The Dance by Matisse at the Barnes Foundation

by 20th century ArtArtFrench ArtMuseumsPowerpoints
Henri Matisse, French Artist, 1869 – 1954
The Dance (view of the Main Room, South Wall), Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/ensemble

My new BLOG POST titled The Dance by Matisse at the Barnes Foundation starts by quoting Professor Yve-Alain Bois, how Matisse himself describes, on two separate accounts, the moment at which he began work on the Barnes Dance composition and the immensity of the surface he had to master or as he phrased it ‘to possess’…. In the first version, it is an architectural rhyme that triggers the onset of this sense of possession: ‘ As I was pacing in front of my seventy-two square meters of white canvas destined to become the decoration of Doctor Barnes, not knowing which way to start, I noticed by chance a rope hanging from a window to a random spot in my studio, standing out and projecting a curve on my canvas. I suddenly had before me the relationship of this curve to the great rectangle of the edges of my decoration.

Unidentified Photographer
Henri Matisse using a bamboo stick to sketch The Dance in his studio in Nice, 1931, Photograph Collection, Barnes Foundation Archives, Philadelphia
https://www.ias.edu/ideas/2016/bois-matisse-barnes

The second documented account, once more quoting Professor Yve-Alain Bois, of what kicked off Matisse’s sense of taking possession, of the immensity of the space he had to cover, is perhaps more surprising than the first… ‘Faced with my huge white canvases, Matisse wrote, I took a model and began a study that had nothing to do with the decoration. At each of the model’s breaks, I relaxed by looking at these great surfaces, absentmindedly—or so I thought. Then, at a certain point, there came a flash of inspiration. I took my big charcoal, attached it to the end of a big bamboo, and began drawing the circle of my dancers, from one end to the other of my thirteen-meter surface. I’d got off the mark, taken possession of my surface entirely through the power of my imagination. That’s how I made my painting: entirely from feeling, without a model.’

It was the 27th of September, 1930, when Matisse, while touring the United States by train, made a detour to the Barnes Foundation because it housed a significant number of his artworks. He was a man in trouble… I have made several attempts to paint, he wrote to his daughter, Marguerite, in 1929, but when faced with the canvas, I find myself devoid of inspiration… The once-upon-a-time enfant terrible experienced a disheartening period of creative stagnation.

The artist was 60 years old, and lived in Nice, for the past thirteen years. Employing vibrant patterns and radiant colors illuminated by the Mediterranean light, he found himself falling into a repetitive style, capturing captivating female models within the confines of his studio. By 1927, certain critics questioned whether this once-radical artist had lost his innovative spark. They were wondering whether the aging painter of the odalisques was the man André Breton described as ‘a discouraging and discouraged old lion’.

Back in Philadelphia, in September of 1930, visiting the Barnes Foundation, and talking with its founder and owner, Dr. Albert Barnes, Matisse’s creativity ‘issue’ was put to test… According to Cynthia Carolan, a docent at the Barnes Foundation, Dr. Barnes approached the aging painter, engaged him in a gentle critique of his Nice paintings, and acknowledged their sensuous and captivating nature, but suggested they lacked the weightiness of his earlier works. Then, the collector extended an invitation to Matisse, offering him a commission to create a painting that would suit the lunettes, the grand arches above the windows, on the southeast wall of his newly established gallery.

It was a challenge Matisse could not refuse. It would be the only commissioned artwork within the Barnes collection, created specifically for an architectural area of the building. It was a ‘grand’ project as he was expected to create a ‘mural’ in a space that spanned a width of approximately 13.7 meters. It would consist of three distinct canvases, with borders that would converge. Barnes gave Matisse free rein in the choice of subject matter; the agreement simply specified the size of the mural and its place on the southeast wall of the Main Gallery. For Matisse, who had never created anything this large, it was a new beginning!

Henri Matisse, French Artist, 1869 – 1954
The Dance, Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/

Matisse soon chose the subject of The Dance to embellish the three arches that extended above the French windows. The motif represented an expression of vitality and rejuvenation, a theme that had preoccupied him since he was inspired by the sight of the Catalan fishermen dancing the sardaña on the beach at Collioure in the summer of 1905. He rented the space of an old garage, big enough to work on the outsized canvases, turned to his 1909 and 1910 paintings of Dance 1 and Dance II for inspiration… and started facing the challenges!

Henri Matisse, French Artist, 1869 – 1954
Study for Barnes Mural, Ocher Harmony, 1930–31, oil on canvas, 22×88 cm, Musée Matisse Nice, France
https://philamuseum.org/calendar/exhibition/matisse-1930s

‘Possessing’ the magnitude of the space he had to cover was his biggest challenge. Designing his dancers with correct proportions for the architectural space they would ‘inhabit’ was another one. Using large zones of flat colors that resist the typical illusion of depth and invite the Foundation’s viewers to gentle contemplation was yet, another.

Matisse experimented for a whole year… By using a long bamboo pole attached to a pencil as an elongated drawing device to sketch the dancers’ shapes, Matisse invented a new drawing tool. By cutting large pieces of pre-coloured paper and pinning them up, he solved the problem he faced of setting the piece’s correct proportions. For the first time, Matisse used scissors as an art tool, ushering in the age of his renowned cut-outs. He also began using a camera to document his process so he could compare changes from day to day.

The Dance in Philadelphia, at the Barnes Foundation, marked a return to a modernist style, ultimately creating a dynamic composition depicting bodies that seem to jump across abstracted spaces of pink and blue fields. Matisse struggled and changed the course of action many times, but in the end, ever so innovative, reached his goal and reclaimed his position as a leading figure in the tradition of decorative mural painting… to do it publicly and on a grand scale.

For a PowerPoint on the theme of Matisse and Dance, please… Check HERE!

Bibliography: https://www.ias.edu/ideas/2016/bois-matisse-barnes and https://www.bbc.com/culture/article/20230118-matisses-the-dance-the-masterpiece-that-changed-history and https://collection.barnesfoundation.org/objects/6967/The-Dance/

House of the Faun

by Ancient Roman VillasArtMosaicsPowerpointsRoman Art
The Latin inscription HAVE, translated as Welcome in English, salutes visitors to the largest and most luxurious residence in Pompeii, The House of the Faun, 2nd century BC to 79 AD, Pompeii, Italy
http://pompeiisites.org/en/archaeological-site/house-of-the-faun /

The House of the Faun is the grandest and most lavishly decorated private residence in ancient Pompeii. Originally serving as the home of a privileged family, this remarkable house, constructed in the latter part of the second century BC, circa 180 BC to be specific, occupied an entire city block and boasted an expansive interior spanning approximately 3,000 square meters. Home to many spectacular pieces of art, the House of the Faun stands out for its opulent floor mosaics, some of which remain in their original positions, while others are exhibited at the National Museum of Naples.

