Romantic Art Analysis

 Romantic Blog Post: Impressionism vs. Art Nouveau

 

In this post, I will be discussing and comparing four different paintings. I will also explain my feelings about the works and what they represent. Two pieces will be Impressionist works, specifically, Claude Monet's San Giorgio Maggiore at Dusk and Vincent van Gogh’s Starry Night on the Rhone. The other two works will be the Art Nouveau piece Biscuits Lefevre Utile by Alphonse Mucha and Gustav Klimt's Judith Holding the Severed Head of Holofernes. After analyzing these four paintings individually, I will conclude by comparing the Impressionist and Art Neadeau styles and explaining which I prefer.

 

Impressionism

The 1800s was a time of immense change and innovation for the arts and the world. The 19th century saw several short-lived but influential art movements rise and fall. Impressionism was a trend started in 1874 by a group of like-minded artists known as the Anonymous Society of Painters, Sculptors, and Printmakers (Samu). The society hosted eight exhibitions between 1874 and 1886, allowing independent artists to showcase and sell their work (Gersh-Nesic). This was revolutionary as the only officially recognized exhibit in Paris was the Salon, which primarily displayed the work of deceased artists (Gersh-Nesic). Many artists of the society applied to the Salon several times but were rejected each time due to the new and unique Impressionist style the artists were trying to showcase. Even after the success of the society shows, where many of the works were purchased, tabloids criticized the Impressionist style as looking like unfinished sketches covered in slapped-on paint (Gersh-Nesic). However, more forward-thinking and modern writers praised the style's unique way of depicting modern life through texture and color (Samu). Impressionism was all about capturing brief moments in time and fleeting light. Artists accomplished this by using bright colors applied with short, unblended, highly-visible brushstrokes to create vague forms and structures. One of the best examples of this beautiful and sporadic style is Claude Monet's San Giorgio Maggiore at Dusk.

 

Claude Monet's San Giorgio Maggiore at Dusk

Claude Monet was one of the founding members of the Anonymous Society of Painters, Sculptors, and Printmakers. It was his painting Impression, Sunrise, that earned the Impressionists their name. San Giorgio Maggiore at Dusk is a 25.7-inches by 36.4-inches oil painting on canvas created in 1908 while Monet was visiting Venice at the Hotel Brittania with his wife, Alice (Monet). San Giorgio Maggiore at Dusk is a perfect example of the Impressionist style. The vague, hazy shape only hints at a city on the horizon. While I do not usually enjoy this fuzzy effect, preferring crisp lines on manmade structures, it works for the late-night haze of this piece. Short and sporadic brushstrokes of the sky visually blend to create a brilliantly vibrant sunset. I greatly enjoy the texture this produces in the sky because it is typically depicted in as smooth and seamless a way as possible. The atmospheres at dawn and dusk have fascinated and challenged humans for centuries as they attempt to capture its fleeting lighting and radiance. I too, find vast enjoyment in the unique lighting and vibrant colors that blaze across the sky at the end of the day. The fact that San Giorgio Maggiore at Dusk includes an entire rainbow of colors in its sky, mixed with the hazy lighting, instantly draws my eye to this almost otherworldly scene. Recently I tried to capture a picture of the indigo, pink, and light blue sky at nightfall but found the image lacking the actual colors portrayed. The Impressionists were the first to truly capture the ephemeral lighting of these minute moments of everyday modern life.

Although one of his most famous works, Monet almost did not create San Giorgio Maggiore at Dusk. Already sixty-eight when visiting Venice, Monet was reluctant to paint not only because it would be a subject so many other artists had already created renditions of, and his increasingly dwindling eyesight did not further his desire to paint (San Giorgio). For these reasons, Monet created San Giorgio Maggiore at Dusk and several other studies of Venice to be personal reminders of his trip (San Giorgio). Because of Monet's failing vision, Impressionism was the perfect style to attempt to show the world through his imperfect eyes. The Impressionist penchant for blurred shapes and bright colors was likely the best style Monet could complete in his later works. San Giorgio Maggiore at Dusk includes a veritable rainbow in the sky echoed in the water, indicative of Venice. Even the dark shapes of the city are lit with vibrant purples, reds, and even yellow. Despite the sadness Monet was likely feeling due to his ailing body and limited abilities to create, the rainbow theme in this painting strengthens the profound sense of hope I feel when looking at it. Although San Giorgio Maggiore at Dusk portrays a day's end and perhaps the end of a movement, I prefer to think of it as a celebration of the Impressionist movement and the welcoming of a new stage of Monet's life and art as a whole. Monet was not the only Impressionist who utilized the sadness of his life due to sickness to create incredible works of art.

