Symbolism: What is it when it’s at home? What was the point that the artists were trying to achieve? And how should it be interpreted?
Let’s start with the what. This was a technique brought into vogue by the young painters of the late 19th Century, stemming from French literature (and later, Russian and Belgian); this is where many of the Symbolists gathered inspiration from. The aim was to portray the idea of a subject, to give the suggestion of the true meaning only; poetry in art.
Gaetano Previati
Creation of Light, 1913
Oil on canvas, 199 x 215 c,
Galleria Nazionale d’Arte Moderna
Rome
They accomplished this by using line, colour, and composition (other elements include tone, texture, space, and shape) in their work, and adapted the use of certain images/icons to give their work more meaning and subtext.
Key examples of imagery and symbolism include biblical characters, representative of the emotions that the artists were looking to portray. The main themes were love, lust, death, fear, anger, and sorrow. Characters from mythology (such as Greek) were also employed. Amongst the characters, angels and the Madonna were commonly used to symbolise purity and innocence, whilst characters such as Salome and monsters (like the sphinx) symbolising the femme fatale, love scorned, and the wrath of a temptress. Borrowing also from classical art, the use of the symbolic butterfly (who represented the Greek goddess Psyche) could be interpreted as the mind or the soul.
William Degouve de Nuncques
Angels of the Night, 1894
Oil on canvas, 48 x 60 cm
Kröller-Müller Museum
Otterlo
Colours are also used for their symbolic characteristics: black may symbolise evil, power, sexuality, wealth, mystery, and mourning (amongst others); black and white combined may represent mourning; blue has been associated with peace, purity (when in association with the Virgin Mary), serenity, and loyalty; brown represents earth, home, and comfort; green can be representative of both nature and envy, as well as youth; orange represents energy and balance; pink may be used to indicate girlish purity and sexuality or childish innocence; purple represents royalty, spirituality, and wisdom; and red can symbolise strong emotions, such as passionate love, excitement, energy, danger, and aggression.
So, if I, in my imaginative Symbolist state, were to start painting some paintings in this style of contemporary stories, what might I be able to include? Well, if someone hired me to paint the most recent love-split of a certain Nashville-based twenty-three year old country singer…..ah, ok, you guessed it… Ms Swift, then I may have to paint a pink sphinx crushing a butterfly held by Eros. Or, for Jennifer Lawrence’s most recent awards win: Clymene (Titan of fame and renown) giving Nike (goddess of victory) a golden laurel crown, the ceremony being presided over by Dionysus (god of parties and festivals… and also wine, which could explain one particularly memorable shot of Jennifer after she accepted her award. You know what I’m talking about…), and applauded by Agon (spirit of contest).
I can see it now: the front pages of the morning’s newspapers would be educational. People would have to dig a little deeper to get to the story. The news would become poetry! I may be getting carried away, but at least consider it… At least one day a year, we should have International Symbolist News day. At least for the Celeb/Gossip magazines: there, I feel, we can use a little education.
To check out some Symbolist paintings for yourself, and truly get to grips with the painters’ meanings after all you have learned reading this article (open for debate), the Finnish National Gallery (Ateneum) is holding an In the Spirit of Symbolism exhibition until the 28th of April. Should you wish to instead browse through some striking examples a little more locally, I recommend picking up a copy of Nathalia Brodskaya’s Symbolism.
I’m a rather plain girl in the sense of THINGS. Function beats form any day as far as I’m concerned (this, of course, excludes a previous post concerning my unhealthy affinity for shoes), ensuring that I will never be counted amongst the infamous and (for unknown reasons) publicised “Gold Diggers” of the world, which is surely a very real concern for any young woman of the 21st century. It took me ages to switch over to the “smart” phone, which only lasted about a year; as soon as it was possible I reverted back to a “dumb” phone – as long as it calls, texts, does math (because I can’t), and has Snake, I’m happy.
Sharp corners, pointy feet: my own personal death trap.
Writing desk attributed to André-Charles Boulle, c. 1715.
Bérain marquetry of copper on ebony base.