House of the Faun, the large Tuscan Atrium of the House of the Faun in Pompeii with a central impluvium (rainwater basin) and the bronze statue of the Dancing Faun, a Roman copy of a Hellenistic original bronze statue, 0.64 cm, National Museum of Naples, Italy https://www.worldhistory.org/image/11263/the-atrium-of-the-house-of-the-faun-in-pompeii/

The title, House of the Faun, derived from an original bronze figurine portraying a dancing Faun situated at the heart of a white limestone Impluvium (Plan No. 27), a basin for collecting water. Fauns, ethereal beings associated with untamed forests, were frequently linked by Romans to Pan and Greek satyrs, who were followers of Dionysus, the Greek deity associated with wine and agriculture. The original bronze statuette of the Dancing Faun is in the National Museum of Naples, thus the statue seen in the house’s ruins today is a copy.

The elaborate and sophisticated architectural plan of the House of the Faun reflects the wealth and social status of its occupants and follows the standard Roman architectural style of a Domus (private family house) but on an exceptionally grand scale. The House had, for example, two main Entrances, (Plan No 2bold and No 5bold). The principal Entrance (Plan No. 2bold) led to the Tuscan Atrium (Plan No. 27), while a secondary Entrance (Plan No. 5bold) led directly to the Tetrastyle Atrium (Plan No. 7)  and the service areas. The Tuscan Atrium, with a large open hall, the heart of the house, had the impluvium in the center, a basin that collected rainwater, with a small bronze statue of a Dancing Faun, giving the house its name.

Around the Tuscan Atrium were various rooms including cubicula (bedrooms), a tablinum (office or study), and triclinia (dining rooms). A special room, the Exedra (Plan No. 37), was off the smaller Peristyle (Plan No. 36) and contained the famous Alexander Mosaic.

Mosaic of Alexander and Darius, 2nd century BC, Naples Archaeological Museum, Italy https://mann-napoli.it/en/mosaici-2/#gallery-4

The house had two Peristyles (Plan No. 36 and No. 39) or colonnaded courtyards. The larger one (Plan No. 39), was essentially a garden surrounded by a colonnade. The second smaller Peristyle (Plan No. 36) was more private and was linked to the private living areas. Separate service quarters were attached to the secondary entrance and the Tetrastyle Atrium (Plan No. 5bold and No. 7). These included the kitchen, a small bathing complex, slave quarters, and storerooms. On the exterior, the house had tabernae or shops (Plan No. 1, No 2, No 3, and No 4). These were leased out to generate additional income.

The House of the Faun represents a clear example of how the Romans valued both private and social aspects of life, and how they incorporated this into their architecture.

This residence is most famous for its intricate and beautifully preserved mosaics, which not only demonstrate the wealth and status of its inhabitants but also provide an insight into the aesthetic tastes of the Roman elite during this period. The mosaics serve as invaluable examples of the ancient Roman mosaic tradition, each one unique in design and execution.

The most famous mosaic found in the House of the Faun is the Alexander Mosaic, which covered the floor of the Exedra (Plan No. 37). The mosaic, dated during the 2nd century BC, is believed to depict the Battle of Issus (333 BC) between Alexander the Great and Darius III of Persia. The mosaic is lauded for its attention to detail, dramatic energy, and sophisticated use of perspective, showcasing a high degree of artistic skill.

The mosaic I find particularly touching presents one word only. It was placed in front of the main entrance to the House (Plan No. 2bold), reading HAVE, a Latin word meaning ‘Greetings’ or ‘Welcome’. Isn’t it a particularly welcoming touch to the grandeur of this spectacular Pompeiian house?

The PowerPoint I prepared for my new BLOG POST the House of the Faun has two Parts. The first consists of photos of the House itself. The second part of the PowerPoint presents photos of its famous Mosaics. For the PowerPoint, please… Check HERE!

This Video dedicated to the House of Faun is worth seeing… https://www.youtube.com/watch?v=-X4i0psJ2p0

The Hours of Jeanne d’Evreux Queen of France

by 14th century ArtArtFrench ArtInternational Gothic ArtStudent ActivitiesWorksheets
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r, Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

The Hours of Jeanne d’Evreux, Queen of France, is a famous medieval illuminated manuscript created around the year 1324-1328. Currently housed in the collection of the Metropolitan Museum of Art in New York City, on display at the Cloisters, the manuscript is considered one of the most exquisite examples of Late Gothic manuscript illumination. It was probably commissioned for Jeanne d’Evreux, by her husband, King Charles IV of France, between the date of their marriage in 1325 and his death three years later.

At first glance, this tiny prayer book, the size of each vellum folio is 9.2 x 6.2 cm, with not a trace of gold, might seem an unlikely possession for a queen of France. The Hours of Jeanne d’Evreux, however, offers much more than meets the eye. This manuscript consists of 209 folios, containing not only twenty-five full-page paintings featuring depictions of significant moments from the Infancy and Passion of Christ, but also scenes portraying the life of Saint Louis, a notable ancestor of Queen Jeanne. Additionally, the margins of the manuscript are adorned with an astonishing array of nearly 700 illustrations. These illustrations vividly portray a diverse tapestry of medieval Parisian society, including bishops, beggars, street dancers, maidens, and musicians. Furthermore, interspersed among these depictions are whimsical creatures from the realm of pure fantasy, such as apes, rabbits, dogs, and other enigmatic beings. The combination of meticulously crafted religious imagery and glimpses into the vibrant urban life of medieval Paris makes The Hours of Jeanne d’Evreux an extraordinary testament to the artistic and cultural milieu of the time. https://www.metmuseum.org/art/collection/search/470309

Diminutive in size, the Hours of Jeanne d’Evreux was made between 1324 and 1328 https://www.facsimilefinder.com/facsimiles/hours-jeanne-evreux-facsimile
Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 15v-16r, The Betrayal of Christ and The Annunciation to Mary, 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:4_Jean_Pucelle._Hours_of_Jeanne_d%27Evreux._1325-28,_Metropolitan_Museum,_New-York.jpg

While there is no positive proof establishing the identity of the artist behind the Cloisters manuscript, three extraordinary documents, Jeanne d’Evreux’s will, King Charles V’s inventory of treasures, and the successive 1401 and 1406 inventories of the collection of Jean, Duc de Berry, led scholars to accept Jean Pucelle as the artistic genius behind the manuscript’s illuminations.

