Grandma Moses’ The Old Oaken Bucket in 1800

by 20th century ArtAmerican ArtArtPowerpoints
Anna Mary Robertson ‘Grandma’ Moses, American Artist, 1860-1961
The Old Oaken Bucket in 1800, 1943, Oil on Masonite, 61 x 71.1 cm, Private Collection https://www.christies.com/en/lot/lot-6286877

A fitting poem to complement Grandma Moses’ The Old Oaken Bucket in 1800 would be The Old Oaken Bucket by Samuel Woodworth. Written in 1817, this famous poem captures a deep nostalgia for the past and rural simplicity, much like Moses’ painting… How dear to this heart are the scenes of my childhood, / When fond recollection presents them to view! / The orchard, the meadow, the deep-tangled wildwood, / And every loved spot which my infancy knew. / The wide-spreading pond, and the mill that stood by it, / The bridge, and the rock where the cataract fell; / The cot of my father, the dairy-house nigh it, / And e’en the rude bucket which hung in the well— / The old oaken bucket, the iron-bound bucket, / The moss-covered bucket, which hung in the well. This artwork, painted on November 1, 1943, with its focus on cherished memories of rural life, welcomes November with gusto! https://digitalcommons.conncoll.edu/sheetmusic/1149/

Anna Mary Robertson Moses, known affectionately as ‘Grandma Moses,’ was an iconic American folk artist who was celebrated for her charming depictions of rural life. Born on September 7, 1860, in Greenwich, New York, Moses lived a humble life, spending much of her early years working on farms and tending to household duties. She did not begin painting until her late 70s after arthritis made it difficult for her to continue with her embroidery hobby. Her artistic journey began as a pastime but quickly evolved into a remarkable second career that brought her widespread acclaim. Despite having no formal art training, her work resonated with both art critics and the general public, capturing a sense of nostalgia for a simpler, agrarian America.

Grandma Moses’ art is characterized by its naïve style, where traditional perspective and proportion are often disregarded in favour of narrative and emotional impact. Her paintings typically depict scenes of everyday rural life, from seasonal activities like harvesting and sleigh rides to community gatherings and holiday festivities. The vibrancy of her colour palette, combined with her attention to detail in illustrating nature and people, gives her works a sense of warmth and accessibility. These qualities resonated deeply with viewers, especially during the post-World War II era when her idyllic portrayals of country life evoked a longing for peace and simplicity.

The artist’s painting The Old Oaken Bucket in 1800 captures a nostalgic and idyllic scene of rural life, reflecting the simplicity and charm of 19th-century American farm life. The painting, like many of Moses’ works, features a detailed landscape, with rolling green hills, farmhouses, and trees surrounding a central focal point: a small, rustic well with an old oaken bucket. The scene is alive with activity, showing farmers tending to animals, children playing, and people engaging in daily chores, all set against the backdrop of a bright, clear sky. Moses uses vivid, cheerful colours, particularly greens and browns, which give the landscape a lively yet peaceful feeling. Her emphasis on nature and human interaction speaks to the harmonious relationship between people and their environment.

What stands out in The Old Oaken Bucket in 1800 is Moses’ ability to evoke a deep sense of nostalgia through her simple, folk-art style. The painting doesn’t follow the rules of traditional perspective but instead offers a flattened, almost decorative approach to composition. Despite this, there is a strong narrative element to the work, as it invites viewers into the everyday lives of rural inhabitants. The painting’s central motif, the old oaken bucket, symbolizes a connection to the past and to simpler times, suggesting the importance of tradition and memory. Through this piece, Moses communicates a longing for the past and the enduring beauty of rural, community-centered life.

For a PowerPoint Presentation inspired by Grandma Moses’ The Old Oaken Bucket in 1800, please… Check HERE!

Bibliography: https://www.christies.com/en/lot/lot-6286877 and https://americanart.si.edu/artist/grandma-moses-5826 and https://benningtonmuseum.org/portfolio-items/grandma-moses/

Stukas returning from their mission at Crete

by 20th century ArtArtPowerpoints
Hans Liska, Austrian Artist, 1907-1984
Sketchbook by Hans Liska, 1942-43, published in 2 albums by the house of Carl Werner in Reichenbach, and sponsored by Junkers Flugzeug und Motorenwerke AG, with sketches and colour illustrations by the artist
Stukas returning from their mission at Crete in the first light of the rising sun, the Parthenon in the background, 1942-43, circa 20×30 cm, Private Collection
https://www.allworldwars.com/World%20War%20II%20Sketches%20By%20Hans%20Liska.html

Hans Liska’s watercolour ‘Stukas Returning from Their Mission at Crete in the First Light of the Rising Sun, the Parthenon in the Background’ exemplifies his role as a German WWII propaganda artist, combining the grandeur of ancient Greece with the military might of German Stuka bombers. The painting portrays the planes soaring past the Parthenon at dawn, symbolizing both cultural heritage and wartime power. Yet, while the Stukas embody fleeting military force, the Parthenon stands as a timeless monument to ideals of culture, democracy, and human creativity – qualities that far outlast the shadows of war. Is the scene effectively captured in my Haiku poem… ‘Morning sun ascends, / Stukas soar past Parthenon stones, / Shadows brush the sky…’

Hans Liska (1907–1983) was a highly regarded Austrian artist and illustrator, recognized for his exceptional ability to depict dynamic scenes with meticulous detail. Born in Vienna, he studied at the prestigious Akademie der bildenden Künste, where he developed a solid foundation in classical art techniques, including the use of line, shading, and perspective. Early in his career, Liska worked as a commercial illustrator, contributing to various advertising campaigns and publications. His early illustrations reflected a keen understanding of movement and energy, which would later become central themes in his most famous works. His versatility as an artist allowed him to master both static compositions and those bursting with action, making him an ideal fit for the fast-paced and visually compelling world of commercial art.