So when choosing a mirror for the foyer I’m much more likely to choose a plain frame with a large reflection as opposed to a smaller glass with cherubs and whatnot on it. I’d much rather look at my face, or see if there’s someone creeping up behind me, than any fancy embellishments (I said I wasn’t a Gold Digger; I didn’t say I wasn’t mildly vain).
Naiad, 1756.
Soft porcelaine and gilt bronze, 26 cm.
Musée du Louvre, Paris
Furthermore, the cracks and crevices of these fancy objects are a right pain in the butt for dusting – even if you have a maid, which I don’t, I’m guessing your more ornate pieces wouldn’t pass the white glove test. And let the klutzes amongst us not forget the imminent danger of clawed feet and the sharp edges of candlestick holders. I have a permanent bruise from a decorative dresser with sharp corners which is still in my childhood home; even though I knew it was there and never moved in all the years I lived there, the corner and my thigh carried on some sort of strange and masochistic affair to which I was only privy to the pain.
This room makes me feel rather claustrophobic. The desk is really nice though.
Roll-top secrétarie for Louis XV’s inner study in Versailles by Jean-François Oeben and Jean-Henri Riesener, 1760-1769.
Bronze, marquetry of a variety of fine woods, Sèvres porcelain, 147.3 x 192.5 x 105 cm.
Palace of Versailles.
Head over to the Met for the Plain or Fancy: Restraint and Exuberance in Decorative Arts through 18 August and fantasise about fancy furniture and decorations. Come home relived that you aren’t the one that has to clean any of it, or stub your precious toes in the middle of the night. If you are looking for decoration tips from the fancier side, get your hands on Decorative Art by Albert Jaquemart – but don’t say that I didn’t warn you. Sound off below! Are you a Plain Jane or a Fancy Pants?
-Le Lorrain Andrews
The Taj Mahal, 1638-1648, Mughal dynasty (Shah Jahan).
Agra, Uttar Pradesh.
When the Mughal Empire is spoken of, I am willing to bet that the majority of people will not be overly familiar with this particular dynasty. It is true, that I am (or was) guilty of being ignorant of what this Empire was, in fact, even where it was. However, I am not so remiss as to be unacquainted with the Taj Mahal! This inspiring and beautiful World Wonder is perhaps the best-known monument to arise out of the golden age of the Mughal Empire. There have been many architectural triumphs throughout the ages which have been acknowledged as truly great, but perhaps only a handful with a personal and moving history.
The Taj Mahal is one such. As possibly one of the greatest displays of heartbreak and sorrow that the world has ever seen, the monument stands tall; displaying Emperor Shah Jahan’s everlasting love for his departed wife.
Today, most everybody (I believe) would be familiar with the spectacular mausoleum that is located in Agra, former capital of the Mughal Empire. It is possibly even more iconic now for those who are familiar with a certain Slumdog Millionaire (thanks Dev Patel!). Over 2 million people every year visit this historic site; they may not go with the intention of honouring the dead Empress, but by the end of their visit they will surely have learnt about the power of one man’s love for his wife.
The Taj Mahal, for me, is truly a testament to the existence of true love. Whilst theirs may initially have been an arranged marriage, it ended up as a union of soul-mates. How can I justify saying this? The fact that Shah Jahan had two other wives… but it was only his third wife, Mumtaz Mahal, who had such a spectacular labour of love constructed in her memory; this speaks volumes!
“The sight of this mansion creates sorrowing sighs;
And the sun and the moon shed tears from their eyes.”
– Emperor Shah Jahan, 17th Century
Raja Ravi Varma
Paravur Kayal (Lake), 1897
Oil on canvas, 43.18 x 58.42 cm
Sri Chitra Art Gallery
Thiruvananthapuram, Kerala
However, as incredible an achievement as the Taj Mahal is, it perhaps should serve only as an indication that we ought to actively search out the culture, legend, and history of the Empire that it was born from. With a span of over 350 years, surely the Mughal Empire has some secrets yet to be discovered?
