Mary Magdalene in Ecstasy, Caravaggio (1606) Nude Sitting on a Divan, Amedeo Modigliani (1917) Lolotte, Amedeo Modigliani (1916) The Martyrdom of Saint Matthew, Caravaggio (1599–1600) Narcissus, Caravaggio (1597–1599) La petite Marie, Amadeo Modigliani (1918)
Mistress and Maid, Johannes Vermeer (1632-1675) Wheatfield with Crows, Vincent Van Gogh (1890) The Starry Night, Vincent Van Gogh (1889) View of Delft, Johannes Vermeer (1660–1661) Girl with a Pearl Earring, Johannes Vermeer (c. 1665) Vase with Twelve Sunflowers, Vincent Van Gogh (1888)
A Mermaid, John William Waterhouse (1901) Arm of the Seine at Giverny, Claude Monet (1887) Waterlilies, Green Reflection, Left Part, Claude Monet (1916-1923) Borea, John William Waterhouse (1903) Listen to my Sweet Pipings, John William Waterhouse (1911) The Healing of a Nation, Claude Monet (1918)
Snow Storm: Hannibal and his Army Crossing the Alps, William Turner (1812) Lady in Ermine, Giacomo Grosso (c. 1990) Supremo convegno, Giacomo Grosso (1895) Fishermen at Sea, William Turner (1796) The Shipwreck, William Turner (1805) Nude, Andrew Loomis (i don’t found it)
Because ghost event! Let’s tell ghost stories… Kinda.
And throw an Oda Clan ghost party!
Edit: Didn’t occur to me to explain, because the “ghost party” was just to show that everyone’s dead and their poses don’t really matter, haha. But some people were asking on the Twitter crosspost, so…
Art is the imposing
of a pattern on experience, and our aesthetic enjoyment is recognition of the
pattern.-Alfred North Whitehead
Humanity has an innate desire to bring harmony to chaos, order to disorder, to resist entropy. Art, being such an essential facet of human expression, displays this desire very well. To some extant the human mind as unerringly strives towards order as our reality strives towards disorder. In art this desire for order manifests in many ways. It manifests itself through rhythm and repetition, through distinction and separation, through figure and ground, through complexity and simplification. Likewise in reality we try to reduce as we much as we can the world around us into something comprehensible. We think in terms of opposition and conjunction, me vs. you, here vs. there, now vs. then, or here and now, then and there, us. We think of life as being endless cycles of calms and. storms, happiness and sadness, gain and loss, ignorance and knowledge. We think of the world too as tales of triumph and collapse, civilized and primitive, man and nature, victor and victim. If we can think of it in cycle or repetition, it becomes a pattern of human existence.
I chose as examples art across many times, continents, styles, and themes. It starts with an example of prehistory, the endless repetition of hands, acting through physical metonymy as a representation of the people who placed them there. It ends with Pollock’s rhythmic evocation of an abstract sentiment, proving even that which does not physically exist can be given a sense of pattern and cycle. Whether we appreciate it or not speaks to our own unique sense of order.
Wall of Cueva de los Manos, Argentina-unknown artist (13000-9000 BCE)
Nebamun hunting in the Marshes-unknown artist (1350 BCE)
Achilles and Ajax Playing a Game of Dice-Exekias (550-530 BCE)
Room 1 of Temple of the Murals, Bonampak-unknown artist (790-800 CE)
Pentecost-Giotto (c. 1310-1318 CE)
The Calling of St. Matthew-Caravaggio (1599-1600 CE)
Irises-Ogata Korin (c. 1705 CE)
Abbey in the Oakwood-Caspar David Friedrich (1809-1810 CE)
Caravaggio, The Calling of Saint Matthew, 1599-1600, oil on canvas, 322 x 340 cm, Contarelli Chapel, San Luigi dei Francesi, Rome. Source
Caravaggio’s masterpiece The Calling of Saint Matthew is located at the Contarelli Chapel in San Luigi die Francesi, the French church in Rome, where it was originally commissioned. The painting depicts the moment Matthew the tax collector is summoned by Christ, who stands to the far right and points towards the contemporary men seated at the table. The miraculous beam of light that falls on this group can be read as a kind of holy presence accompanying Christ, seeing as certain figures would certainly be in shadow if the light source was solely natural. Matthew is most-often recognised as the central figure - the one gesturing to himself - though some scholars believe this man is in fact pointing towards the slumped figure on the very end of the table. I personally quite like both readings of the composition!
Caravaggio was an Italian painter
active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His
paintings, which combine a realistic observation of the human state,
both physical and emotional, with a dramatic use of lighting, had a
formative influence on Baroque painting.
his twenties Caravaggio moved to Rome where there was a demand for
paintings to fill the many huge new churches and palazzos being built at
the time. It was also a period when the Church was searching for a
stylistic alternative to Mannerism
in religious art that was tasked to counter the threat of
Protestantism. Caravaggio’s innovation was a radical naturalism that
combined close physical observation with a dramatic, even theatrical,
use of chiaroscuro which came to be known as tenebrism (the shift from light to dark with little intermediate value).
Famous while he lived, Caravaggio was forgotten almost immediately after his death, and it was only in the 20th century
that his importance to the development of Western art was rediscovered.
It can be seen directly or indirectly in the work of Rubens, Jusepe de
Ribera, Bernini, and Rembrandt, and artists in the following generation
heavily under his influence were called the Caravaggisti or Caravagesques, as well as tenebrists or tenebrosi. The 20th-century art historian André Berne-Joffroy claimed: “What begins in the work of Caravaggio is, quite simply, modern painting.”