 

Vincent van Gogh’s Starry Night on the Rhone

Vincent van Gogh is undoubtedly one of the world's best-known artists who created one of the world's most recognizable paintings, Starry Night. Completed in September of 1888, Starry Night on the Rhone is a 28.5-inches by 36.2-inches oil painting on canvas and a precursor to van Gogh's Starry Night in his night paintings series (Painting). Van Gogh created Starry Night on the Rhone while staying in Arles, France, in the Yellow House at the Place Lamartine as a study of the stars in the night sky and their light's effect on the scenery (Rhone). Although van Gogh created almost 900 paintings, Starry Night on the Rhone was one of the few paintings displayed in an 1889 Society des Independents exhibition in Paris before his death (Rhone). Completed not long before his stay in Saint-Remy, where he created Starry Night, it is clear to see the parallels between the two paintings. Starry Night on the Rhone is an excellent example of the Impressionist style. Van Gogh paints using a predominantly cool blue color pallet with highlights of bright yellow to symbolize the light of the Rhone's stars and gas lamps. I greatly enjoy this color pallet for the simple fact that they are two of my favorite colors, and they do not unceremoniously blend into out-of-place greens. Short textured strokes encompass the entire canvas, never blending into green but visually merging to create soft shapes. Painting an area like the Rhone with its modern gas laps is a perfect example of the contemporary subject matters Impressionists sought to capture. The staggered lines of the gas lamps' reflection in the water are where one would expect to find the most activity in the piece, but true to the Impressionist style, van Gogh uses the texture of the paint to create motion throughout. Van Gogh's use of impasto (paint applied thickly to the canvas with visible texture) and varied line directions makes the whole painting feel alive and full of movement. Although I find that 3D elements being applied to a canvas to create motion can feel lazy, I believe it works well in this painting. I think this is because the paint application for Starry Night on the Rhone feels very planned and intentional in its placement. In criticism of this work, I will say I find the triangular area that juts out from the bottom of the canvas a little confusing. I believe it is meant to be a land mass, but I am left feeling unsure.

Starry Night on the Rhone is one in a series of night studies van Gogh created in 1888. Craving the challenge of rendering an area at night, van Gogh used a variety of blues to create beautiful, luminous, and vivid scenes full of depth despite their dark settings. I find it especially pleasing how van Gogh used the same yellow for the stars and the gas lamps, so it appears that the reflections in the water are not just of the lights but also of the stars above. With the knowledge that van Gogh would be heading to a mental institute for his severe manic depression just a few months after the creation of this piece, it is easy to think of the dominance of blue as a glimpse into his darker thoughts (Wolf). The dark shades dominating the image cause the small areas of light to stand out even more than if they were against a lighter space. To me, this shows that despite van Gogh's feeling that his world was darkening and his depression becoming more prevalent, he was still fighting to hold on to the bit of hopeful light in his life. Because of this, I don't view this painting as a sad glimpse into van Gogh's ailing mental state but as a work demonstrating the artist's will to keep fighting, living, and creating, despite the darkness enveloping his life. Another art style that emerged from the Romantic era, which was just as revolutionary as Impressionism, was Art Nouveau.