* Description made famous by Rabindranath Tagore (1861-1941)
With the help of the British Library, you yourself can search out and discover the mysteries and treasures of this once-great Indian Empire! Mughal India: Art, Culture and Empire is currently being exhibited in London until the 2nd April. Be sure not to miss such a fascinating opportunity! If, however, you can’t make it to the British Library quite yet, why not get hold of a copy of Vincent Arthur Smith’s Art of India?
I have to admit, I’ve had a bit of a crush on Chicago for a long time. Not because it’s cold or windy, or for any of its sports teams. I’m not a fan of deep dish pizza; hot dogs gross me out for the most part. Al Capone is pretty big to speak of, I suppose, but mob ‘outfits’ strike me as excessive and silly. One positive note thus far: I’ve heard amazing things about O’Hare International. Oh, and since the Chicago Fire of 1871, the city rightfully boasts superior urban planning.
Pablo Picasso, Woman with a Helmet of Hair, 1904.
Gouache on tan wood pulp board, 42.7 x 31.3 cm.
The Art Institute of Chicago, Chicago.
So what is it that has me perpetually itching to check out this mid-western city for an indeterminable period of time? I’m pretty keen on the people – they’re all kind and witty, they don’t take themselves too seriously, and they seem to hold the mid-western charm sans dopey accent. And perhaps the entire east coast could stand to have a bit of that rubbed off on them.
Pablo Picasso, Daniel-Henry Kahnweiler, 1910.
Oil on canvas, 100.4 x 72.4 cm.
The Art Institute of Chicago, Chicago.
More, most importantly, really, the art and cultural scene hold their own when it comes to other large American cities, which I will not specifically name, but I’m sure you can guess which I mean. Chicago was the first to open its arms to exhibitions of Cubism, Surrealism, and all of their strange yet beautiful friends. Even Pablo Picasso, who never once even stepped foot the United States, dedicated a statue, one of his last I might add, to the city of Chicago. The Art Institute of Chicago is responsible for 350 of Picasso’s pieces. I wouldn’t call myself a Picasso enthusiast, but that’s a rather serious collection to speak of.
Pablo Picasso, Man with a Pipe, 1915.
Oil on canvas, 130.2 x 89.5 cm.
The Art Institute of Chicago, Chicago.
Anyone interested in catching the next flight to Chicago? We can rendezvous in O’Hare and split a Chicago-style hotdog. Who knows, maybe the Cubs will be spectacular this year. While we wait for that to happen, we can visit The Art Institute of Chicago’s Picasso and Chicago exhibit, on through 12 May 2013. If the flight is too much of a change for you, dig into Picasso by Victoria Charles for a parallel look at his life and artworks.
-Le Lorrain Andrews
Asia: The mystery of the Orient. Exotic people, exotic clothes, and exotic food. Parasols under cherry blossom trees. Staggeringly beautiful pagodas with highly delicate ornamentation. People who are short of stature, but high in courtesy. Humid jungles. Roll upon roll of luxurious carpets. Fragrantly perfumed air enveloping crowded market stalls. A medley of spices waiting to be unleashed.
OR
Asia: Hot. Humid. The short, staccato clamour of horns punctuating the incessant drone of traffic. An acrid stench of mingled fumes and durian pervades the air. Masked and hooded figures driving with abandon, giving rise to the adrenaline rush of death-defying acts of crossing the street. Street food at every corner, same same, but different. Low prices. Highly caffeinated shots of coffee; essential to keep the average visitor awake and alert to this perplexing and enticing setting.
A child and a buffalo, returning from the rice fields
So which is it? Which is the real Asia?
Well, I can honestly say that both descriptions accurately fit the bill. There is nothing straightforward about Asia. Contrasts and contradictions meet you at every turn: surprise and incredulity, victory and defeat, joy and despair. These are all emotions that the average person may experience (and sometimes in rapid succession) upon setting foot on Asian soil. But through it all, a ray of curiosity shines bright. A people, ready to learn and to change, quick to welcome, and quick to share: this is my impression of what has been called The Orient.
