancient Greece was primarily mythological figures-- gods. In this instance, however, the person being depicted is not a god, but an emperor. The connection to power and to worship, however, remains.

Horyu-Ji Temple, 607 AD, Asuka Period, Buddhist. In Ikaruga, Nara Prefecture, Japan.

The Horyu-Ji temple was a complex created for the reverence of Buddha and, eventually, became a site of reverence for the prince that led its construction, Prince Shotoku. It is one of seven temples constructed by the prince, who was one of the leading figures in Buddhism's rise to prominence in Japan (Jayadi). Following his death, the temple would become a place to venerate or honor him. It is, in some ways, a standing testament to his legacy.

It also showcases a tie between religion and architecture, as any temple does. Architecture has long been a way to commemorate one's beliefs, or to elevate them to a more righteous status. It creates a space which is meant specifically to exemplify a specific train of thought. They make the divine feel less ambiguous and give them a space that feels more grounded and real. It makes the power people claim these forces have manifest in a way one can visualize. Regardless of the truth of any which religion, the influence they have over people cannot be denied, and the place it can be seen most prominently is through art.

Maqsud Kashani, Ardabil Carpet, c. 1539–1540 AD, Persian. From Kashan, Iran.

The Arabil Carpet is the oldest surviving carpet in the world (Victoria and Albert Museum). Who it was commissioned by remains unknown, but it does contain the signature of its creator, Maqsud Kashani, alongside an excerpt of poetry. It is delicately and meticulously woven, with symmetrical, geometric designs throughout the weaving. The designs is also quite floral, weaving into each other and making up the geometric shapes throughout the carpet. It was presumably commissioned for the shrine of Shaykh Safi al-Din Ardabili, and was found there in the late 1800s.

The works that fill a place for the divine are just as important as the structure of the place. They showcase the concept's, or person's, importance. It makes the devotion people feel towards religion or religious figures physical in the same way architecture can. It gives a physical space for the power they hold.

Notre-Dame de Paris, 1345 AD, Gothic. In Paris, France.

The Notre Dame is perhaps one of the most well known Gothic Cathedrals in the world. Its structure, built upon gothic arches, buttresses, and stained glass-- like many gothic cathedrals of the time-- was built with the sole purpose of worship. The architecture of gothic cathedrals is built upon the concept of grandness. The structures it inspired were able to soar to heights not seen before, and it was all done to capture a bit more of the essence of the divine. The glass windows, in addition to depicting biblical stories, captures light in a way that makes it feel physical. Much like many works of architecture before it, the Notre Dame gives a physical presence to the God it was built to worship. It is on the backs of buildings like these that people are made to remember the power that these different religions--whichever they are built for-- are meant to have. As Elizabeth Boyle O'Reilly said, "We may live without architecture, and worship without her, but we cannot remember without her."

Art and Architecture has served as a means to legitimize the political and religious power of different figures and civilizations throughout all of history. In many ways, this is how art has survived, just as it is how history has survived. It is a symbiotic relationship. The creation is funded by the powerful, and in return art allows the powerful to not be forgotten. It is often said that history is written by the victors, and thus it must be noted that those history books are often built upon the backs of the art those victors left behind. It is art that gives them the ultimate power-- of being remembered.

Sources

Jayadi, Mahendradatta. “Prince Shotuku and His Controbution to Buddhism in Japan.” Prince Shotoku and His Contribution to Buddhism in Japan, Mar. 2012. Academia.

Louvre. “Code de Hammurabi.” Musée Du Louvre, collections.louvre.fr/en/ark:/53355/cl010174436.

Marconi, Clemente. The Oxford Handbook of Greek and Roman Art and Architecture. Oxford, Oxford University Press, 3 Nov. 2015.

Museo Archeologico Nazionale Di Reggio Calabria. “Level D.” MUSEO ARCHEOLOGICO NAZIONALE DI REGGIO CALABRIA, www.museoarcheologicoreggiocalabria.it/the-collections/livello-d-2/?lang=en.

O’Reilly, Elizabeth Boyle. How France Built Her Cathedrals; a Study in the Twelth and Thirteenth Centuries. Harper & Brothers, 1921.

Staatliche Museen Zu Berlin. “Staatliche Museen Zu Berlin: The Bust.” Staatliche Museen Zu Berlin, 2012, www.smb.museum/en/museums-institutions/aegyptisches-museum-und-papyrussammlung/collection-research/bust-of-nefertiti/the-bust/.

The British Museum. “An Introduction to the Parthenon and Its Sculptures.” The British Museum, 11 Jan. 2018, www.britishmuseum.org/blog/introduction-parthenon-and-its-sculptures.