 

Art Nouveau

Art Nouveau is a unique style that developed during the 1800s. Long, elegant curving lines, organic shapes, earthy colors, and intricate patterns typically characterize it. The subjects of these works were usually fantastical women with generally feminine designs influenced by the emerging feminine ideals of the century (Features). Regarding architecture, particularly Art Nouveau, the flowing organic forms and asymmetrical designs were created in direct opposition to the mechanical uniformity of previous ages (Features). Another common trait of Art Nouveau was its mixture of materials in architecture and jewelry, combining stone, wood, metal, glass, and concrete to create nature-inspired designs (Features). With nature as the driving force behind their designs, it is only natural that artists of Art Nouveau would also derive their color pallets from the earth. This meant muted greens and browns were the standard dominant colors in works accented and highlighted by deep jewel tones of indigo, red, yellow, and purple (Features). One of the most revolutionary advancements brought on by Art Nouveau was graphic arts projection into a respected and legitimate art style. Previously, promotional art was considered low-grade and not worth much consideration. This perception changed due to Art Nouveau's style and the art of Alphonse Mucha.

Alphonse Mucha’s Biscuits Lefevre Utile

Earning a place as a respected artist with many other works, Mucha first gained notoriety by creating a theater poster for Gismonda in 1894 (Alphonse). Biscuits Lefevre Utile by Alphonse Mucha is a 23.88-inches by 17.06-inches lithograph print ("Biscuits Lefevre Utile" [Christopher-Clark Fine Art]). Biscuits Lefevre Utile was commissioned from Mucha in 1896 while he lived in Paris by the French Nantes-based biscuit manufacturer Lefèvre-Utile (Poster). Lefèvre-Utile hired Mucha and several other well-respected artists to handle their publicity. This poster aimed to showcase their products as high-class food for privileged persons to enjoy (Poster). Although Biscuits Lefevre Utile was created simply as an ad, there is hardly anything simple about this work. The print features a beautiful, fantastical woman draped in long, flowing clothes reminiscent of ancient Greek robes. As someone who grew up reading and watching fantasy tales, I am strongly drawn to such themes because I find them familiar. On the woman’s garment is an intricate pattern incorporating wheat and sickle motifs appropriate for the product. The curves of this sickle pattern are echoed in the flowing and organic vine-like gold line, which wraps gently behind and in front of the woman, creating elegant and simple depth in the image. I find using this single line to create such depth in the image extremely clever and pleasing to the eye. It is these types of adept utilizations that make graphic design so interesting and attractive. Muted off-whites and maroons dominate the scene, with the bright, warm yellow of the woman's hair floating around the image in an unnaturally magical way. For me, this contrast between the dull dominants and vivid accent colors extremely appealing. The warm gold of her hair is further accentuated by the bright red poppies crowning her head and the graphic black line which runs the perimeter of her entire body.

This type of bold graphic lines and style was the forerunner for the eccentric and respected graphic design we enjoy now. Today, primarily due to the beautiful work of artists such as Mucha, we place much more value on advertisements as a form of art. The magical fantasy women featured in Biscuits Lefevre Utile and many of Mucha's other works remind me of classic high fantasy movies such as Labyrinth and The Last Unicorn. The light, flowing animation of The Last Unicorn clearly links to Mucha's whimsical style, especially in the seemingly free-floating hair of the characters. Labyrinth is a film dominated by the typical Art Nouveau color pallet. It is in the film's ballroom scene where one can most clearly see Mucha's stylistic influence in the costume design of the characters. Shimmering fabrics are paired with vine-like wire accents, which combine to create beautiful, flowing designs. I was raised watching these types of movies that have had significant influences in their own right. Consequently, I have always loved the colors, themes, and flowing designs of such films and was thus immediately enraptured by the Art Nouveau look and especially Mucha's style. Specifically, this work elicits feelings of nostalgia for my childhood in me. Mucha's work, whether intentionally or not, has continued to influence the art world well into the 21st century.

Despite being a poster for biscuits, Biscuits Lefevre Utile exhibits a range of emotions in her posture and expression. I adore the lighthearted joy the woman in Biscuits Lefevre Utile exudes. It is made all the more interesting when paired with the, in my opinion, mischievous smirk on her face and the sultry lean in her posture. Biscuits Lefevre Utile was not intended to be a revolutionary piece of art that held an intense, more profound meaning, but it did in its own way. To me, Biscuits Lefevre Utile symbolizes two main things. Firstly, it represents the further growing respect for artists and their abilities that started in the Baroque period. Secondly, modern feminism was on the rise for the first time during the Romantic period; women questioned rules and sought ways to earn an income. Although it was likely not intended as such, to me, the woman in Biscuits Lefevre Utile represents a new modern woman free to provide for herself, who was not ashamed of her femininity, or perceived lack thereof, for doing so. A more outright feminist piece of Art Nouveau was Judith and the Head of Holofernes by Gustav Klimt.