During World War II, Liska’s talents were recognized by the German military, and he was appointed as an official war artist for the Wehrmacht. In this role, he was deployed to various battlefronts, where he sketched and painted vivid scenes of combat and military life. His wartime work captured the intensity of battle, portraying soldiers in dramatic, often heroic, poses. Many of these illustrations were published in Nazi propaganda outlets such as Signal, a widely circulated military magazine. These works were intended to glorify the German war effort and morale, making them powerful tools of propaganda. Despite the ideological connotations of these illustrations, they remain a testament to Liska’s technical skill in conveying motion, emotion, and atmosphere in his art. His ability to illustrate human experiences during the war made him an important figure among World War II artists, though his works were often politically charged.

After the war, Liska successfully transitioned to the commercial sphere, distancing himself from his wartime associations. He became particularly renowned for his work with Mercedes-Benz, for whom he produced numerous illustrations and advertisements. His post-war art retained the fluid lines, dramatic contrasts, and sense of movement that characterized his earlier works, but now applied to more peaceful subjects, such as travel, high-end automobiles, and urban life. Liska’s skill in depicting speed and elegance made his automotive illustrations iconic within the advertising industry. Over time, his work became widely admired by both art collectors and automotive enthusiasts, cementing his legacy as one of the leading commercial illustrators of the 20th century. Today, Liska’s illustrations are valued not only for their artistic quality but also as historical artefacts that reflect the cultural and industrial landscape of mid-20th century Europe.

For a PowerPoint Presentation inspired by Hans Liska’s watercolour Stukas returning from their mission at Crete, please… Check HERE!

Jo Sketching at Good Harbor Beach by Edward Hopper

by 20th century ArtAmerican ArtArtPowerpoints
Edward Hopper, American Artist, 1882–1967
Jo Sketching at Good Harbor Beach, 1923–1924, Watercolor and fabricated chalk on paper, 35.2 × 50.6 cm, Whitney Museum of American Art, NY, USA https://whitney.org/collection/works/6864

Gull patrol / paranoiac survey / is it “I want to have a lot of sex” / or “I want to have sex a lot” / Paddle ball / wave swell / submerging the fabrics of the ’20s / at the only decent thrift shop / the TV shows still under the spell / of 9/11      and there / the little dictator / gassing his people / and here the handcuffed dead / and now the lifeguard slides / with expert force his tall red chair / backward along the sand to the ridge / the high tide makes at the edge / of the dunes. / Tide coming in / The profit and the loss / A surfboard for rescue /  and few in the water/ but remote seals and rumored sharks… writes Maureen N. McLane for Good Harbor Beach, and I think of the painting Jo Sketching at Good Harbor Beach by Edward Hopper! https://yalereview.org/author/maureen-n-mclane

Good Harbor Beach, located in Gloucester, Massachusetts, is a picturesque stretch of coastline renowned for its stunning natural beauty. The beach features fine, white sand and clear, calm waters, making it an ideal destination for swimming and sunbathing. At low tide, a sandbar emerges, allowing visitors to walk to Salt Island and explore its rocky terrain. The surrounding dunes and beach grasses add to the scenic charm, while the panoramic views of the Atlantic Ocean create a tranquil and inviting atmosphere. Popular with families, the beach offers amenities such as lifeguards, restrooms, and a concession stand, ensuring a comfortable and enjoyable experience for all who visit.

Edward Hopper, the renowned American realist painter, and his wife, Josephine (Jo) Nivison Hopper, had a significant connection with Good Harbor Beach. The couple spent many summers in Gloucester, where the serene and picturesque landscapes greatly influenced Hopper’s work. With its distinct light and tranquil ambience, Good Harbour Beach served as a frequent subject and inspiration for Hopper’s paintings. Jo, also an artist, often accompanied Edward on his painting excursions, providing support and sometimes posing for his works. Their time at Good Harbor Beach not only enriched Hopper’s artistic output but also solidified their personal and professional partnership, as they shared a mutual appreciation for the natural beauty and peaceful environment of the area. This relationship is reflected in the contemplative and evocative qualities of Hopper’s beach scenes, capturing the essence of their experiences together.

Edward Hopper’s watercolour painting Jo Sketching at Good Harbor Beach housed in the Whitney Museum of American Art, beautifully captures a moment of serene artistic engagement. The painting features Hopper’s wife, Jo, seated on a sandy expanse with her sketchpad, intently focused on her work. The beach’s natural elements, rolling dunes, sparse vegetation, and the gentle contours of the shoreline, are rendered with Hopper’s distinctive use of light and shadow, imbuing the scene with a luminous quality. The composition highlights the harmony between the figure and the landscape, reflecting the couple’s shared artistic endeavours and their deep appreciation for the tranquil beauty of Good Harbor Beach. Hopper’s masterful technique in watercolour brings a sense of immediacy and intimacy to this quiet, reflective moment, emphasizing both the personal and artistic dimensions of their relationship.

Good Harbor Beach is artistically presented in Edward Hopper’s work through his evocative use of light, shadow, and composition, capturing the serene and contemplative essence of the landscape. His paintings often depict the beach’s expansive, sunlit sands, the calm waters, and the surrounding dunes with a sense of quiet introspection. Hopper’s characteristic style of realism, combined with his ability to portray the subtleties of natural light, brings the tranquil beauty and solitude of Good Harbor Beach to life. These works reflect Hopper’s deep connection to the area and his skill in transforming everyday scenes into profound visual poetry, highlighting the unique atmosphere of this coastal haven.

For a PowerPoint Presentation of Edward Hopper’s oeuvre, please… Check HERE!

Boys on the Beach by Joaquín Sorolla y Bastida

by 20th century ArtArtPowerpointsSpanish Art
Joaquín Sorolla y Bastida, Spanish Artist, 1863-1923
Boys on the Beach, 1909, Oil on Canvas, 118×185 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/boys-on-the-beach/edd7a202-c069-49f1-a3f4-eacf9b4022c2

‘Tis better to sit here beside the sea, / Here on the spray-kissed beach, / In silence, that between such friends as we / Is full of deepest speech. Paul Laurence Dunbar’s poem, Silence, suggests an intimate communication transcending words. In contrast, the painting Boys on the Beach by Joaquín Sorolla y Bastida is boisterous and joyfully noisy… capturing the perfect summer scene!

