Exercise: Annotate a female nude

In this exercise I must annotate one of the classic nudes in the western tradition. I must choose a painting in which the nude woman is the single figure in the painting.

For this task I have selected The Reclining Girl, 1752, oil on canvas by the French Romantic painter Francois Boucher.

The Reclining Girl, 1752, oil on canvas by Francois Boucher.

The Triumph of Venus, 1740, by Francois Boucher.

Reclining Girl, n.d., by Maria Szantho.

Spider diagram annotation of The Reclining Girl, 1752, by Francois Boucher. Created 28th February 2016.

Spider diagram annotation of The Reclining Girl, 1752, by Francois Boucher. Created 28th February 2016.

Process and Technique

The Reclining Girl is an oil painting which I think was painted slowly and deliberately as it takes time to create the gentle transitions between all of the different tonal values. There is also a substantial amount of detail in the background which would have taken careful consideration to achieve. The model began posing for Boucher in 1751 so it’s possible that there were many sittings over the course of its production.

Interpretation and evaluation

In this artwork, a young girl of fifteen reclines on a chaise longue in a private boudoir. She is viewed posing in a provocative manner with her legs spread akimbo awaiting her lover. At the time works such as these were enormously popular with their audience, who admired and collected saucy and suggestive paintings of both genders participating in mildly erotic activities/frivolities.

I believe that the painting of The Reclining Girl was created especially for the King of France as Boucher had been commissioned by the King’s mistress the Marquise de Pompadour to paint erotic scenes for the private Palace apartments. The King was easily bored and so his mistress sought to occupy him with all manner of entertainments such as shows and plays as well as the arts. The King was so taken with Boucher’s rendition that he eventually installed the young lady in his harem!

Boucher’s art perfectly encapsulates the period as life at court was decadent and people sought to amuse themselves by looking at works of art which were suitably risqué. There was enormous demand for his work and as a result it spawned many imitations. Many artists and crafts people created furniture, ceramics and ornaments which emulated his exuberant and romantic style which was loosely based on the mythological and allegorical stories of antiquity.

The work itself seems tame in comparison with some of his other works, such as The Triumph of Venus, 1740. His wife was one of his muses, and The Triumph of Venus features her in a variety of guises shown in glorious abandon, completely nude, immersed in the sea and frolicking with other nude figures in a sort of maritime-themed orgy.

The Reclining Girl differs from The Triumph of Venus, as it is far more sedate and grounded by comparison. Also, there is something very fantastical about the images of his wife in The Triumph of Venus being swept along by enormous waves and surrounded by dimpled cherubins.

The Reclining Girl certainly invites the sensual gaze due to her doll-like appearance and voluptuous form. All of the formal elements combine to create an atmosphere of lazy seduction. Boucher rendered her skin to appear satiny soft and dimpled to appeal to his patrons who wished to cover their walls with his art. Also, we the viewer are situated to gaze upon her pearlescent form in a voyeuristic manner which was likely to have been the artists’ intention.

I will also briefly compare The Reclining Girl to another female nude, this time by a female artist, Maria Szantho.

In Reclining nude, Szantho positions her female nude at an angle to the viewer, with the model slightly twisting away at the hip so as to protect her modestly. The model’s eyes are closed and she seems to be completely at ease with her surroundings. Her limbs are tastefully arranged so that she appears elegant rather than slovenly. The setting is of interest as like Boucher, Szantho has depicted her model reclining on a bed of cushions and duvets. The overall feel is of relaxation and the figure is beautifully framed by the lush verdant setting in which she is sleeping. In fact the environs are so ambiguous and timeless that Szantho could be representing a woman from the past or present who has simply removed her clothes in order to sunbathe nude.

The overall effect of Szantho’s painting is very different to Boucher’s as the model’s legs are placed together, and the use of lighting is far more dramatic. The shadow shapes enhance the model’s graceful curves and contrast wonderfully with the full light which cascades down her body. Szantho’s use of colour is far more daring and creates a sort of earthy naturalness that allows the figure to melt into her surroundings.

It is important to highlight the fact that Boucher may have used more subdued pigments as his paintings were destined to be displayed in boudoirs rather than to be on display for all to see. So I suppose Boucher’s paintings were designed to meet the needs of his patrons who desired mildly erotic art works to create atmosphere in their private apartments. If Boucher had utilised Szantho’s colour palette I think the overall effect would have been destroyed. His models would have resembled caricatures rather than real people. Szantho harnesses the natural beauty of women by displaying them naturalistically and with great poise. It is interesting that although Szantho’s model reveals her breasts the effect is less wanton than in Boucher’s version. Thus I think it is possible to be able to discern how differently men and women view one another through their art.