Jean Pucelle was a fine Parisian manuscript illuminator of impeccable taste and refined elegance. He was a great innovator, introducing the art of Giotto and Ducio to Northern Europe. He had the ability to present sculpturally modeled figures, capture psychological expressions, and convey human emotions. Finally, Pucelle was the artist who presented ideas such as the use of naturalistic settings and narrative continuity within his miniatures.

His name became synonymous with exceptional craftsmanship and artistic excellence, but much of his life remains shrouded in mystery. However, his surviving works serve as a testament to his profound impact on the art of illumination during the medieval period, earning him a well-deserved place among the great masters of the era.

The illuminated manuscript of Jeanne d’Evreux in the Cloisters is a Book of Hours, that is, a devotional and instructional book that was popular in Western Europe during the Middle Ages. It was primarily used by laypeople, particularly wealthy individuals, for personal prayer and devotion. It was essentially a private prayer book, containing a collection of prayers, psalms, hymns, and other religious texts, often accompanied by illustrations. It was called a “Book of Hours” because it typically included a series of prayers that were meant to be recited at specific times throughout the day, corresponding to the canonical hours of the liturgical day.

The book usually began with a calendar, which listed important feast days and saints’ days. It would then include various sections, such as the Hours of the Virgin Mary, the Office of the Dead, and other prayers dedicated to specific saints or events. Each section would contain specific prayers, psalms, and readings associated with the particular devotion.

The decoration for the Calendar page in Books of Hours can vary depending on the specific manuscript and the artistic style of the time. For The Hours of Jeanne d’Evreux, Pucelle employed scenes depicting the agricultural activities commonly carried out each month of the year, such as plowing, sowing seeds, or tending to crops, along with scenes of the countryside, fields, or farms. For the Month of September, the artist chose to depict the labor of harvesting or tending to the vineyards. Pucelle’s page shows workers engaged in grape harvesting and winemaking activities, such as picking grapes, stomping on them, and hungrily tasting the fruits of their labour.

Jean Pucelle, French, active Paris, 1319–34
The Hours of Jeanne d’Evreux, Queen of France, Folios 9v-10r (detail), Calendar Pages for September, ca. 1324-28, Grisaille, tempera, and ink on vellum, Single folio: 9.2 x 6.2 cm, the MET, NY, USA Jean Pucelle | The Hours of Jeanne d’Evreux, Queen of France | French | The Metropolitan Museum of Art (metmuseum.org)

What I like most is how the illuminations created for the Hours of Jeanne d’Evreux employ a diverse range of artistic techniques. One of them is the grisaille technique, described as de blanc et noir in French, which involves using shades of gray created through hatching and cross-hatching. Grisaille, however, is not enough for Jean Pucelle. He wants to introduce vibrant colours, so along with grisaille, he adds tempera paints as well. The combination of these two techniques, known as “camaïeu gris,” results in a harmonious interplay of grayscale and color. The application of grisaille and the skillful use of tempera bring forth a visually captivating effect, enhancing the overall aesthetic appeal of the manuscript.

Overall, the Hours of Jeanne d’Evreux is not only a masterpiece of medieval art, characterized by its elegant figures, attention to detail, and a fusion of naturalistic and stylized elements. It is a valuable historical artifact as well, providing insight into the artistic, cultural, and religious practices of the French royal court during the 14th century.

Its delicate illuminations and meticulous craftsmanship make it a treasured example of medieval book art, and it continues to inspire and captivate viewers to this day.

For a Student Activity, please… Check HERE!

A Coign of Vantage by Sir Lawrence Alma-Tadema

by 19th century ArtArtArt of the United KingdomPowerpointsVictorian Art
Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage, 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://www.telegraph.co.uk/art/what-to-see/alma-tadema-home-antiquity-leighton-house-museum-review/

Sir Lawrence Alma-Tadema was a renowned Dutch-born British painter who had a profound interest in Roman antiquity. He was one of the leading artists of the late 19th century and early 20th century, specializing in historical and classical subjects. Alma-Tadema’s fascination with Roman antiquity was central to his artistic vision and played a significant role in shaping his career. The painting A Coign of Vantage by Sir Lawrence Alma-Tadema, regarded as one of the artist’s quintessential masterpieces, is a favourite of mine! SIR LAWRENCE ALMA-TADEMA, O.M., R.A., R.W.S. (BRITISH, 1836-1912) (christies.com)

The painting A Coign of Vantage by Sir Lawrence Alma-Tadema has an interesting title! The phrase comes from Shakespeare’s Macbeth, no jutty, frieze, Buttresss, nor coign of vantage, but this bird Hath made his pendent bed and was later popularized by Sir Walter Scott. The word coign, meaning a projecting corner or cornerstone, is a variant of the coin from Old French meaning ‘wedge, corner, die’, from Latin cuneus ‘wedge’. Sir Lawrence Alma-Tadema’s painting is perfectly titled! https://www.encyclopedia.com/humanities/dictionaries-thesauruses-pictures-and-press-releases/coign-vantage

The focal point of the painting is a group of three young women, elegantly dressed in vibrant gowns, olive green, beige, white, and pink, standing on a marbled terrace, over a thrilling, vertiginous drop, an advantageous viewpoint, overlooking the sea below. May I suggest this is the island of Capri and the Bay of Naples, in the distance? The women stand against a marble railing and gaze down at the sea, where a luxuriously decked trireme is depicted arriving. The composition is further enhanced with the addition of an impressive bronze sculpture of an animal, wreathed with vibrant yellow flowers. Was the artist inspired by the Egyptian Sphinx he probably saw in Villa San Michele on Capri? Alma-Tadema would have visited the famous Villa after inspecting the sites at Pompeii and Herculaneum, seeking inspiration for his pictures, and gathering material for use as props for his paintings. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

Sir Lawrence Alma-Tadema, O.M., R.A., R.W.S., Anglo-Dutch Artist, 1836-1912
A Coign of Vantage (detail), 1895, Oil on Canvas, 63.8 x 44.7 cm, Private Collection https://makeupandbeautyblog.com/daily-photo/more-pics-of-a-coign-of-vantage/
The Sphinx at Villa San Michele, approximately 3200 years old, Red Granite, Villa San Michele, Anacapri, Italy https://www.villasanmichele.eu/collection