It is astounding to me that in the aftermath of such pain and destruction that this part of the world has so recently faced, that human resilience is what shines through the brightest. Not only resilience, but tenacity, the foresight to educate, and above all, hope. Hope for a better future, for a higher destiny. I see this in the focus on schools, in advancing economies, and in the adoration in the eyes of a child’s grandparents.
Poklong Anading
Counter Acts, 2004
Chromogenic transparency in lightbox, 228.6 x 365.8 cm, edition 3/3
Courtesy of the artist
Solomon R. Guggenheim Museum, New York
Art is another example of how this region of the world is challenging both self-imposed and outside perceptions. In particular, the ongoing exhibit at the Solomon R. Guggenheim museum showcases contemporary Asian art, looking deeper at the cultures of the countries within the continent than the politics and geographies which embroil them.
The Guggenheim’s exhibit: No Country: Contemporary Art for South and Southeast Asia is ongoing until the 22nd May 2013. If both New York and Asia are a little too far away, why not browse through Jean François Hubert’s book The Art of Champa?
Whilst Shiloh Jolie-Pitt is perhaps one of the most famous tomboys of her generation, and in no way likely to become BFF’s with Suri Cruise (if I am mistaken, I will sincerely apologise to everyone involved), it’s very likely that she’ll one day embrace a girlier side of herself. Brad and Angelina, watch out, she’s going to be a handful!
Whilst I was no great girly-girl as a child, I was certainly no tomboy either… I left that to my sister. But, I had a certain fascination with tomboys in stories – I envied their ‘go get em’ attitude, and self-sufficiency. I mean, Jo was everybody’s favourite in Little Women, right? Enid Blyton’s George in The Famous Five was far more interesting than Anne! As much as I love Cinderella and Aurora, Mulan gets an A+ in the ‘go get em’ department! One more quick example to prove my point: In George R. R. Martin’s Game of Thrones, Arya Stark is the clear favourite. She’s brave, she’s feisty, and she is certainly no doormat.
John Singer Sargent
Carnation, Lily, Lily, Rose, 1885-1886,
Oil on canvas, 174 x 153.7 cm,
Tate Gallery, London
This is proof, if ever there was need, that tomboys have been in vogue ever since the 1940’s, when The Famous Five was first published, if not before. It is this idea of childhood, and especially girlhood, which the Memphis Brooks Museum of Art is preparing to explore. The 19th century was a time when society and cultural expectations were changing… girls were beginning to be heard as well as seen, and the idea of what a girl should be and the expectations her parents had for her was also undergoing a process of change. The exhibition of these different artistic depictions of girlhood harks back to a more innocent time of life and, in fact, perhaps even a more innocent age.
John Singer Sargent
Portraits of Edouard and Marie-Louise Pailleron, 1881,
Oil on canvas, 152.4 x 175.3 cm,
Edith M. Usry Bequest Fund, Des Moines Art Center, Des Moines
Be that as it may be, I for one am very glad that I grew up when and where I did. To have the luxury of the freedom of choice of tomboy-hood or not, to have much wider choices upon leaving childhood, and to be able to appreciate the novelty of a world far-removed from that of my own – in book form of course! I can say for certain that I am very glad that I was not actually in Mulan’s position of having to defeat the Huns; I am also glad that Spam was not part of my childhood – as it was so often for Enid Blyton’s characters!
To see for yourselves the difference in lifestyles between the young girls of yesteryear and those of modern-day children head over to the Memphis Brooks Museum of Art between the 16th February and the 12th May. Decide for yourself whether the child in question is an Angel or a Tomboy! If Tennessee is a little too far out of the way, go ahead and get yourself a copy of Clara Erskine Clement Waters’ Angels.
A mind free of ignorance, greed, and hatred – peaceful and drama-free sounds nearly too good to be true. However, this state of being is amongst the ideals of Buddhism and basing my opinion simply on those standards, I see no wrong. A fair portion of the world has its qualms with religion – the concept in general, religions and philosophies which are not our own, and especially concepts we know little or nothing about.
Buddha statue at Yungang Grottoes, Northern Wei Dynasty 686 (386-534).
Datong, Shanxi, China.