Also, I’m intrigued by the age difference in the models employed by both artists as I feel this has influenced the works hugely. In Boucher’s Reclining Girl he depicts a young girl of fifteen with legs spread in obvious invitation. Whereas Szantho’s model has clearly matured and as a result appears wiser and far more self-respecting than the figure envisioned by the former. Whether this is as a result of the artists’ directions or the model’s inclinations it is impossible to tell. But both artists depict the female nude in very different ways.

In my opinion it is clear from Szantho’s oeuvre that she is an artist who enjoys the process of painting and creating images of the human form on her canvases. In contrast I believe that Boucher was simply fulfilling a commission for a client and this explains why there are so few painterly flourishes. It seems to me that Boucher’s painting lacks the emotional depth, warmth and integrity of Szantho’s as it was so obviously destined to be used for erotic purposes rather than simply to express his delight for painting.

To conclude, I have been to life drawing classes and I have certainly drawn and painted many nudes over the course of my studies. At first I found drawing/painting from a live nude model daunting, but I have got to the stage now where I have drawn so many people nude that it rarely fazes me at all. In fact I really enjoy drawing both nude male and female models as I believe that figure drawing is the highest form of art. If one can draw a figure, then one can draw anything. It is true that there might be additional cultural factors at work as the nude in Western art is certainly one if not the highest form of art. Furthermore, all classically trained artists aspire to accurately capture figures and portraits as this is essentially what we are all striving for.

Bibliography

Honour, H. & Fleming, J. (2009) Enlightenment and Liberty. In: Archer, M. (ed.) A World History of Art (revised 7th edition). London: Laurence King, pp. 608-616.

Jonathan Jones. (2014) The top 10 female nudes in art. Available from: http://www.theguardian.com/artanddesign/jonathanjonesblog/2014/apr/15/top-10-female-nudes-art  [Accessed 28th February 2016 & 26^th March 2016]

OCA. (2013) Figure Sculpture. In: OCA (ed.) History of Art 1 Western Art (revised 3rd edition). Yorkshire: Open College of the Arts, p. 130.

Schneider, P. (1967) The Invention of Fashion. In: Janson, H.W. (ed.) The World of Watteau. Canada, Time Inc, pp. 126-140.

University of Oxford, Classical Art Research Centre. (1997-2013) Deities. Available from: https://www.beazley.ox.ac.uk/sculpture/styles/hellenistic1.htm  [Accessed 13^th & 20^th February 2015]

Research point: Does the female nude exploit women for male gratification?

For this research point I must consider whether the female nude exploits women for male gratification? Or does it depend on the context? What does a feminine critique add to the interpretation of a female nude?

I must also research how women artists have portrayed other women throughout the centuries, for example in mythological paintings. Also, how are women artists presenting female subjects today?

Please see the PDF file for more information:

Lucy Dean Research point – Does the female nude exploit women for male gratification

(please scroll down the document for the references which are on pages four and five).

Exercise- Visit a cast gallery

For this task I must visit a cast gallery and examine the size of the works that I may never have had the opportunity to see for myself (e.g. Michelangelo’s David at the V&A). I must also reflect on the models which these casts have provided for western students of painting and sculpture over the centuries.

I must also consider how taking casts translates an image from medium into another, something that I’ve noticed previously in looking at paintings, prints and photographic reproductions.

I visited the Watts Gallery on the 18^th August 2015 to observe some of Watts’s sculptures in more detail. As I have been a volunteer at the Gallery since 2014, I already have a good understanding of his oeuvre, but this exercise allowed me to hone in on some of his other important works. The Sculpture Gallery houses G.F. Watts’ personal collection of plaster casts and other sculptures which he used as models for his paintings. This represents a fascinating aspect of the artist’s career as he revisited sculpture towards the end of his life once his reputation as a portraitist was well-established.

Please see the PDF file for more information:

Lucy Dean Exercise – Visit to a Cast Gallery

(please scroll down the document for the references which are on page four).