Joaquín Sorolla y Bastida was born on February 27, 1863, in Valencia, Spain. He became an orphan at a young age and was raised by his aunt and uncle. Showing an early aptitude for art, he enrolled in the School of Fine Arts in Valencia at fifteen. Sorolla’s talent earned him scholarships to study in Madrid and later in Rome, where he absorbed the influences of classical and contemporary art. In 1888, he married Clotilde García del Castillo, who became his lifelong muse and the mother of his three children. Sorolla’s career flourished as he gained recognition for his vibrant, sunlit canvases, which captured the essence of Mediterranean life. His success extended internationally, with exhibitions in Paris, New York, and other major cities, solidifying his reputation as a master of light and colour.

The artist’s aesthetics were characterized by his masterful use of light and his vibrant, dynamic compositions. He is often associated with the Impressionist movement, although his style also incorporated elements of Realism and Luminism. Sorolla’s works frequently depicted scenes of everyday life, particularly those involving the sea, beaches, and people of his native Spain. His paintings are renowned for their brilliant use of colour, the fluidity of brushstrokes, and the ability to capture the fleeting effects of sunlight. Among his most famous works are The Bathing Hour, Sewing the Sail, and Walk on the Beach, which showcases his ability to render both the natural beauty and the human joy of his subjects. Sorolla’s accomplishments include numerous awards and honours, and his works continue to be celebrated and exhibited in prestigious museums around the world, including the Sorolla Museum in Madrid, which was once his home and studio.

Spanish artist Joaquín Sorolla y Bastida’s series of paintings featuring the children in the water motif is a vibrant celebration of childhood and the joy of seaside life. These works, created primarily during the early 20th century, depict boys playing at the seafront, capturing their carefree spirit and the shimmering beauty of the Mediterranean light. Sorolla’s masterful use of light and colour brings these scenes to life, emphasizing the translucence of water and the golden hues of sunlit skin. His loose, fluid brushstrokes convey movement and spontaneity, creating an almost impressionistic effect that captures fleeting moments of pure joy and innocence. Through these paintings, Sorolla not only showcases his technical brilliance but also his deep affection for the natural world and the simple pleasures of childhood.

The 1909 painting Boys on the Beach in the Prado Museum is probably Sorolla’s final example of his children in the water series. This work captures the essence of a carefree childhood with remarkable vibrancy. The painting depicts three nude boys playing at the sea’s edge, their bodies partially submerged in the sparkling blue water. Sorolla’s exceptional use of light and colour renders the scene with a radiant, sunlit quality, highlighting the reflections and ripples on the water’s surface. The boys’ skin glows with a sun-kissed warmth, contrasting with the cool tones of the sea. The artist’s fluid brushstrokes and dynamic composition convey a sense of movement and spontaneity as if the viewer is witnessing a fleeting moment of pure joy and freedom. The artist focuses on the children and the immediate foreground, creating an intimate and immersive experience. Through this painting, Sorolla masterfully captures the innocence and exuberance of childhood against the serene backdrop of the Mediterranean coast.

For a PowerPoint Presentation, titled At the Seafront, 13 Paintings by Joaquín Sorolla y Bastida, please… Check HERE!

Bibliography: https://www.museodelprado.es/en/the-collection/art-work/boys-on-the-beach/edd7a202-c069-49f1-a3f4-eacf9b4022c2 and https://www.nationalgallery.org.uk/exhibitions/past/sorolla/what-you-need-to-know-about-sorolla

Girl on the Beach by Thaleia Flora Karavia

by 20th century ArtArtGreek ArtNeohellenic ArtPowerpoints
Thaleia Flora Karavia, Greek Artist, 1871 – 1960
Girl on the Beach, 1922-25, Oil on Canvas, 61 x 50 cm, National Gallery, Athens, Greece https://www.nationalgallery.gr/en/artwork/girl-on-the-beach/

Thaleia Flora Karavia was a prominent Greek painter known for her vibrant depictions of everyday life, her contributions to war art, and her involvement in the Greek artistic community. Born in Siatista, in northern Greece, she moved to Constantinople as a child in 1874, where she pursued her education at the Zappeion Girls’ School, and received her early artistic education. After graduation, she spent a year teaching, but her passion for painting soon led her to Munich in 1895. There, she attended private schools and received training from renowned artists such as Nikolaos Vokos, Georgios Ιakovidιs, Nikolaos Gyzis, Paul Nauen, Anton Azbe, Walter Thor, and Fer.

The artist returned to Constantinople in 1898, but her artistic journey called her back to Munich, where she stayed until 1900. Upon her final return to Constantinople, she travelled extensively across various European cities. In 1907, she married journalist Nikolaos Karavias during a visit to Egypt. The couple settled in Alexandria, where Flora Karavia lived for thirty years. During her time there, she was highly active in the art community, founding and personally running an Artistic School.

Karavia’s work is distinguished by impeccable draftsmanship, harmonious composition, a delicate approach to colour, and an acute sense of realism. She excelled in a diverse range of subjects, including portraits, landscapes, still life, and genre scenes, capturing the essence of Greek life and culture. Initially, she adhered to the conservative guidelines of the Academy, but eventually embraced the principles of impressionism and plein-air painting. Beyond her canvas work, she also illustrated literary texts and designed lottery tickets to support the Greek National Fleet, showcasing her versatility and commitment to both art and national causes.