Victoria and Albert Museum. “V&a · the Ardabil Carpet.” Victoria and Albert Museum, V&A, 2019, www.vam.ac.uk/articles/the-ardabil-carpet.

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Final Project

CONCEPT

A deeply personal subject to me. I wanted to create a piece that reflected on the impact of intrusive thoughts, and the way they can become almost debilitating at their worst.

INSPIRATION

I wanted to play upon imagery of both supernova and more organic structures like veins. I want something that brings to mind sort of violent or visceral imagery, as suits the concept of the piece. The album cover for Radiohead's Kid A also served as inspiration. The geometric style spoke well to what I was going for.

THUMBNAILS

I did both 1 and 2 first, leaning a bit more heavily into the inspiration taken from the art of Kid A. 2a and 2b are explorations of a bit more variation in color based off of 2's palette. Ultimately, I chose 2a as it included more elements of the supernova, which was central to the work.

FLATS

FINAL

Supernova. Digital.

Some alterations were made to the colors to increase contrast between the flats and the final, but ultimately not much changed.

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Virtual Sketchbook 4

WRITING, THINKING, AND LOOKING CRITICALLY

I believe Jackson Pollock made his transition from regular abstraction to fully non-representational work as an outlet for his own personal issues. Pollock often spoke of losing himself in his work, allowing the painting to speak for itself rather than him speaking through it. While this is a charming notion, it is undeniable that part of Pollock was reflected in his work. After his departure from his Thomas Hart Benton, Pollock needed to find himself, and what better method to do so than through painting. Abstract, non-representational art lacks any sort of representational figure, which makes it an incredibly vulnerable form of art to both make and view. Anything made in the style is purely a product of the creator’s mind, and whatever the viewer feels when looking at it is as well. It is a deeply reflective form of art, and for a man as troubled as Pollock was, it is of no shock that he would shift to it.

2. ART PROJECT

High and Dry, Nov. 13th 2024. Digital, 2048 x 1536 px.

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Virtual Sketchbook 3

Flaying of Marsyas, by Antonio de Bellis, is an painting made in the late 1630s or early 1640s. It is an oil painting on canvas and is roughly 70 x 95 x 1 3/4 in. Made in the Baroque style, the piece employs deep shadows and dynamic movement to help form its composition and mood. The muted colors of the rest of the piece-- from the figures in the background to the almost pallid color of both Apollo and Marsyas's skin-- helps draw attention to the stark red of Apollo's shroud. The focus on the color red helps tie it to the period it comes from, lining up with Baroque trends, as well as emphasizing the work's violent quality. This violence sees further emphasis from its most stark detail, Marsyas's expression. Marsya's face is twisted in either pain or horror, forehead and cheeks wrinkling as he screams. The pose work is the painting's strongest feature. Each figure feels fluid, even Apollo, who kneels more stalwartly than the rest. The composition of the piece, its shadows, and its posing all help give the piece an almost haunting quality. Looking at it in the museum felt visceral, even in spite of the pieces lack of obvious gore or blood.

Antonio de Bellis, the piece's creator, is a somewhat obscure man. He worked most frequently in Naples in the late 16th Century, and took inspiration from other Spanish artists. This piece draws inspiration and was attributed to another artist named Jusepe de Ribera, who made a piece depicting a similar scene.

Apollo Flaying Marsyas, by Jusepe de Ribera, 1637. Oil on canvas, 202 x 255 cm.

While both pieces share similarities, I feel as though Bellis's work does a superior job depicting the violence of the scene. Bellis's poses show more focus, with the sharp angle of Apollo's arm ripping Marsyas open leading the eye down to Marysas's screaming face. It both connects the action to the feeling more potently and makes the action feel more purposeful on Apollo's part. Bellis's take on The Flaying of Marsyas aims to bring true violence to the scene, and this is accomplished in stride.

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Virtual Sketchbook 2

JOURNALING

Unity: Elements building upon each other in a manner that makes them feel the same.

Variety: Diversity within elements of a painting.

Unity: Balance achieved throughout elements within a work using symmetry or asymmetry.

Emphasis: Pushing the viewers focus to a specific area.

Subordination: Areas with less importance drawn to them to help push forward areas of greater importance.

Directional Forces: Elements within a piece that direct the viewers eyes in a certain direction.

Repetition: Elements repeating, sometimes in a pattern, to make a piece feel more connected.

Rhythm: Repeating elements of varying importance.

Scale: Emphasis made from two things size related to another.

Proportion: Size relation of one part to the whole.

2. WRITING AND LOOKING

Gerhard Richter, Abstract Painting. Chapter 7, Painting.