Research point: The accurate representation of the human figure

For this task I must review some of the paintings that I’ve seen during the course from the point of view of the accurate representation of the human figure. I will study some works which I feel best represent the periods in which they were made, starting with the Byzantine tradition through to the present day. I will also observe how figures are combined to make up the artistic effect of the whole, in particular in regards to the work of Eugene Delacroix.

Finally, I will also discuss if there is any tension between an art based on the classical ideal and an art pursuing anatomical accuracy.

Please see the PDF file for more information:

Lucy Dean OCA Research point – the accurate representation of the human figure

(please scroll down the document for the references which are on page six).

Exercise: Annotate a classical sculpture

For this exercise my task is to annotate an image of a classical figure sculpture. This time I must consider issues such as anatomical accuracy versus the portrayal of an ideal, realism, gesture, gender symbolism and eroticism.

Also, I must select a classical figure which I know has been reused or adapted at a later time and compare these later uses with the original.

My chosen sculpture is Pluto and Proserpina, 1620-21 by the Italian Baroque artist Gianlorenzo Bernini. I have selected this sculpture in particular as Bernini is one of my all-time favourite sculptors and I have been fortunate to have seen this work in situ at the Galleria Borghese in Rome. I am a fervent admirer of his work due to the exuberance and sensuality of his sculptures which in my view are incredibly life-like and stunning to behold.

 

Pluto and Proserpina, 1620-21 by Gianlorenzo Bernini.

Spider diagram analysis of Pluto and Proserpina, 1620-21 by Gianlorenzo Bernini.

Spider diagram analysis of Pluto and Proserpina, 1620-21 by Gianlorenzo Bernini.

Spider diagram analysis of Pluto and Proserpina, 1620-21 by Gianlorenzo Bernini.

Rape of a Sabine, 1583, by Giovanni Bologna.

Sketch of Pluto and Proserpina, pencil, 2016, Lucy Dean.

Interpretation

In this artwork it is clear to me that Bernini is celebrating a story from antiquity. The legend states that Pluto, God of the underworld rises up to the Earth one day and meets Proserpina and falls head over heels in love with her. She encounters him whilst picking flowers in a meadow with her friends. He shortly becomes so smitten with her that he abducts her and forces her to live with him in the underworld. Bernini depicts the moment when Pluto gathers her up in him arms and flees with her. She seems to swipe ineffectually at him with tears in her eyes.

Pluto is envisaged in the traditional manner of antiquity in that he has a long bushy beard and a crown to denote him as God of Hell. His companion, the three-headed dog Cerberus is pictured barking below them. His role is as protector of the gates to Hell.

Context

Bernini was profoundly influenced by his father Pietro, who like him was much acclaimed for his skill in regards to the modelling and cutting of marble. His father was responsible for his early training and introduced him to important patrons such as the Borghese and the Barberini families, who commissioned him throughout his life.

Pluto and Proserpina, was created in 1620-21 for Cardinal Scipione Borghese and was one of a series of works which helped launch his stellar career in Rome as an official artist for the Papal Court. I believe the artwork was created in order to assert and cement the Cardinal’s reputation as a connoisseur of fine art. The work itself represented a complete departure from other artworks of the period due to the artist’s exemplary skill in modelling marble. Furthermore, the sculptures he produced for the Cardinal revolutionised the art of the era as they each possessed an emotional depth of feeling which was absent from the Mannerist works produced by Bernini’s contemporaries.

I think the artwork is influenced by the rise of the Papal Court as the Popes required a style of art which would embody their ideals and inspire devotion. Furthermore, Bernini’s oeuvre seems to epitomise an era when people desired art which was more authentic and realistic.

I believe that Pluto and Proserpina was one of a series of sculptures which was always intended to be displayed as a piece of art in the home of Cardinal Scipione Borghese. It was a place where he could retreat to and could entertain his powerful guests and show off his wonderful collection of art. Therefore he required large free-standing sculptures which would inspire awe and excitement. The subject matter of the sculptures refers more to themes of antiquity rather than the Christian faith but that doesn’t mean that they couldn’t be enjoyed by the Papal community. In fact I’m sure that having some original Bernini’s in his home would have established the Cardinal’s reputation amongst his peers as a serious collector of art.

Bernini and Bologna – the similarities and differences

Bologna’s Rape of a Sabine, 1583, is a marble sculpture which bears some resemblance to Bernini’s Pluto and Proserpina in terms of expressing an abduction as a theme from antiquity. Both artists present a nude female being taken captive by a nude male and both describe the ensuing struggle, but in very different ways.