 

Gustav Klimt's Judith Holding the Severed Head of Holofernes

Judith and Holofernes are common subjects for paintings, with at least 141 known renditions of the pair in existence (Lopez). The tale of the beautiful Jewish widow who risked her life and virtue to bravely incapacitate an invading general and behead him with his sword to save her city has captured artists' interest for centuries. Gustav Klimt's first rendition of the pair is different from most other versions because it depicts Judith holding the severed head of Holofernes instead of the act itself. A 33-inches-by-17-inches oil painting on canvas, Judith and the Head of Holofernes is surrounded by an intricately decorated gold frame created by Klimt's brother, George (Lopez). Klimt likely created this painting while staying at Attersee Lake in Austria (Gustav). Completed in 1901, Judith and the Head of Holofernes was Klimt's opening work for his 'gold period' at the 8th International Art exhibition in Munich (Lopez). A short time after, the painting was purchased by Swiss artist Ferdinand Hodler (Judith). The model for Judith was Adele Bloch-Bauer, who Klimt chose for her dark hair and striking angular beauty (Judith). Until this point, Judith had been depicted as a pure embodiment of feminine rage. In a different direction, Klimt showcased Judith in a more sensual, powerful femme fatale light. Half-lidded eyes hold a triumphant look that gazes down at the viewer, increasing the might of her stance. Judith and the Head of Holofernes uses the typical earth and jewel-toned color pallet and swirling nature-inspired accents of the Art Nouveau. I feel that this color pallet is perfect for depicting Judith because her relatively neutral, pale skin and dark hair are excellently contrasted and highlighted by the deep indigo of her robe. The vast amounts of gold leaf used in the painting are unique to Klimt. A wide gold choker, popular during the time in Vienna, adorns Judith's neck. The gold leaf of the choker almost merges with the background, somewhat severing the head of Judith along with Holofernes.

Despite not being as graphic as other depictions of Judith and Holofernes, I find Judith and the Head of Holofernes still holds tremendous agency and feminine power. With the rising feminist movement, the question of whether women, with their desire to gain more from and in life, were trying to become like men was often used against feminists. To me, Judith and the Head of Holofernes, in response to this, shows a powerful woman capable of extraordinary heroism, making it extremely clear she is still an undeniably feminine woman. Even the cropped head of Holofernes adds to this feeling of feminine might by having Judith entirely centered as the focal point of the painting. This makes it clear that the man's head is an accessory to Judith in this situation rather than the woman serving as an accouterment for the man. In the painting, Judith is undoubtedly depicted far more sensually than had previously been done. This does not take away from the rage, power, bravery, and triumph this painting exudes, but, in my opinion, significantly adds to it. Unquestionably, Klimt was able to powerfully convey in his work that a woman can encompass these traits typically associated with men in artwork while remaining undeniably sensual and feminine. I feel empowered by this painting and grateful to Klimt, who took a stand and, likely, helped advance women’s rights to the level that women enjoy today.

 