The painting A Coign of Vantage is a prime example of Alma-Tadema’s ability to transport viewers to a distant time and place, evoking a sense of nostalgia and fascination for the grandeur of ancient Rome. The painting captures the artist’s dedication to historical accuracy, his love for opulent settings, and his skill in creating an alluring atmosphere through his meticulous technique. This is a picture of grand luxe, according to the experts at Christie’s, ease and well-being, an escapist fantasy perfectly attuned to the wishes of a picture-buying public who reveled in the warmth of its Mediterranean light. At the height of his fame, his pictures of Ancient Rome, wealthy, secure, and insouciant, reflected the success enjoyed by the newly rich plutocrats of Victorian Britain, who had made their fortunes building another Empire, a couple of millennia later. https://www.christies.com/lot/lot-6426695?ldp_breadcrumb=back&intObjectID=6426695&from=salessummary&lid=1

A view of the Blue Parlor in the Temple of Wings Mansion, and Alma-Tadema’s painting ‘A Coign of Vantage’ as displayed in the Parlor… The contents of the Ann and Gordon Getty Collection in their Mansion, The Temple of Wings were auctioned at Christie’s (May 31 – June 15, 2023) https://www.artandobject.com/news/masterpieces-alma-tadema-moore-and-bouguereau-headline-getty-collection-auction

Sir Lawrence Alma-Tadema, born as Lourens Alma Tadema on January 8, 1836, and died on June 25, 1912, was a Dutch-born British painter. He is known for his meticulously detailed and beautifully rendered paintings depicting scenes from ancient civilizations, particularly ancient Rome, and Egypt. Alma-Tadema’s works often portrayed opulent interiors, lavish costumes, and intricate architectural details, capturing the splendor and decadence of the ancient world.

His paintings typically featured historical or mythological themes, and he was known for his thorough research and attention to detail. Alma-Tadema would often reconstruct historically accurate settings for his works, using models, props, and costumes to bring his visions to life. His compositions were carefully arranged, with an emphasis on color, light, and texture. They were highly sought after, and he had a significant influence on later artists. His attention to detail and ability to create immersive and visually stunning scenes made him one of the most successful painters of the late 19th century.

For a PowerPoint presentation of 10 Important Paintings by Sir Lawrence Alma-Tadema inspired by Ancient Rome, please… Check HERE!

Roman Enameled Glass

by ArtPowerpointsRoman Art
Goblet with a Gladiator, Begram Hoard, 1st century AD, Enameled Glass, Height:  cm, Guimet Museum, Paris, France https://twitter.com/AntiokhosE/status/1615092377340846089
Vase fragment depicting African Hunt, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://depts.washington.edu/silkroad/museums/mg/begram.html
Goblet with the abduction of Europe, Begram Hoard, 1st century AD, Enameled Glass, Height: 16 cm, Guimet Museum, Paris, France https://commons.wikimedia.org/wiki/File:Goblet_Abduction_of_Europa_Begram_Hoard_Guimet_MG21228_n01.jpg

The earliest glass vessel decorated with enameling, write the Corning Museum experts, dates from about 1425 BC. It successfully combines one of humankind’s oldest creative urges (the desire to draw on things) with one of the most advanced technologies of the ancient world (glassmaking). Interestingly, and surprisingly, the next step in decorating with enameling takes fourteen centuries to occur. The absence of enameling on Greek and Hellenistic glass, with no surviving artifacts or documentary descriptions, up until now, directs us to assume that both the concept of this type of decoration and the means to realize it were simply lost and long-awaited rediscovery. All changed during the early decades of the 1st century AD. The gap was bridged, and the technical challenges were achieved. The creation of luxurious Roman Enameled Glass vessels started and lasted over a period of about 300 years. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

Roman enameled glass artifacts fascinate me. They showcase a unique combination of glass craftsmanship and enamelwork, resulting in stunning decorative pieces. While I am not an expert in glass, I am eager to learn. The Corning Museum of Glass website provides valuable information on enameled glass, so allow me to address some questions, starting with “What” and “How.” A valuable addition will be the PowerPoint presentation I have compiled, featuring significant examples of Roman enameled glass artifacts from museums around the world… Click HERE! and judge for yourselves!  https://home.cmog.org/ and https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

What is Enameled Glass? Enameled glass is a type of glass that has been decorated with a layer, or more, of colored or opaque vitreous enamel. Enamel is a powdered glass material that is mixed with pigments or metallic oxides to achieve various colors and effects. The enameling process involves applying the enamel powder onto the surface of the glass and then heating it in a low-temperature muffle kiln (about 965°-1300°F or 500°-700°C). This heat fuses the enamel to the glass, creating a durable and permanent bond. Sometimes, several firings are required to fuse the different colors of an elaborately enameled object. https://allaboutglass.cmog.org/definition/enamel and Objects and Techniques | The Techniques of Renaissance Venetian Glassworking (cmog.org)

Why did artists use the Enameled Glass technique? Enameled glass is often used for decorative purposes due to its ability to add color, pattern, and texture to glass surfaces. It can be found in various applications, such as art glass, stained glass windows, decorative panels, glassware, and architectural elements. The enamel coating on the glass can be transparent, allowing light to pass through, or opaque, blocking the transmission of light. The choice of enamel color, texture, and design can be customized to suit specific aesthetic preferences or design requirements.

How did Enameled Glass develop, chronologically up and including the Renaissance period, in Europe? A. Roman Period: The discovery of glassblowing during the Roman period made glass affordable and widely available for ordinary domestic purposes. However, the Romans also produced some of the most lavish luxury glass ever made. This is also the time when luxurious glass enamel originated as well. B. 5th – 12th Century AD: The Early Middle Ages saw less advancement in Enameled Glass in Europe due to the fall of the Western Roman Empire and societal changes. There’s evidence, however, of continuous tradition in the Byzantine Empire. C. Late Medieval Period: The first major revival of enameled glass occurred during the late Medieval period. This is also when we see the first instances of stained glass windows in churches, which used enamel for detailed painting and shading. Venice, and the island of Murano to be specific, became the greatest European Glass-making center. D. Renaissance Period: The development of enameled glass greatly increased during the Renaissance. In Venice/Murano, the most important center for glassmaking, artists developed new enameling techniques that allowed for greater detail and more vibrant colours. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

How can Roman Enameled Glass production be described aesthetically? The aesthetic effects of Roman artifacts made from enameled glass can be described as opulent, vibrant, and intricate. These effects were intended to showcase the wealth, status, and refined taste of their owners. The combination of glass and enamel craftsmanship resulted in a unique fusion of materials, creating objects that exuded beauty and sophistication.