In Bologna’s version the Sabine woman is held aloft by a muscular male figure and leans affectedly to one side with an outstretched arm. Beneath them a man shields his face from view and hunkers down low. The Sabine woman is supposed to have been kidnapped and taken captive by a Roman in a blaze of fury but in Bologna’s version the Sabine man seems to wish to avoid any involvement and does little to detain her captor. The whole scene is traditionally one of great ferocity and activity, however in Bologna’s version it all falls flat. This is due in part to the Mannerist tendency to depict scenes in an indifferent and unemotional way.

When one regards the two sculptures it is clear that they differ hugely in terms of their emotional impact. Bologna describes the events with a detached and uninterested gaze whereas Bernini’s figures seem to explode apart by the force of their mutual desire. Also in Bologna’s version the Sabine woman seems to give up to the inevitable whereas in Bernini’s version the female figure has more spirit and determination.

I dislike Bologna’s version as the gesture of the poses come across as affected and unconvincing due to the complete lack of facial expression and the idealised faces and forms. Also, his rendition lacks the vitality and youthful exuberance of Bernini’s. In short, I far prefer the modelling and attention to detail of Bernini’s creation, the effects of which are utterly sublime.

I feel in Bologna’s interpretation the sculpture should excite me as he’s showing us one of the most arresting parts of the story, but instead it comes across as static and forced. Also, the man who is cowering beneath the Sabine and her captor provides little visual appeal.

There are similarities in terms of the thee-figured composition which was viewed by Bologna as a great achievement as he was the first artist to accomplish what Michelangelo could not – a sculpture which celebrated a trio of figures interacting with one another in a single piece of marble.

It is important to state that Bologna was a Mannerist artist and as such was more interested in depicting the forms rather than the emotions. Bernini was an artist of the Baroque- a period of great artistic and spiritual inspiration, thus his style met the needs of the Vatican who desired a more dramatic and evocative art to reflect their status and divine inspiration.

In Bernini’s sculpture he replaces the third figure with the mythological three-headed dog Cerberus to complete the narrative and to explain the role of the figures in the story. He depicts Cerberus rearing his head in expectation and acceptance of his new mistress.

What sort of processes and techniques do I think the artist used to create the artwork?

Massing in

It seems to me that the artist used a technique known as ‘massing in’ in order to create this fine piece as it would have been necessary to chisel away the largest shapes first in order to create the overall structure and form. I have been instructed in the Renaissance method and I know that as an artist, our aim from the very beginning is to consider the whole structure before we approach the more detailed areas. Therefore one must consider all of the main proportional relationships first so as to arrive at an effective and accurate anatomical structure.

Proportion and gesture

The main point to remember in a sculpture as dynamic as this is to avoid the details and to instead pursue the main shapes and proportional relationships first. An artist/sculptor always begins by concentrating on the proportions and gesture, then the tonal values, then proceeding to colour and the final finishing touches. The highlights and final definitions occur last of all.

Stepping back/observing from afar

In order to create this stunning oeuvre I believe the artist would have worked slowly and considerately. I am convinced that he must have stepped back in order to see it as a whole, as this is a trick artists use to reduce the chances of being distracted by fussy and unnecessary details. The work itself took around two years to complete which I think is entirely plausible as he worked on many commissions during his lifetime (due to his popularity and skill), and is likely to have worked on several pieces concurrently for a multitude of patrons.

Plinths

The work itself is displayed on a substantial plinth so that it can be seen from below and in the round. This explains why there is a lot of detail in the lower half and why the sculptor has introduced some draped fabric in a tasteful manner to shield Pluto’s private parts. If he had not employed this detail then the audience would have been on eye level with his penis and testicles! Also, the curvilinear line of fabric is a masterstroke as it neatly ties the upper half to the lower half and in essence links the three figures together in one piece.

Evaluation

To summarise, I can classify the work as a sculpture which presents the clashing mythological figures of Pluto, Proserpina and the dog Cerberus in the legend known as the Rape (abduction) of Proserpina. I think the sculpture is very realistic as the piece is anatomically accurate and the faces of the figures are believable. I also believe that their faces have been simplified so as to avoid becoming the focus of the statue. Although they have been idealised to some extent, the figures look realistic and are far less affected than in Bologna’s sculpture.