If you’re religious, so be it. I simply ask that you keep which ever God or gods you follow to yourself and leave me out of it. It’s a sensitive matter which falls amongst other taboo subjects including politics and the Great Pumpkin. I, perhaps naively, honestly believe that if the citizens of the world were able to put their religions aside, there would be less animosity between neighbours and nations. If instead we focussed our energy on learning more about one other, being humble and sharing our prosperity, as well as spreading more love than hate, we might really be able to get somewhere.
Laughing Buddha, possibly Maitreya.
Date unknown, Lingyin-si Temple, Hangzhou, Zhejiang province, China.course chateau gonflable
Who was it that said, “When the power of love overcomes the love of power the world will know peace”? It’s debatable and attributed to both William Gladstone and Jimi Hendrix, and the actual point is not who said it, but that it was said. Now, if only we made it happen – the Buddhists certainly cannot do it alone.
Medicine Buddha, 15th century, China.
Red copper with gold, height: 32 cm.
Maybe I’m preaching socialism, or sound a bit crunchy-granola, and I can live with that. Check out the Chinese Buddhist Sculpture exhibit through 31 March at the Tokyo National Museum and try to learn about something you didn’t previously understand. Also, get a further look into Chinese Art with Stephen Bushell, including sculpture, architecture, and painting.
-Le Lorrain Andrews
The life of Marc Chagall was not an easy one. Nor was it uneventful. It was however, filled with enough drama to delight even the most seasoned and skeptical of Hollywood producers. He perceived the events of World War 1 from afar, saw the hopes and disappointments of the Russian Revolution, barely escaped the onslaught of World War 2, was revered for his artistic prowess, admired by Picasso, and left behind a rich artistic legacy.
The Fiddler, 1912-1913.
Oil on canvas, 184 x 148.5 cm.
The Royal Collection, The Hague.
In effect, Chagall’s life and success was the result of many fortuitous encounters… the first one primarily being the encounter with art at school, which led to his illustrious career path. A meeting later in life would prove to be truly life-changing however. He encountered Hiram Bingham IV when he was living in France, who was able to procure for him an American visa so that he and his family could flee Vichy France, and near-certain deportment to a concentration camp.
So, the art world, and in fact, society in general, has a lot to thank Hiram Bingham IV for. Not only was he responsible for guaranteeing that the life and remaining works of Chagall would be preserved, but he also helped to save the lives of over 2,500 Jewish refugees by ensuring they received visas (against official government policy of the time) to the United States out of Vichy France.
The events of World War 2 were to haunt the artist, as his later paintings show. Themes of war and the crucifixion play across several of his post-war works, giving a voice to those who were silenced. We can go so far as to say that whilst Chagall was the one who directly painted the Paris Opera House ceiling, designed the stained glass windows for the Metz Cathedral, and produced countless stunning artworks, Hiram Bingham IV was the one who made it possible.
The Circus Horse, 1964.
Oil on canvas, 49.4 x 61.8 cm.
Private collection.
So whilst we are grateful to Bingham for the brave and heroic decisions that he made, let us take a moment to think of the millions who did not have such a lucky escape. And upon seeing the works done by Chagall, take a moment to think about the masterpieces of art, concertos, ballets, theatre, etc. which the world will never see. In celebrating Chagall, we remember.
The Musée de Luxembourg, in Paris, will soon be hosting an exhibition dedicated to the works of Marc Chagall, looking especially at the relationship between war and peace within his art. The exhibition, Chagall entre Guerre et Paix will be held between the 21st February and the 21st July 2013. Otherwise, be sure to peruse a copy of Sylvie Forrestier’s Chagall.
Let’s forget about art for a second, and let’s talk about letters. Perhaps you might think it’s an odd subject choice, but bear with me here. Back in the days of yesteryear (yep, your grandparents’, great-grandparents’…perhaps even as recently as your parents’), how did people communicate when they weren’t directly next-door neighbours? Sure phones were around, and eventually even email. However, the letter was the method of communication which could truly enchant. There is a reason why it’s called a ‘love letter’ after all.