A particular favourite is the artist’s painting of Girl on the Beach, as it captures a serene but joyful moment, emphasizing her mastery of light and colour. The painting depicts a smiling, young girl seated on a sun-drenched beach, gazing at the viewer, her back out at the summer sea. The composition is both simple and evocative, with the girl positioned at the center, creating a sense of balance and harmony. Flora Karavia’s use of soft, warm tones reflects the gentle sunlight, casting delicate shadows that add depth and realism to the scene. The brushwork is fluid yet precise, capturing the textures of the gentle ripples of the water, and the girl’s curly hair. This painting highlights Flora Karavia’s ability to convey a mood of peaceful introspection and her keen observation of the natural world. Through this work, she invites the viewer to share in a happy moment of joyful reflection, making it a poignant example of her artistic sensitivity and skill.

During the Balkan Wars (1912-1913) and World War I, Karavia was one of the few female war artists who documented the experiences of soldiers and the impact of the wars on Greece. Her war art provides a unique and personal perspective on conflicts, focusing on the human side of war rather than the strategic or political aspects.

Apart from her painting, Flora Karavia was also an active member of the Greek artistic community, participating in exhibitions and promoting the arts in Greece. She was associated with the Art Group “Techni,” which played a crucial role in the development of modern Greek art.

Throughout her career, Thaleia Flora Karavia’s works were celebrated for their emotional depth, technical skill, and dedication to portraying the human condition. Her legacy continues to be honoured in Greece, where she is considered a significant figure in the nation’s art history.

For a PowerPoint titled 10 Portraits of Women by Thaleia Flora Karavia, please… Check HERE!

White Flag

by 20th century ArtAmerican ArtArtPowerpoints
Jasper Johns, American Artist, born 1930
White Flag, 1955, Encaustic, Oil, Newsprint, and Charcoal on Canvas, 198.9 × 306.7 cm, the MET, NY, USA https://www.metmuseum.org/art/collection/search/487065

According to the Metropolitan Museum of Art experts… During the 1950s and 1960s, Johns frequently appropriated well-known images such as targets, maps, and flags—in his words, “things the mind already knows.” White Flag is part of Jasper Johns’s famous flag series, which he began in 1954. In this rendering, he drains this iconic subject of its characteristic red, white, and blue coloration, leaving it to loom, ghostlike. The painting’s bleached appearance and composite layered form make the familiar image strange. By challenging our understanding of what constitutes a national symbol and complicating our relationship to this highly charged American image, it speaks powerfully, if ambiguously, to the issue of national identity. https://www.metmuseum.org/art/collection/search/487065

Jasper Johns, born on May 15, 1930, in Augusta, Georgia, is a prominent American artist renowned for his pivotal role in developing postwar American art, particularly in the genres of Abstract Expressionism and Neo-Dada. His contributions extend beyond painting; he has also worked extensively in printmaking, sculpture, and collage. His methodical approach and use of encaustic—a technique involving pigment mixed with hot wax—imbue his works with a textured, tactile quality that invites close inspection. Over the decades, Jasper Johns has received numerous accolades, including the Presidential Medal of Freedom, and his works are featured in major museums and collections worldwide. His influence on contemporary art profoundly inspires generations of artists to explore the intersections of reality, perception, and artistic expression.

Jasper Johns’ paintings of American Flags emerged in the mid-1950s, a period when he sought to challenge and redefine the boundaries of artistic expression. The concept originated from a dream Johns had in 1954, in which he envisioned himself painting a large American flag. This dream inspired him to create his first flag painting using encaustic, a technique involving heated beeswax mixed with coloured pigments. This method allowed him to build up layers of texture and depth, emphasizing the materiality of the painting itself. His “Flag” (1954-55) became a groundbreaking work, as it juxtaposed a familiar symbol with a complex, tactile artistic process. By selecting an iconic image like the American flag, Johns deliberately chose a subject that was instantly recognizable, yet ripe for reinterpretation, encouraging viewers to see it in a new light.

The artistic value of Jasper Johns’ flag paintings lies in their ability to challenge conventional perspectives on representation and abstraction. These works are celebrated for their conceptual depth and technical innovation. By transforming a common national symbol into a subject of fine art, Johns questioned the distinction between “high” art and popular culture. The encaustic technique he employed added a richly textured surface, creating a sense of depth and solidity that contrasted with the flat, symbolic nature of the flag. This interplay between the literal and the abstract invites viewers to reconsider the flag’s meaning and significance. Moreover, Johns’ flags are seen as a precursor to the Pop Art movement, influencing artists like Andy Warhol and Roy Lichtenstein. His work paved the way for future explorations of everyday objects in art, highlighting the potential for ordinary symbols to carry complex, layered meanings.

White Flag (1955) is a monumental work in the artist’s oeuvre and a significant piece in the history of contemporary art. Created shortly after his initial Flag painting, ‘White Flag’ represents Johns’ continued exploration of the American flag as an artistic subject. The painting is notable for its size and its use of encaustic, which Johns adopted to impart a textured, layered quality to his works. ‘White Flag’ was the first of Johns’ flag paintings to be rendered in a monochromatic palette, stripping away the traditional red, white, and blue colours. This alteration transformed the flag from a patriotic symbol into a more ambiguous, abstract form. By presenting the flag in white, Johns opened up a range of interpretations, inviting viewers to consider themes of purity, surrender, and neutrality.

The artistic value of ‘White Flag’ lies in its innovative approach to both medium and meaning. The use of encaustic gives the painting a rich, tactile surface, emphasizing the physicality of the flag and the artist’s hand in its creation. This technique also allows for subtle variations in texture and tone, creating a complex visual experience despite the limited colour palette. The monochromatic scheme forces viewers to focus on the structure and form of the flag itself, rather than its usual symbolic content. ‘White Flag’ exemplifies Johns’ ability to transform a familiar icon into a subject for deep artistic investigation. It challenges the viewer to see beyond the conventional associations of the American flag, encouraging a more nuanced and contemplative engagement with the image. This work, along with Johns’ other flag paintings, has had a profound influence on contemporary art, paving the way for future artists to explore and deconstruct cultural symbols in innovative ways.

For a PowerPoint, titled 10 Works of Art by Jasper Johns, please… Check HERE!