The painting includes an implied linear perspective, as well as an implied vanishing point. Its colors are neutral, mostly muted browns, blues, and greens. It creates unity through contrast between its foreground and background. This is done through the use of texture and color. The foreground is heavily textured, with brushstrokes clearly visible, and its colors dark. The background is lighter, with a clean wash of color.

3. CONNECTING ART TO YOUR WORLD

The color green has been a constant throughout my life. I grew up in the Midwest, in an area blanketed by trees. I spent a lot of my youth running around in the woods, wading through bright, saturated green bushes. I didn't realize what I had until I moved down south. The green was still everywhere, as intense as it ever was, but it was so far away now. I couldn't go wading through the woods like I used to. It's too dangerous now. Its my favorite color now--a nice, muted forest green. If I had to assign a palette to my life it would include it. Forest green and a variety of oranges, the color of the sunset.

4. ART PROJECT – ARTIST’S CHOICE

Meat, Watercolor.

5. PHOTO/DESIGN

Group 3 Photography

Portrait:

This portrait depicts an anonymous homeless man, as photographed by Lee Jeffries. The photo aims to draw the viewers attention to the humanity of the man. It draws focus to his eyes, as well as the wrinkles of his skin to bring attention to the life within them and the life showcased through them.

Landscape

This is a landscape shot of the Appalachian Mountains, specifically the Newfound Gap, in Great Smoky Mountains National Park.

Still Life

This still life depicts a decadent spread of food, mostly dried meats and vegetables--very Mediterranean. The still life is likely meant to give off an atmosphere of abundance. It hearkens back to older imagery of spreads of foods at Greco-Roman feasts. It feels warm, almost inviting, like it is gesturing to the viewer to have a bite of the spread. It feels as though it is meant to make the viewer long for the type of satisfaction a spread of food like this would give.

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Virtual Sketchbook: Entry 1

Banksy October 9, 2013 Untitled. Spray paint, stencil, mixed media, graffiti art. Ludlow Street, Lower East Side, NYC (removed).

I learned a fair few facts about both Banksy and his Untitled 2013 work.

1. While the work itself is untitled, it would eventually join a number of Banksy's other works in a collection called Better Out Than In.

2. The work was first showcased online, posted alongside an audio clip of a group of soldiers talking. The audio itself was taken from a classified, leaked video of the July 12, 2007 Baghdad airstrikes. 

3. While a number of other pieces from the Better Out Than In collection were preserved, this Untitled work was dismantled.

4. Banksy himself is an anonymous artist. While he has been active for around 3 decades now, his identity remains unconfirmed.

5. Banksy's works are often meant to be temporary, usually graffiti done on regular buildings, and are often highly political.

I have often been somewhat contemptuous of Banksy's work, not on account of subject matter or medium, but rather because they can be somewhat brash in their messaging. This piece, however, and my research into it, has granted me a somewhat begrudging respect towards him. It is one of his more layered works, with its imagery being a bit more complex than his more simple pieces. Its message regarding the US and its involvement in the Baghdad airstrikes, combined with the unofficial name of the piece, "Crazy Horse", brings to mind American colonialism, in both it classical and modern forms. While I am not always a fan of the way in which Banksy portrays the messages he wishes to convey in his works, "Crazy Horse" has allowed me to appreciate the work more for what they wish to convey than the imagery he uses to convey it.

2) Art and Writing

A painting hangs in our dining room. It has the texture of an actual painting, though I doubt any of the texturing is real. The original copy was likely painted on an actual canvas, but the one sitting in our home is likely mass produced. By all means, it is a beautiful painting. It is detailed, the colors are nice, and it helps bring a sense of warmth to the room. It is not one of a kind, but it serves its purpose anyway. All it is meant to be is decoration.

3) Writing a Self-Portrait

There is a number of things I carry alongside me when it comes to perceiving the world. I am young, only 17, though soon to be 18. I'm white, which is obvious enough from the photograph provided above. I've grown up as a woman, though I do not hold much attachment to being anything in particular. I'm queer, something that would have taken me a lot longer to discover had I not moved to the south when I was young. Right now, I do not have much going on aside from being a student. That, and being an artist, which I became interested in right around the same time I moved down south. I've always tended to excel in school despite my ADHD, though the same might not be said about my social life. I'm very left leaning, which I feel impacts my perception of most things in my life. These are just a few of the things that make up who I am, though certainly not all of them.

4) Self Portrait

Self Portait, Digital.

Though a slightly more traditional approach to a self portrait, one of the things I consider most personal to me is my art. I have been drawing for years, but I don't often make personal pieces, let alone show them to other people. Thus, I felt a slightly more stylized, digital self portrait would help convey a bit of myself. I think there is nothing truly more personal than how somebody makes their art, and this is means through which I make mine.