Bowl fragments depicting Combat Scenes, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://twitter.com/SusanRahyab/status/1554483598748749824/photo/4

The vibrant colors used in Roman enameled glass, achieved through the application of enamel, added a sense of liveliness and richness to the artifacts. The various shades of blues, greens, yellows, reds, and whites created a visually dynamic and eye-catching effect. The colors were often complemented by the addition of gilding or gold leaf, further enhancing the luxurious appearance of the pieces.

The Bird Cup, 20-50 AD, Enameled Glass, Civic and Archaeological Museum, Locarno, Switzerland https://hls-dhs-dss.ch/it/articles/002115/2010-03-30/

The intricate scenes found in Roman enameled glass artifacts showcased the high level of skill and attention to detail of the artisans. Geometric designs, floral motifs, organic patterns, and figurative compositions were meticulously executed, creating a sense of complexity, visual depth, delicacy, and refinement to the overall design.

The layered and multicolored effects, achieved by applying enamel in successive layers, added a sense of dimensionality and complexity to the artifacts. The juxtaposition of different colors and patterns created a captivating visual interplay, drawing the viewer’s attention and enhancing the overall aesthetic appeal.

The aesthetic effect of Roman enameled glass production also reflects the broader artistic sensibilities of the Roman Empire. It embodies the fusion of influences from various cultures, including Hellenistic, Egyptian, and Near Eastern, resulting in a unique and eclectic style that was distinctively Roman.

For a PowerPoint, please… Check HERE!

Warhol by Basquiat Basquiat by Warhol

by 20th century ArtAmerican ArtArtStudent ActivitiesWorksheets
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection
Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland
(Photos: Amalia Spiliakou, May of 2023, Exhibition Basquiat × Warhol. À Quatre Mains, Fondation Louis Vuitton)

On the 8th of May, while in Paris, I visited the Exhibition Basquiat × Warhol. À Quatre Mains (From 05.04.2023 to 28.08.2023) at Fondation Louis Vuitton. Two Portraits of the famous duo, the first a Polaroid Photo of the two artists by Andy Warhol, the other, a painted version of the Warhol Polaroid by Basquiat, were the first steps taken towards an artistic collaboration that started on the 4th of October 1982 and resulted in about 160 paintings. My new BLOG POST titled Warhol by Basquiat Basquiat by Warhol will present you with the first impressions of the legendary first meeting of the two artists, organized by Swiss Gallery owner Bruno Bischofberger, as documented by the protagonists.

At Fondation Louis Vuitton for the Basquiat x Warhol, À Quatre Mains Exhibition… (Photo Credit: Katerina Floran-Ioannou)

Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He’s the kid who used the name ‘Samo’ when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I’d give him $10 here and there and send him up to Serendipity to try to sell the T-shirts there. He was just one of those kids who drove me crazy… And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour” (A. Warhol, ‘October 4, 1982″, The Andy Warhol Diaries, ed. P. Hackett, New York, 1989, p. 462).… Warhol wrote in his Diary.

Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the first dynamics of their relationship and capturing the essence of their future artistic connection. Warhol’s introduction to the meeting sets the tone for the casual and straightforward nature of the rest of the entry. Jean-Michel Basquiat, mentioned as the kid who used the name ‘Samo’  is significant. The reference to Warhol providing Basquiat with occasional financial support and sending him to sell his T-shirts at Serendipity adds a layer of mentorship or support that Warhol extended to the young artist. Warhol’s remark about Basquiat driving him crazy, however, hints at the upcoming complexities of their relationship. It suggests that Basquiat may have been a somewhat challenging individual to handle, but it’s also possible that Warhol found him intriguing or enigmatic in some way. The diary entry captures a sense of Warhol’s enduring fascination with unique and unconventional characters.

Andy Warhol, American Artist, 1928-1987
Self-Portrait with Jean-Michel Basquiat, October 4, 1962, Polaroid, Collection Bischofberger, Männedor-Zurich, Switzerland (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)
Jean-Michel Basquiat, American Artist, 1960-1988
Dos Cabezas, October 4, 1962, acrylic and oil stick piece created on canvas and mounted on wood supports, 151.8  × 154 cm, Private Collection (Photo: Amalia Spiliakou, May of 2023, Fondation Louis Vuitton)

The mention of lunch together highlights the casual nature of their encounter. It’s noteworthy that Warhol took a Polaroid photograph of himself and Basquiat, capturing the moment of their meeting. The fact that Basquiat promptly painted a portrait of both of them, which Warhol describes as still wet, demonstrates Basquiat’s creative energy and immediate response to the encounter.

Overall, Andy Warhol’s diary entry provides a glimpse into his interaction with Jean-Michel Basquiat, highlighting the dynamics of their relationship and capturing the essence of their artistic connection. It showcases Warhol’s role as a mentor and the impact he had on Basquiat’s early career, while also revealing the complexities and idiosyncrasies of their shared artistic world.

Responsible for organizing the meeting between the two artists was Bruno Bischofberger, the Swiss gallery owner, who, at the time, represented both Andy Warhol and Jean-Michel Basquiat. His recollection of the Warhol-Basquiat first meeting expands upon the diary entry by providing additional details and emphasizing the creative exchange between the two artists. It portrays a sense of mutual artistic admiration and the vibrant energy that surrounded their interaction, further enriching our understanding of this significant moment in art history.

Warhol photographed Basquiat with his special Polaroid portrait camera. Jean-Michel asked Warhol whether he could also take a photo of him, took some shots, and then asked me to take some photos of him and Warhol together. We then wanted to go next door to have the customary cold buffet lunch. Basquiat did not want to stay and said goodbye. We had hardly finished lunch, one, at most one and half an hour later, when Basquiat’s assistant appeared with a 150 x 150 cm (60″ x 60″) work on canvas, still completely wet, a double portrait depicting Warhol and Basquiat: Andy on the left in his typical pose resting his chin on his hand, and Basquiat on the right with the wild hair that he had at the time. The painting was titled Dos Cabezas. The assistant had run the ten to fifteen blocks from Basquiat’s studio on Crosby Street to the Factory on Union Square with the painting in his hands because it wouldn’t fit into a taxi. This is how Bischofberger, who facilitated the meeting, recalled the events that led to the famous artworks!