The Yellow Sail

by 20th century ArtArtBasil and Elise Goulandris Foundation AthensExhibitionsFrench ArtPost-ImpressionismPowerpoints
Paul Signac, French Artist, 1863-1935
Venice, the Yellow Sail, 1904, Oil on Canvas, 73×92 cm, Centre Pompidou, Paris, France (In deposit to the Museum of Fine Arts and Archeology of Besançon since 1972) – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

The Exhibition Neo-Impressionism in the Colours of the Mediterranean (1891-1914) was held in Athens at the Basil & Elise Goulandris Foundation. This event was organized in collaboration with several prominent European museums and institutions, including the Musée d’Orsay, the National Gallery in London, the Centre Pompidou, the Musée des Beaux-Arts de Besançon, the Musée de l’Annonciade, the Musée de Grenoble, the Musée national d’archéologie, d’histoire et d’art – Luxembourg, and the Musée des Arts Décoratifs, as well as various European private collectors. The exhibition showcased works by renowned artists such as Paul Signac, Henri-Edmond Cross, Maximilien Luce, Théo van Rysselberghe, Henri Matisse, Henri Manguin, and Louis Valtat, many of which were being displayed in Greece for the first time. One piece that particularly, captivated me was Paul Signac’s 1904 painting, Venice, the Yellow Sail.

Let’s explore the Exhibition ‘Neo-Impressionism in the Colours of the Mediterranean’ through Paul Signac’s painting, Venice, the Yellow Sail, by posing questions about When, How, What, and Who…

How would you define Neo-Impressionism? Neo-Impressionism is an art movement that emerged in the late 19th century as a reaction to the spontaneity and subjectivity of Impressionism. It is characterized by a systematic and scientific approach to painting, primarily focusing on the use of colour and light. Neo-Impressionists employed techniques such as Pointillism or Divisionism, where small dots or strokes of pure colour are applied to the canvas. When viewed from a distance, these dots visually blend to create vibrant, luminous compositions. The movement was led by artists like Georges Seurat and Paul Signac, who sought to bring a greater sense of order and structure to their works through meticulous planning and an emphasis on colour theory.

What is Pointillism or Divisionism? Divisionism or Pointillism is a painting technique developed by Neo-Impressionist artists like Georges Seurat and Paul Signac in the late 19th century. This method, which sought to establish a scientific foundation for the Impressionist exploration of light and colour, involves applying small, distinct dots of pure colour to a canvas, which blend visually in the viewer’s eye to create a cohesive image with enhanced vibrancy and luminosity. Inspired by M-E Chevreul’s 1839 colour theory on simultaneous contrast, aimed to enhance luminosity, as optically mixed colours tend toward white, the technique significantly influenced French painters, especially among the Impressionists, Post-Impressionists, and Neo-Impressionists.

Théo van Rysselberghe, Belgian Artist, 1862-1926
Portrait of Paul Signac at the helm of the Olympia (detail), 1896, Oil on Canvas, 93×114 cm, Private Collection – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

Who is Paul Signac? Paul Signac was a French Neo-Impressionist painter renowned for pioneering the Pointillist technique alongside Georges Seurat. Born in Paris, Signac initially trained as an architect before dedicating himself to painting. Influenced by Impressionism, he soon embraced a more scientific approach to colour and light, leading to his collaboration with Seurat to develop Divisionism. Signac travelled extensively, drawing inspiration from the Mediterranean and its vivid landscapes. His works often depicted harbours and coastal scenes, capturing the interplay of light and water. In addition to his artistic contributions, Signac authored several important texts on art theory, including From Eugène Delacroix to Neo-Impressionism, which articulated the principles of Neo-Impressionism. His legacy endures through his innovative techniques and his role in shaping modern art.

How would Signac’s painting Venice, the Yellow Sail be described? Paul Signac’s painting Venice, the Yellow Sail, housed in the Centre Pompidou, in Paris, is a vibrant and luminous depiction of Venice’s iconic waterways. The focal point is a sailboat with a striking yellow sail, which stands out against the intricate interplay of blues and greens in the water and sky. Signac captures the essence of Venice with a keen eye for the effects of light and colour, imbuing the scene with a sense of movement and radiance. The painting reflects Signac’s love for sailing, his fascination with maritime subjects and his mastery of Divisionism, resulting in a visually captivating representation of Venice’s beauty.

When did Paul Signac visit Venice? The artist visited Venice for the first time in the spring of 1904. Initially planning to visit in the summer of 1903, Signac’s fascination with the city, partly influenced by John Ruskin’s “The Stones of Venice,” led him to postpone his travels until the following year. Arriving at the end of March 1904, he stayed until late May, producing a significant number of watercolours during his visit. The oils he created were exhibited at the 1905 Salon des Indépendants, where they garnered praise from both the public and critics. Louis Vauxcelles, for example, remarked… nothing is more vibrant, more atmospheric, than the shimmering Venice of M. Signac.

Paul Signac, French Artist, 1863-1935
Venice, the Yellow Sail (detail), 1904, Oil on Canvas, 73×92 cm, Centre Pompidou, Paris, France (In deposit to the Museum of Fine Arts and Archeology of Besançon since 1972) – Photo Credit: Amalia Spiliakou, Neo-Impressionism in the Colours of the Mediterranean Exhibition (10.01 – 07.04.2024), February 2024

How is Louis Vauxcelles’s remark nothing is more vibrant, more atmospheric, than the shimmering Venice of M. Signac applied to Signac’s painting Venice, the Yellow Sail? In Signac’s painting Venice, the Yellow Sail, Signac captures the essence of Venice’s shimmering beauty with remarkable vibrancy and atmosphere. The painting radiates with the luminous colours of the city’s water canals and buildings, soft and hazy pinks, lilacs, and greens, evoking the play of light and shadow characteristic of Venice. The focal point of the yellow sail adds a dynamic burst of colour against the serene backdrop, further enhancing the painting’s vibrancy. Signac’s meticulous use of Divisionism infuses the scene with an ethereal quality, as the carefully placed dots of colour blend harmoniously to create a captivating and immersive depiction of Venice’s unique atmosphere.