Malick Sidibé
Nuit de Nöel
Photograph
Courtesy of the artist and Jack Shainman Gallery, NY
The Menil Collection, Houston
As I write this in the lead-up to Valentine’s Day, the cynic inside me cannot help but think of the number of failed relationships that haunt us, both individually, and society as a whole. Of course, there are a number of factors why this could be the case now: easier to get divorced, more rushing into what used to be a lifelong commitment, less inclination to put effort into to make something work (it’s a fact that we are a lazier generation), etc.
But, imagine if all relationships were to start with letter-writing? A good few months of writing letters and I reckon that you will know each other far better than if you stuck to texting, thereby laying a stronger foundation for a relationship. When you sit down to write a letter, you’re giving a commitment of time. The act of putting pen to paper is not just about communicating a message, but it also requires thought. I would say that there is much more thought and precision put into writing a letter than, most certainly, a text, and, most probably, an email. Noah (aka Ryan Gosling) would agree with me I’m sure. It did win him Allie in the end! (Sorry for any spoilers non-Notebook people.)
Francesco Hayez
The Kiss, 1859
Oil on canvas, 90 x 112 cm
Pinacoteca di Brera, Milan
So, the next time you are stuck for something to do, why not sit down and write someone a letter? It doesn’t have to be to your special someone, but whoever you write a letter to, their day is guaranteed to be made. That’s just how letter-writing works.
The Menil Collection, Houston, is currently hosting an exhibit entitled The Progress of Love. An interesting and touching look at how love is displayed and how it changes and wanes across cultures, it is sure to be of interest to romantics and cynics alike. The exhibit will run until the 27th March, so if you are in the Houston area, be sure and visit! During your trip, ask yourself: would these relationships have dissolved as easily if the couple had started with letters? Perhaps… but then again, perhaps not! For a classical look at love, just in time for Valentine’s Day, check out Jp. A. Calosse’s work: Love.
Arabian nights, like Arabian days, more often than not are hotter than hot in a lot of good ways. The Arab culture has gone from gross underrepresentation in television, art, and film to an intense misrepresentation over the past twenty years or so. While film directors and screen writers are helping the media plague the minds of the public about the Middle East, it’s far less often that I experience outward hatefulness from the group of people whom are relentlessly demonised as threatening, violent, and dangerous.
Bolo-khauz Mosque, 18th century.
Bukhara, Uzbekistan.
Children are brought up with quirky yet adorable “street-rat” Aladdin, who steals to eat and falls in love well outside of his league. We’re lured in with lines like “it’s barbaric, but it’s home” and a cute monkey in a hat causing distractions while his mate steals apples and the like. Seriously? I’ve only got one Muslim country under my travel belt, but it wasn’t remotely comparable to this vision. How are Arabic children meant to watch this and retain any sense of respect for themselves and their culture? How do non-Arabic children manage to look beyond the stereotypes and thinly-veiled racism? Neither group can succeed as long as this skewed vision persists.
Religious complex.
Samarkand, Uzbekistan.
“But Aladdin was released twenty years ago!” you say? Let’s move on in the times to Homeland – recently off-air for the season and signed for at least another. In brief: American prisoner of war, held abroad for eight years by an extremist is ‘brainwashed’ and ultimately sent back to the United States to help wreak havoc on the system – which is perpetually recovering from 9/11. I simply do not understand why, nearly twelve years later, we are continuing to sensationalise this. I’m not saying that it didn’t happen, wasn’t important in the history of the world, or should be completely forgotten. What I am saying is that we need to move on and stop focussing on the minority of bad while clearly observing the good of the culture overall.
Registan Ensemble at night.
Samarkand, Uzbekistan.
Get off of the internet (after you read this post of course), stop watching television, cease spreading your hate. Go to a museum, more specifically the Institut du Monde Arabe to see Les Mille et Une Nuits to appreciate the beauty and magic which once enthralled us all about Arabian cultures. Furthermore, relish in the stunning beauty of temples, minarets, and mosques in Central Asian Art by Vladimir Loukonin and Anatoli Ivanov, I’d almost be willing to bet it will get you to buy a plane ticket.
-Le Lorrain Andrews
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