For a Student Activity, please… Check HERE!

Valuable Information for my BLOG POST came from… https://www.christies.com/lot/lot-5371726/?intObjectID=5371726

For Information and two short Videos on the Exhibition at Fondation Louis Vuitton, please… Check… Basquiat × Warhol. Painting four hands (fondationlouisvuitton.fr)

Madre della Consolazione

by ArtByzantine ArtByzantiumPost-ByzantineStudent ActivitiesWorksheets
Madre della Consolazione,15th century, tempera on wood, 0.563×0.45 m, Canellopoulos Museum, Athens, Greece https://camu.gr/en/item/panagia-madre-della-consolazione/

Given this state of affairs and stepping out as though on the royal highway, following as we are the God-spoken teaching of our holy fathers and the tradition of the catholic church – for we recognize that this tradition comes from the Holy Spirit who dwells in her – we decree with full precision and care that, like the figure of the honoured and life-giving cross, the revered and holy images, whether painted or made of mosaic or of other suitable material, are to be exposed in the holy churches of God, on sacred instruments and vestments, on walls and panels, in houses and by public ways, these are the images of our Lord, God and saviour, Jesus Christ, and of our Lady without blemish, the holy God-bearer, and of the revered angels and of any of the saintly holy men. This is how the Council of Nicaea II, in 787 AD described the Restoration of the Holy Icons. The Madre della Consolazione Icon in the Canellopoulos Museum of our Lady without blemish, and the infant God and saviour, Jesus Christ, is a wonderful example of this declaration… https://www.papalencyclicals.net/councils/ecum07.htm

Paul and Alexandra Canellopoulos Museum in Athens has an important collection of Byzantine and post-Byzantine artworks dating from the formative years of the Byzantine era (4th-7th century AD) to the post-Byzantine and Modern periods (1453-1821). The Museum’s collection includes paintings, miniatures, gold and silverwork, wood carvings, and embroidery, as well as jewelry, coins, mosaics, wall paintings, and Patriarchal documents spanning from the 18th and the 19th centuries to the flourishing icon-painting workshops of Mount Athos. Worth noting is that the artwork in the Collection reveals diverse cultural influences that make up the breadth of Byzantine art, resulting in exceptional elegance and originality. https://camu.gr/en/art/byzantine-art/

Going through the Museum’s Collection of Icons I was impressed by the represented high-quality examples of Constantinopolitan, Macedonian, and Cretan styles of Byzantine painting. Particularly impressive is the group of Icons that represents the Post-Byzantine Cretan School. According to the Museum’s experts… almost all the great hagiographers of the Cretan School from the years after the Fall of Constantinople are represented in the Museum, including Nicolaos Tzafouris, Michael Damaskenos, Emmanuel Lambardos, Frangias Kavertzas, Ieremias Palladas, Victor, and Emmanuel Tzanes. https://camu.gr/en/art/byzantine-art/

I was immediately drawn to a 15th-century Icon presenting the Madre della Consolazione. How couldn’t I, when the Eastern Byzantine representational style, harmoniously met and adapted to the novel ideas of the ‘Maniera Greca’ style of 15th century Venice. An added bonus to the overall impression of this remarkable Icon is its Baroque wood-carved frame. High-relief open-work decoration of scrolling leaves and fruits, a ribbon passing between them, and five angels, almost sculpted in the round, create an impression of added opulence, and luxury.

The Canellopoulos Museum Icon is a typical example of an ‘Italo-Cretan’ style ‘Madre della Consolazione’ composition. It depicts the Virgin Mary in the ‘bust’ format, against the traditional Byzantine gold background, holding the infant Jesus on her right arm. Mary is depicted with a serene expression, gazing, with slanted eyes, at the child she affectionately holds. The infant Jesus presents the gold globus cruciger of the world with his left hand, and blesses the viewer with his right.

Inspired by the Byzantine tradition, Mary wears a red maphorion trimmed with elaborate gold embroidery of pseudo-Kufic motifs on its edge and carries the three gold stars (only two are visible), which symbolize chastity, on her forehead and her shoulders. The infant Christ, on the other hand, placed on the right side of the composition, is dressed in a white chiton, a deep blue ‘chemise’ of a Western type, embroidered richly in gold, and an orange himation with gold Byzantine striations.

Superbly crafted, and refined in execution, the Madre della Consolazione composition aims to convey a sense of comfort, solace, and maternal love. The overall mood of the Canellopoulos Museum Icon is one of sweet tenderness and compassion.

For a Student Activity, please… Check HERE!

Virgin and Child

by 16th century ArtArtNorthern RenaissanceRenaissanceRenaissance ArtStudent ActivitiesWorksheets
Attributed to Simon Bening, 1483/84–1561
Virgin and Child, ca. 1520, Oil on wood, 25.4 x 21 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/436103

Lady, Our Lady, writes Vittoria Collona (Sonnet 51), did you not press and pour / into your milk, like essential oils wrung, / the whole of you, like living breath into lung, / to nourish the whole of your divine son? Or / did his living fire scorch your holy breast, and more, / breaking into pure light and pure song / the pieces of you like a universe born? / Who can understand it, how spirit tore / into the material world like lightning, / did not burn but lit it up in a flash / that lasted through the long night, whitening / like snow the dark, dark world? In the flesh / he came and defied every logic, not frightening / but consoling like the evening’s red flush… and I think of a lovely painting of the Virgin and Child in the Metropolitan Museum attributed to Simon Bening. https://aleteia.org/2022/08/14/is-this-the-most-beautiful-sonnet-ever-written-for-mary/

Simon Bening, 1483 – 1561
Self-portrait of Simon Bening, aged 75, 1558, tempera on parchment, 8.6×5.7 cm, the MET, NY, USA
https://www.metmuseum.org/art/collection/search/459254

Simon Bening is a master manuscript illuminator. Hailed by Portuguese art critic and artist, Francisco da Hollanda as the greatest master of illumination in all of Europe, Simon Bening was one of the most celebrated painters of Flanders in the 1500s. He served powerful aristocrats and worked for a group of international royal patrons including Emperor Charles V and Don Fernando, the Infante of Portugal. He is famous for creating some of the finest illuminated Books of Hours in the history of art. His specialty was painting, in the Flemish tradition, poetic landscape vistas… https://www.getty.edu/art/collection/person/103JTN