For a PowerPoint on Paul Signac, please… Check HERE!

The Knossos Veil

by 20th century ArtArtArt NouveauStudent ActivitiesWorksheets
Mariano Fortuny y Madrazo, Spanish Artist, 1871-1949
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo del Traje CIPE, Madrid, Spain https://twitter.com/MuseodelTraje/status/1528695788771201024/photo/1
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo Fortuny, Venice, Italy https://fortuny.visitmuve.it/it/il-museo/sede/la-sede-e-la-storia/
https://commons.wikimedia.org/wiki/File:Tenture_et_robe_de_Mariano_Fortuny_(Mus%C3%A9e_Fortuny,_Venise).jpg
Portrait of Henriette Nigrin wearing a Delphos gown and a Knossos Veil, 1935, Tempera on Wood, Palazzo Pesaro degli Orfei, Fortuny Museum, Venice, Italy
https://en.m.wikipedia.org/wiki/File:Henriette_Fortuny_par_Mariano_Fortuny_%28mus%C3%A9e_Fortuny,_Venise%29.jpg

Mariano Fortuny y Madrazo’s influence on fashion, reflected in his innovative approach to textile design and garment creation during the late 19th and early 20th centuries, lies in his belief that art should be personally meaningful… I do not want to waste my time, he used to say, with art that has no need of me… Renowned for his luxurious fabrics and intricate patterns, Fortuny revolutionized the fashion world with his signature pleating technique, which allowed the fabric to drape elegantly and maintain its shape without the need for heavy understructures. His iconic Delphos Gown along with The Knossos Veil, both inspired by ancient Greek attire, became symbols of haute couture, coveted by aristocrats and artists alike for their timeless beauty and unparalleled craftsmanship.

A portrait of the legendary couturier as exhibited alongside his work (Credit: Archivio Fotografico Fondazione Musei Civici di Venezia/ Marcello Venturini) https://www.arabalears.cat/misc/colleccio-fortuny-venecia_1_3247710.html

Fortuny, as he is popularly known, was a Spanish painter, set designer, photographer, inventor, and technology aficionado. He was born in Granada, Spain, into an artistic and intellectual family, on May 11, 1871. His father, Mariano Fortuny y Marsal, was a successful genre painter and an avid collector of antiquities and artefacts. His mother, Cecilia de Madrazo y Garreta, was a noted collector of textiles. Fortuny was only three years old when his father died and his mother decided to move to Paris so that her family would be close to her relative Federico ‘Cocò’ de Madrazo, an artist in the circle of Serge Diaghilev’s Ballets Russes.

Growing up in a very artistic and theatrical environment, Fortuny early developed one of his two passions, that of how to apply the latest lighting technology to establishments of the performing arts and galleries of art. Amidst an era dominated by gas illumination, his keen interest in electricity and its applications, particularly within the realm of stage design, led him to develop a revolutionary indirect lighting system known as the “Fortuny Dome,” which he patented in 1901. His innovation of an indirect electric lighting system, capable of emulating the nuances of natural daylight, reshaped the theatrical experience for audiences. This system became widely used in theatrical productions and is still appreciated for its ability to create atmospheric lighting effects.

Mariano Fortuny y Madrazo, Spanish Artist, 1871-1949
Knossos Veil, ca. 1906 – ca. 1930, Silk and Metal, 110 x 144 cm, Museo del Traje CIPE, Madrid, Spain https://twitter.com/MuseodelTraje/status/1528695788771201024/photo/1

In 1888 Mariano Fortuny moved to Venice, where the family interest in antique textiles reignited. His wife Henriette Nigrin, a young woman who he had met in Paris, and who shared his aesthetics, and the family collection of ancient textiles inspired him to explore his second passion, the world of fashion. In 1906 he opened his textile/fashion workshop at the Palacio Pesaro degli Orfei creating original fabrics and costumes using modern techniques, with his own patents, and secrets, impossible to solve even today.

His wife, Henriette Negrin, was a talented and influential figure in her own right. Born in Paris to a family of Sephardic Jewish descent, she married Fortuny in 1902, becoming his lifelong partner and collaborator. Henriette was renowned for her skills in textile design and fashion, contributing significantly to the success of Fortuny’s textile workshop in Venice, Italy. Together, they perfected the intricate techniques behind the iconic Fortuny fabrics, known for their rich colours, luxurious textures, and timeless elegance. Henriette’s creative vision and business acumen played a pivotal role in expanding the reach of Fortuny’s designs, garnering acclaim from royalty, celebrities, and discerning patrons worldwide. Her enduring partnership with Mariano Fortuny y Madrazo underscored their shared commitment to artistic excellence and innovation in the realms of fashion and design.

Model for the Knossos Veil, 1910, Photo by Mariano Fortuny y Madrazo,Archivio Museo Fortuny, Venice, Italy
https://artsandculture.google.com/asset/model-for-the-knossos-scarf-mariano-fortuny/_AFs03WjdU506A
Print Samples for Knossos Veil, 1905, Archivio Museo Fortuny, Venice, Italy https://artsandculture.google.com/story/JgWBsAjx7KyuJg?hl=en and https://www.palaisgalliera.paris.fr/sites/galliera/files/cp_dp_visuels/dossiers_de_presse/dp_fortuny_eng_bdef.pdf

The Knossos Veil emerged as Mariano and Henriette Fortuny’s inaugural foray into the world of textile and clothing design, marking a pivotal moment in their career, and establishing their reputation as masters of their craft. This creation, inspired by the ancient Greek himation, was a substantial piece of printed silk taffeta, measuring an impressive 450 cm in length and 110 cm in width. Its design showcased an extraordinary commitment to craftsmanship, experimentation, and innovation, featuring motifs that spanned early-Corinthian, Minoan, and Archaic Greek influences, including papyrus flowers, heart-shaped palms, stylized flora, octapus and argonaut designs. These patterns, indicative of Fortuny’s fascination with ancient civilizations, were meticulously derived from Minoan fresco and vase painting, encapsulating a blend of historical reverence and artistic ingenuity.