In my opinion this statue represents Proserpina’s descent into vice and the two fighting figures symbolise the battle between good and evil. She cuts a very elegant, virtuous and graceful figure which contrasts dramatically with the savage and rough appearance of Pluto. I think the artist deliberately chose to represent the two people in contrasting ways to further emphasise his message. Also, I admire the opposing manner in which Bernini presents the two figures. The female figure is smaller, and less muscular, but nonetheless she possesses a great strength and determination to escape his clutches. In contrast, the male figure is presented in a more typically masculine manner, with brawn, a strident form and a generously hirsute beard. There is certainly an implied eroticism in terms of how Pluto grasps Proserpina’s thigh and encircles her waist to bring her closer to his chest.

I believe the marble itself is compelling as the purity of the material lends itself to the virtuous and feminine appearance of the lady who in my view represents the goodness of the world. Also the medium is successful in imbuing the figure of Pluto with a sense of godliness.

I think the story of the Rape (abduction) of Proserpina is a highly appropriate choice as it would have appealed to the intended audience of religious figures and influential people that the Cardinal would have entertained at his home. Also, the story of the Rape of Proserpina would have appealed to the Cardinal and his followers as it could be likened to that of the seven deadly sins. As both Pluto and Proserpina might in turn represent vanity and vice (due to his countenance and their mutual lack of clothing). It is interesting to note that like Bologna, Bernini depicts his female figure nude, in contrast to the original legend in which Proserpina was clothed.

In the original legend her clothes are generally disorderly (due to their struggles), but here Bernini removed all of their barriers. In my view the sculpture possesses a greater sense of eroticism and voluptuousness as both models seem to delight in their nudity.

The subject is familiar to me as I have heard it before. As a young child I learnt about this story at school when I was studying the Ancient Greeks. The theme is centuries old, although I knew them as Persephone and Hades (the Greek names).

I feel that if the model was recast in bronze in the manner of the Delphi Charioteer the effect would be dazzling. The original Greek bronzes are exceptionally like-like and incredibly compelling. Also, if I was to extend the artwork in my imagination I would imagine the character of Proserpina fighting Pluto all the way to hell on his chariot.

The work is displayed upstairs in the Villa Borghese and benefits from a well situated position within an expansive and light-filled room which shows it off to its full advantage.

In conclusion, this sculpture is one of my all-time favourites due to the skilful workmanship, inspiring narrative and the contrast between good and evil.

 

Bibliography

Chilvers, I (2009) Dictionary of Art & Artists. Fourth Edition. Oxford, Oxford University Press.

Galleria Borghese. (n.d.) Pluto and Proserpina (1621-22). Available from:

http://www.galleriaborghese.it/borghese/en/eproserp.htm  [Accessed 13^th & 20^th February 2015]

Hall, J. (1974) Hall’s Dictionary of Subjects and Symbols in Art. London, John Murray.

Honour, H. & Fleming, J. (2009) The Greeks and their neighbours. A World History of Art (revised 7th edition). London: Laurence King. Pp 132-143.

Lucie-Smith, E. (1992) Art and Civilization. London, Laurence King Publishing.

maItaly. (2011) BERNINI- Galleria Borghese: “The Rape of Persephone”. Available from:

https://maitaly.wordpress.com/2011/03/02/bernini-galleria-borghese-the-rape-of-persephone/  [Accessed 13^th & 20^th February 2015]

M J Mann. (2013) The Rape of Proserpina by Bernini. Available from:

http://thesecondachilles.com/2013/12/01/the-rape-of-proserpina-by-bernini/  [Accessed 13^th & 20^th February 2015]

Osborne, H. (1970) Bernini, In: Osborne, H (ed.) The Oxford Companion To Art. First Addition. Oxford, Oxford University Press. Pp.130-32.

University of Oxford, Classical Art Research Centre. (1997-2013) Hellenistic sculpture. Available from:

https://www.beazley.ox.ac.uk/sculpture/styles/hellenistic.htm  [Accessed 13^th & 20^th February 2015]

University of Oxford, Classical Art Research Centre. (1997-2013) The Classical period (5th – 4th century BC). Available from:

https://www.beazley.ox.ac.uk/sculpture/styles/classical.htm  [Accessed 13^th & 20^th February 2015]

University of Oxford, Classical Art Research Centre. (1997-2013) Deities. Available from:

https://www.beazley.ox.ac.uk/sculpture/styles/hellenistic1.htm  [Accessed 13^th & 20^th February 2015]