The painting of the Virgin and Child in the Metropolitan Museum attributed to Simon Bening exhibits the painter’s interest in artistic exploration. According to the Museum experts, the artist of the Virgin and Child was heavily inspired by Gerard David’s painting depicting the Rest on the Flight into Egypt. Both paintings present the Virgin as the very model of a nurturing mother. The context is, however, different. David’s painting refers to the Gospels (Matthew 2:13-14) and the arduous journey of the Family to Egypt. Bening, if the Virgin and Child painting is indeed his, presents a ‘genre’ scene of a nurturing mother and child. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, pp. 308-313 https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art

Attributed to Simon Bening, 1483/84–1561
Virgin and Child, ca. 1520, Oil on wood, 25.4 x 21 cm, the MET, NY, USA
Gerard David, ca. 1455–1523
The Rest on the Flight into Egypt, ca. 1512–15, Oil on wood, 53.3 × 39.8 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/436103 and https://www.metmuseum.org/art/collection/search/436101

The MET painting of the Virgin and Child is typical of the Flemish tradition of ‘hidden’ symbolisms. Mary, for example, sits on the wall of an enclosed garden, the Hortus Conclusus, a symbol of her purity, which refers to the Garden of Eden of the Old Testament. Mint, present, in abundance, behind Mary, is a plant that grows wild in Palestine and is mentioned by Jesus in His discourse with the Pharisees. Bening uses it to further stress the virtue of Mary, as mint is a plant with healing and cleansing properties. The violets, at the lower part of the garden wall, are used by the artist as a sign of Mary’s humility. She is, after all, the Viola Odorata, meaning Our Lady of Modesty. Very important to underline is the stream of milk that flows from the Virgin’s breast to the lips of the Child, who turns to the viewer, spoon in hand, to directly communicate the notion of physical and spiritual nourishment. https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art page 312

Simon Bening was famous for his poetic landscape vistas. His manuscript illuminations, like the pages of the Twelve Months in the Book of Golf we have been examining, reveal various aspects of his innovative character. The MET painting Virgin and Child favors a landscape that recedes into the far distance, large trees with highlighted edges, and the inclusion of a vignette… a small house surrounded by trees near the edge of a pond. This is a wonderful example of early sixteenth-century art for all to enjoy! https://www.metmuseum.org/art/metpublications/From_Van_Eyck_to_Bruegel_Early_Netherlandish_Painting_in_The_Metropolitan_Museum_of_Art page 312

For a Student Activity, please… Check HERE!

Swimmers on a Wooden Pier

by 20th century ArtAmerican ArtArtGreek ArtNeohellenic ArtStudent ActivitiesWorksheets
Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg
George Wesley Bellows, American Artist, 1882 – 1925
42 Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

Michael Axelos’s painting oeuvre attests to his solid technique and undeniable talent. It was not by chance, writes Yannis Stournaras, Governor of the Bank of Greece, that he was the first Greek artist to be entrusted, initially by the National Bank of Greece and subsequently by the Bank of Greece, with the design of banknotes and coins, which he imbued with an aesthetic quality. The Exhibition Michael Axelos (1877-1965) – Between two worlds (December 22, 2015 – July 6, 2017), organized by the Bank of Greece – Centre for Culture, Research, and Documentation, shed new light on both known and unknown aspects of the artist’s life. Going through the Exhibition Catalogue, the painting Swimmers at Palaio Faliro Beach caught my attention, and curiosity… how different, or similar, is the Greek artist’s painting compared to George Wesley Bellows composition 42 Kids? A new BLOG POST, Swimmers on a Wooden Pier, will not give you the decisive answer. Maybe information to reflect upon…    https://www.bankofgreece.gr/MediaAttachments/AXELOS_CATALOGUE.pdf

Michael Axelos, an artist of exceptional skill, whose significant output spanned different genres, was a graduate of the Athens Law School and of the Athens School of Fine Arts. From 1911 to 1914 he continued his studies in Paris, at the Académie Julian and the Académie de la Grande Chaumière where his rather conservative initial training was infused with the new artistic developments, on one hand, Fauvism, and on the other hand Cubism, as presented in the Salons of 1910 and 1911. Axelos devoted a large part of his life and work to the Bank of Greece, where he designed banknotes, coins, and security documents. His retirement in 1846 starts a new period in his artistic life. Without changing his style radically, his painting becomes somehow liberated, is less strict, and escapes from the conservative framework where he had consciously placed it. https://museum.bankofgreece.gr/en/exhibitions/5/–18771965—–?ctx=9b1ea4a74a6d7c70df84ae52cbab3c959873d6f8&idx=4

Michael Axelos, Greek Artist, 1877-1965
Swimmers at Palaio Faliro beach, 1935, Oil on plywood, 24.5 x 35.2 cm, Bank of Greece, Athens, Greece
https://www.bankofgreece.gr/PublishingImages/PRESS-RELEASES/2022/Thalassografies_4.jpg.jpg

In 1935, while still working for the Bank of Greece, Axelos painted Swimmers at Palaio Faliro beach, one of my favorite, most charming paintings. Palaio Faliro is a coastal suburb of Athens and a popular destination for beachgoers. Axelos’ painting depicts a group of swimmers, with the blue sky, the sea, and the not-so-distant Athenian coast, forming a prominent part of the composition. The swimmers are portrayed in a gestural and loose manner, emphasizing movement and dynamism. They take advantage of the well-constructed wooden piers and enjoy a typical Greek summer day, diving into the sea, splashing with joy in the water, and sunbathing. Axelos’ use of tints and little shade, expressive brushstrokes, and direct sunlight, creates a delightful, persuasive composition of a classic Greek summer morning.

George Wesley Bellows was an American artist known for his depictions of New York City life. He was born in Columbus, Ohio, and studied at the Ohio State University before moving to New York City in 1904 to study at the New York School of Art under Robert Henri. Bellows quickly became known for his bold and expressive style, which captured the energy and dynamism of the city. His early work focused on the working-class neighborhoods of New York, depicting scenes of tenement life, street vendors, and labor strikes. He was a member of the Ashcan School, a group of artists who sought to depict the realities of modern life in their work. Tragically, Bellows died at the age of 42 from a ruptured appendix. Despite his short career, he left a lasting impact on American art and is considered one of the most important artists of the early 20th century.