The unveiling of the first prototypes of the Knossos Veil during the ballet for the opening of the Countess of Béarn’s private theater in Paris on March 29, 1906, marked the beginning of its storied history. However, it was the presentation in Berlin on November 24, 1907, that truly showcased the scarf’s allure and versatility, with the legendary American dancer Ruth St. Denis demonstrating the myriad ways it could be adorned, from headdresses to gowns, epitomizing the scarf’s fluid beauty and elegance. The Knossos models were whimsically named… “Alblan,” “Aldou,” “Algan,” “Alro,” “Gandou,” and “Tilleul”… each evoking an air of mystique and otherworldliness, as if conjured from a spellbook.

Display of Knossos Veils, 1910 Photograph, Archivio Museo Fortuny, Venice, Italy https://artsandculture.google.com/asset/display-of-knossos-scarves-mariano-fortuny/cgFuZN5ijI5FBQ

Henriette Negrin, Fortuny’s wife and muse played a critical role in the scarf’s development and was famously immortalized wearing it in a large painting by Fortuny, titled Portrait in Pompeian Costume. This collaboration between Mariano and Henriette not only underscored the depth of their partnership but also highlighted the Knossos Veil’s significance as a versatile and innovative piece that bridged the gap between historical inspiration and contemporary fashion.

The Knossos Veil remains a symbol of Fortuny’s legacy in the fusion of art, history, and fashion, a testament to his and Henriette’s extraordinary vision and creativity.

For a Student Activity, inspired by Fortuny’s Knossos Veil, please… Check HERE!

For a former, July 17, 2020, Teacher Curator Presentation on Fortuny’s Delphos Dress, titled When Fashion becomes Art, please Check… https://www.teachercurator.com/20th-century-art/when-fashion-becomes-art/?fbclid=IwAR338hgUJsJtyH8g3Jz3FY94sxVQFrYhG6S-NQhaW2rKFhwbqNQG9wdRA8w_aem_AZylhUe8XI9z7o2vFhteSLotU8lONi8gw48QfZxF2KaChzmSgMuEUCRast8kH0_zgk4UDd-TkYSDjA_CD2A3SyA2

Bibliography: https://www.palaisgalliera.paris.fr/sites/galliera/files/cp_dp_visuels/dossiers_de_presse/dp_fortuny_eng_bdef.pdf and https://artsandculture.google.com/story/JgWBsAjx7KyuJg?hl=en and https://www.fortuny.shop/blog/mariano-fortuny/the-fortuny-dome-a-revolution-in-the-theatre/ and https://artsandculture.google.com/story/ZQVxXe7qWmpwKg?hl=en and https://www.academia.edu/5421220/%CE%9C%CE%B9%CE%BD%CF%89%CE%B9%CE%BA%CF%8C%CF%82_%CE%BD%CE%B5%CF%89%CF%84%CE%B5%CF%81%CE%B9%CF%83%CE%BC%CF%8C%CF%82_%CE%97_%CE%B1%CE%B9%CE%B3%CE%B1%CE%B9%CE%B1%CE%BA%CE%AE_%CF%84%CE%AD%CF%87%CE%BD%CE%B7_%CE%BA%CE%B1%CE%B9_%CE%B7_art_nouveau_%CE%B7_%CF%80%CE%B5%CF%81%CE%AF%CF%80%CF%84%CF%89%CF%83%CE%B7_%CF%84%CE%BF%CF%85_Mariano_Fortuny_y_Madrazo (in Greek)

The Three Ages of the Woman

by 20th century ArtArtArt NouveauPowerpoints
Gustav Klimt, Austrian Artist, 1862–1918
The Three Ages of the Woman, 1905, Oil on Canvas, 180 × 180 cm, Galleria Nazionale d’Arte Moderna e Contemporanea, Rome Italy https://upload.wikimedia.org/wikipedia/commons/c/c8/Klimt_-_Die_drei_Lebensalter_der_Frau.jpeg

Presenting the painting The Three Ages of the Woman by Gustav Klimt is my humble contribution to Mother’s Day!

Gustav Klimt (1862–1918), an Austrian symbolist painter, was a pivotal figure in the Viennese Secession movement and a prominent member of the Art Nouveau movement. Renowned for his ornate and sensual style, Klimt’s work often explored themes of love, sexuality, and the human condition, characterized by elaborate compositions, intricate patterns, and rich symbolism. He is best known for his iconic paintings such as “The Kiss” and “The Portrait of Adele Bloch-Bauer I.” Klimt’s artistic vision transcended conventional norms, influencing generations of artists and leaving an indelible mark on the history of art.

Gustav Klimt’s artistic style is characterized by its ornate and sensual qualities, marked by intricate patterns, rich symbolism, and a vivid colour palette. Influenced by the Art Nouveau movement and the Viennese Secession, Klimt’s works often feature decorative elements inspired by Byzantine art, Egyptian motifs, and Japanese woodblock prints. His compositions are meticulously crafted, with every detail contributing to the overall aesthetic harmony of the piece. Klimt’s exploration of themes such as love, sexuality, and the human psyche is evident in his paintings, which often depict intimate moments and the complexities of human relationships.

One of Klimt’s distinctive traits is his use of gold leaf, which he employed to stunning effect in many of his works, symbolizing spiritual and material wealth, as well as the transcendence of earthly concerns. This shimmering gold backdrop serves to elevate his subjects, lending them an otherworldly quality and reinforcing the ethereal nature of his art. Additionally, Klimt’s portrayal of the female form is notable for its sensuality and eroticism, as he often depicted women with flowing hair draped in luxurious fabrics, evoking a sense of both beauty and mystery. Overall, Klimt’s artistic characteristics reflect a profound exploration of the human experience, expressed through a visually captivating and emotionally resonant aesthetic.