Impressionism vs Art Nouveau        

Impressionism and Art Nouveau were both incredibly revolutionary styles of the Romantic era, whose effects are still felt today. Impressionism is honored to include some of history's best-known works and artists. It is still more well-respected and may even be more influential than some Art Nouveau pieces. The unique way in which Impressionists captured moments of time and the fleeting nature of light utilizing textured paint application and with such vibrant colors was a breakthrough for the art world. Despite these facts, I prefer the style of Art Nouveau. The muted colors of the style paired with the vibrant jewel tones are incredibly pleasing to the eye and often create ethereal images. Inspired by nature and surrounded by fantastical swirling motifs, the characters speak to me in a way that aligns with my personal preferences. Before Art Nouveau, little consideration was given to graphic design and the actual artistic value of posters. Thanks to artists like Mucha, with his elegant illustrations and graphic black outlines, graphic design is now a well-respected career. Art Nouveau not only greatly influenced posters and paintings with nature themes, earth tones, and feminist ideals but also clothing, jewelry, and architecture. It still enraptures people today, influenced countless aspects and mediums of art, and promoted the modern feminist movement, even if unintentionally. These are some of the reasons I vastly prefer the style of Art Nouveau over Impressionism. I feel Impressionism, although very beautiful, has somewhat limited themes and is a bit too unfocused in rendering its subjects. This is partially because looking at some of the hazier images makes me feel as if I am viewing it without my glasses, unable to fully appreciate the work. Although Impressionism has merit and is valuable in its own right, it does not present a clear enough interpretation of reality for my liking. I acknowledge the extreme skills of the Impressionism artists but am not as inspired by their pieces in my daily life or artwork as I am by the undeniably influential style of the Art Nouveau artists.

 

 

 

Work Cited

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"Art Nouveau". Encyclopedia Britannica, 19 Oct. 2022, https://www.britannica.com/art/Art-Nouveau. Accessed 24 March 2023.

“Biscuits Lefevre Utile,” Christopher-Clark Fine Art, https://clarkfineart.com/artists/la-belle-epoque/alphonse-mucha/biscuits-lefevre-utile/. Accessed 14, March 2023.

“Biscuits Lefevre Utile,” TheHistoryOfArt.org, https://www.thehistoryofart.org/alphonse-mucha/biscuits-lefevre-utile/. Accessed 14, March 2023.

“The Defining Features of Art Nouveau Design and Architecture,” DK Studio Architecture, http://www.studiodk.com/blog//history-of-art-nouveau-architecture. Accessed 24 March 2023.

Gersh-Nesic, Beth. “A Beginner's Guide to Impressionism,” Khan Academy,  https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/impressionism/a/a-beginners-guide-to-impressionism. Accessed 23, March 2023.

“Gustav Klimt,” Wikipedia, https://en.wikipedia.org/wiki/Gustav_Klimt. Accessed 27, March 2023.

“Judith and the Head of Holofernes, 1901 by Gustav Klimt,” Gustav-Klimt.com, https://www.gustav-klimt.com/Judith-and-the-Head-of-Holofernes.jsp. Accessed 25 March 2023.

Lopes, Teresa Filipe. “Gustav Klimt’s Judith and the Head of Holofernes” Art Corner, September 14, 2014. https://www.overstockart.com/blog/judith-and-the-head-of-holofernes/#:~:text=To%20complete%20the%20eccentricity%2C%20Klimt,Baptist%20on%20another%20biblical%20tale. Accessed 25 March 2023.

“Poster for 'Biscuits Champagne Lefèvre-Utile',” Mucha Foundation, http://www.muchafoundation.org/en/gallery/browse-works/object/41. Accessed 24 March 2023.

Samu, Margaret. “Impressionism: Art and Modernity,” The MET, October 2004. https://www.metmuseum.org/toah/hd/imml/hd_imml.htm. Accessed 23, March 2023.

“San Giorgio Maggiore at Dusk, 1908 by Claude Monet,” Claude Monet.com, https://www.claude-monet.com/san-giorgio-maggiore-at-dusk.jsp. Accessed 23, March 2023.

“San Giorgio Maggiore at Dusk,” Totally History, https://totallyhistory.com/san-giorgio-maggiore-at-dusk/. Accessed 23, March 2023.

“Starry Night Over the Rhône – van Gogh’s Star-Filled Painting,” Art in Context, October 13, 2022. https://artincontext.org/starry-night-over-the-rhone/. Accessed 23, March 2023.

“The Starry Night Over The Rhone, 1888 by Vincent Van Gogh,” Vincent van Gogh.org, https://www.vincentvangogh.org/starry-night-over-the-rhone.jsp. Accessed 23, March 2023.

Wolf, Paul. “Creativity and Chronic Disease Vincent van Gogh (1853-1890),” National Library of Medicine, November 2001, https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1071623/
#:~:text=Plagued%20by%20psychiatric%20illness%20throughout,thought%20affects%20many%20creative%20people.  Accessed 14, March 2023.