George Wesley Bellows, American Artist, 1882 – 1925
Forty Two Kids, 1907. Oil on canvas, 106.7 x 152.4 cm, Corcoran Gallery of Art, Washington, DC https://www.nga.gov/collection/art-object-page.134485.html

In August 1907 Bellows painted Forty-Two Kids, which depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. https://www.nga.gov/collection/art-object-page.134485.html

In terms of aesthetics, Bellows has used bold brushstrokes and vibrant colors to capture the energy and excitement of the children. The figures are depicted in dynamic poses that convey their movement and joy. The composition is carefully balanced, with the rough wooden pier stretching out to the right of the canvas, and the water and sky occupying the upper two-thirds of the painting. The use of color is particularly striking in this painting. The boys’ gangly bodies are loosely painted and brightly lit from the upper left. Most are nude, and Bellows employs hues of bright, cream white to medium brown to capture their skin tones. For the rest of the painting, the river in particular, Bellows uses intense shades of blue, emerald green, and yellow that convey a sense of summertime and warmth. The reflections of the children in the water create a sense of depth and perspective, and the overall effect is one of a moment frozen in time, capturing the exuberance of roaming young boys from New York’s Lower East Side tenements. https://www.nga.gov/collection/art-object-page.134485.html

Do you see similarities or differences? The decision is yours…

For a Student Activity, titled Swimmers on a Wooden Pier, please… Check HERE!

Les Meules à Giverny simply means The Stacks at Giverny

by 19th century ArtArtFrench ArtImpressionismStudent ActivitiesWorksheets
Claude Monet, French Artist, 1840-1926
Stacks of Wheat (End of Summer), 1890/91, Oil on canvas, 60 × 100.5 cm, The Art Institute of Chicago, USA https://www.artic.edu/artworks/64818/stacks-of-wheat-end-of-summer

My new BLOG POST title,  Les Meules à Giverny simply means The Stacks at Giverny,  refers to twenty-five paintings that Claude Monet began near the end of the summer, the month of August, of 1890, and continued through the following spring… Information about Les Meules à Giverny comes from Monet Paintings and Drawings at the Art Institute of Chicago | Cats. 27–33  Stacks of Wheat, 1890/91 (artic.edu) Cats. 27–33  Stacks of Wheat, 1890/91, and Monet’s Haystacks Reconsidered by Richard R. Brettell, Art Institute of Chicago Museum Studies, Vol. 11, No. 1 (Autumn, 1984), pp. 4-21 (19 pages) https://www.jstor.org/stable/4115885?read-now=1#page_scan_tab_contents, and https://www.sothebys.com/en/auctions/ecatalogue/2019/impressionist-modern-art-evening-n10067/lot.8.html

Claude Monet painted his famous series Les Meules, or Stacks of Wheat, also commonly referred to as Haystacks series, in his house at Giverny in France, where he saw large stacks of wheat in his neighbor’s farm, a field adjacent to his property. The decade starting in 1890 was a happy one for the artist. He turned fifty, he was established as an artist and was considered to be the leader of the Impressionist movement. He bought the house in Giverny, a beautiful place he had rented since 1883, a life-long source of inspiration, and a property and gardens he loved. It was also in 1890 that he began work on his famous Meules series.

I’m working away at a series of different effects (of stacks), but at this time of year, the sun sets so quickly that I can’t keep up with it… Monet explained to his friend Gustave Geffroy, journalist, art critic, historian, and novelist, on October 7, 1890. I’m becoming so slow in my work that it makes me despair, but the further I go, the better I see that it takes a great deal of work to succeed in rendering what I want to render: ‘instantaneity,’ above all the enveloppe, the same light diffused over everything, and I’m more than ever disgusted at things that come easily, at the first attempt… he continued.

Claude Monet first exhibited his series of paintings titled Les Meules, in Paris on the 4th of May, 1891. The exhibition, along with seven more paintings by the artist, took place at the Galerie Durand-Ruel, a prominent art gallery in the city. Fifteen paintings of the ‘Haystacks’  series were placed together and hung in the same small Gallery room. The exhibition of Monet’s ‘Haystacks’ series was met with a positive critical response, and it achieved significant financial success.

Let me present you with two 1891 critical reviews of Les Meules à Giverny simply means The Stacks at Giverny.

The famed art critic, gallery director, art collector, and anarchist, Felix Fénéon, the man who introduced the term Neo-Impressionist, wrote about Monet in rhapsodic prose… When did Monet’s colors ever come together in more harmonious clamor, with more sparkling impetus? It was the evening sun that most exalted Grainstacks: in summer they were haloed in purple flakes of ire; in winter, their phosphorescent shadows rippled in the sun, and, a sudden frost enameling them blue, they glittered on a sky first pink, then gold (F. Fénéon quoted in D. Wildenstein, Monet or the Triumph of Impressionism, Cologne, 1996, pp. 279-80).

Les Meules à Giverny by Claude Monet made the critic Gustave Geffroy wonder if Monet, a dear friend of his, saw the poetry of the universe in the restricted space of a field… I love it!

Today, experts on Claude Monet’s achievements, and particularly the famous Meules, examine the series as a whole and draw favorable conclusions about the artist’s ability in capturing the transient nature of light, the ever-changing atmosphere, and the passage of time, and Monet’s mastery in depicting the subtle variations of color and light. The general consensus is that Monet skillfully depicted the interplay between sunlight and shadows, creating a luminous quality in the ‘Heystacks’paintings. His use of broken color and loose brushwork allows the viewer’s eye to blend the colors optically, resulting in a vibrant and harmonious visual experience.

I particularly like how Paul Hays Tucker describes Monet’s organization… The compositions are all strongly geometric—the fields, hills, and sky being reduced to parallel bands that in most cases extend across the entire canvas, with the fields occupying approximately half the surface, and the hills and sky, a quarter each. When fifteen of these canvases were exhibited at Durand-Ruel’s in Paris between May 4 and May 18, 1891, their impact was as forceful as their elemental motifs and the show was an enormous success…. In moving from one canvas to another, one senses not only the many artful choices Monet made, but also his deep engagement with the stacks themselves. They are never overwhelmed by the light or obscured by the atmosphere, and thus they never lose their identity as forms. Monet even goes so far as to outline them, often in bold colors, and to define their conical tops by rivulets of light that run down their undulating edges. Although inert, the stacks seem to be invested with great feeling… P. H. Tucker, Monet in the ‘90s, The Series Paintings (exhibition catalog), Museum of Fine Arts, Boston, 1989, pp. 77 & 82 https://archive.org/details/monetin90sseries00tuck

For a Student Activity on Les Meules à Giverny, simply means The Stacks at Giverny, please… Check HERE!