Gustav Klimt’s painting The Three Ages of Woman, completed in 1905, encapsulates the artist’s exploration of life, death, and the passage of time. The painting shows a little girl in the protective arms of her mother, while beside them an old woman stands with a bowed head. The infant represents the beginning of life and the promise of new beginnings, the mature woman, lost in contemplation, symbolizes the complexities and responsibilities of adulthood, and lastly, the elderly woman, signifies the culmination of life’s journey. Depicting a woman in three distinct stages of life—youth, maturity, and old age—the painting symbolizes the cyclical nature of existence and the inevitability of mortality. Through his masterful use of colour, pattern, and symbolism, Klimt imbues the painting with a sense of timeless beauty and existential depth, inviting viewers to reflect on the fleeting nature of human existence and the enduring cycle of life and death.

Completed in 1905, Gustav Klimt’s The Three Ages of Woman swiftly gathered attention, being presented at the 2nd Exhibition of the Deutscher Kunstlerbund in Berlin the same year. Its acclaim only burgeoned when showcased at the Venice Biennale in 1910, captivating audiences with its profound symbolism and exquisite execution. Its journey continued as the painting was selected for display at the International Exhibition in Rome in 1911, where Klimt’s artistic prowess earned him the gold medal in the Austrian pavilion. Housed in the newly established National Gallery of Modern Art in Rome, The Three Ages of Woman remains a testament to Klimt’s refined elegance and enduring fame, securing its place as one of the great allegorical paintings of art history.

For a PowerPoint, titled 12 Painting by Gustav Klint, please… Check HERE!

Bibliography: https://artsandculture.google.com/story/gustav-klimt-the-three-ages/8QVBXs2pR3BlKg

The Prometheus Triptych by Oskar Kokoschka

by 20th century ArtArtMythologyStudent ActivitiesWorksheets
Oskar Kokoschka, Austrian Artist, 1886-1980
Triptych – Hades and Persephone, The Apocalypse, Prometheus, 1950, © Fondation Oskar Kokoschka/ DACS 2021 https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

…And ready-witted Prometheus he bound with inextricable bonds, cruel chains, and drove a shaft through his middle, and set on him a long-winged eagle, which used to eat his immortal liver; but by night the liver grew [525] as much again everyway as the long-winged bird devoured in the whole day. That bird Heracles, the valiant son of shapely-ankled Alcmene, slew; and delivered the son of Iapetus from the cruel plague, and released him from his affliction—not without the will of Olympian Zeus who reigns on high, [530] that the glory of Heracles the Theban-born might be yet greater than it was before over the plenteous earth… If Hesiod’s words laid the foundation and introduced the Myth of Prometheus to his readers back in the 7th century BC, The Prometheus Triptych by Oskar Kokoschka brought the tale into the modern era, creating a forceful and compelling resonance! https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D507

Oscar Kokoschka’s 1950 Triptych, a profound exploration of the human condition through his distinctive expressionist style, was commissioned by the Anglo-Austrian art collector Count Antoine Seilern. The masterpiece was intended to adorn the entrance hall ceiling of Seilern’s London house in South Kensington, and Kokoschka, working diligently, dedicated over six months to its creation. In a reflective note on July 15, the artist expressed the significance of completing the monumental work, stating… I put the last brush-stroke (I feel like saying axe-stroke) to my ceiling painting yesterday… This is perhaps my last big painting, and perhaps it’s my best… Count Seilern later bequeathed the Prometheus Triptych, along with his remarkable collection of old master paintings and drawings, to The Courtauld in 1978. https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

Oskar Kokoschka, Austrian Artist, 1886-1980
Triptych – Hades and Persephone, 1950, © Fondation Oskar Kokoschka/ DACS 2021 https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

This monumental triptych reflects Kokoschka’s profound engagement with the existential and psychological dimensions of his subjects. The three panels, Hades and Persephone, The Apocalypse and Prometheus, unfold a visual narrative that is both intimate and universal, capturing the complexities of human relationships, emotions, and the existential journey. Painted after the painful years of the Second World War and during the beginning of the Cold War era, Kokoschka’s Triptych serves as a cautionary tale against human intellectual arrogance, embodied by Prometheus on the right, whose audacious act of stealing fire to empower humanity led to his eternal punishment by Zeus. The central panel depicts a vivid scene from St John’s Apocalypse with the four horsemen heralding the Last Judgment. On the left, a tale of regeneration unfolds as Persephone escapes Hades, portrayed as Kokoschka himself, with assistance from her mother Demeter, standing between them.

Oskar Kokoschka, Austrian Artist, 1886-1980
Triptych – The Apocalypse, 1950, © Fondation Oskar Kokoschka/ DACS 2021 https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

Painted on an epic scale, The Prometheus Triptych is, according to the Courtauld experts, one of Kokoschka’s most ambitious compositions… and intended to be a demonstration of the possibilities of figurative painting. Figures contort and intertwine, conveying a sense of tumultuous upheaval and spiritual crisis. The artist’s use of symbolism and distorted forms adds an otherworldly dimension to the composition, inviting viewers to grapple with the profound and unsettling aspects of the human experience. Prometheus Triptych stands as a testament to Kokoschka’s ability to infuse his work with profound emotion and existential inquiry, providing a gripping interpretation of a timeless and weighty theme. https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

Oskar Kokoschka, Austrian Artist, 1886-1980
Triptych – Prometheus, 1950, © Fondation Oskar Kokoschka/ DACS 2021 https://courtauld.ac.uk/whats-on/oskar-kokoschka-the-myth-of-prometheus/

The artist’s use of bold brushstrokes, intense colours, and dynamic compositions infuses the Triptych with a visceral energy, inviting viewers to delve into the depths of the artist’s emotional and intellectual exploration. Through this commissioned work, Kokoschka not only pays homage to the tradition of the triptych but also showcases his continued commitment to pushing artistic boundaries and expressing the human experience in a profoundly evocative manner.

For a Student Activity inspired by The Prometheus Triptych by Oskar Kokoschka, please… Check HERE!