ART CRITICISM AND WRITING FALL 2019
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Olivia Armstrong
Art and Critical Writing
Professor Erina Duganne
12 December 2019
Medieval Recurrence
The Exhibit Victorian Radicals: From the Pre- Raphaelites to the Arts & Crafts
Movement which is open for viewing October 11, 2019 through January 5, 2019 at the San
Antonio Museum of Art’s Cowden Gallery. Much of the exhibit is paintings with the occasional
statue, table-ware, and other odds and ends that originate from the Victorian Era. The
organization by the curators reflects the eclectic nature of the collection as the varied types of
works while usually connected by an overall medieval context, portraiture, and realism are
otherwise not connected in how they ae displayed throughout the gallery. Their source material
(or at least the majority of this material) on the other hand originate in a much older tradition of
life and artwork. Namely the Medieval era of European history which in turn gained some of
their material from Greek and Roman mythology as well as Christian mythos. This exhibit not
only is a look into the Victorian Era, but also into the Mythos of ages past bringing focus to the
stories and folklore that lie within.
Many of the works of art in this exhibition are works of arts that exist on a canvas
(paintings, graphite drawings, etc.), but there are other examples artwork such as glass ware,
ornate reliquaries like objects, illuminated manuscripts, and even stained glass windows. The
varied type of art work found within allows the viewer to see all aspects of the art world during
the Victorian era as well as to be able to see which types of medium are preferred to work with
when these artists create. The works themselves are also usually the combination of multiple
mediums and very few only consist of one, but the main similarity that the works share is in their
attention to detail no matter the type of medium (easy or difficult in their complexity). Each
work also has its own story line and reasoning as to why it was created so or the subject matter
was chosen. The historical context alone allows audiences to visualize the morals and stories
found within. While accompanied by expertly rendered figures, creatures, food, and images of
historical mythos events. As with any work of art that is meant to act as an allegory each work
has its own background in folklore and the proper etiquette that humans should or art to follow
according to the events in these works.
One of the aspects of the gallery that was thought-provoking was the fact that it was
carved up by partitions that acted as not only dividers, but also extra wall space for more works
of art. It forced me and other patrons to look around on every shelf and corner to see if we
missed any information or work. Each alcove has its own specific works that coincide with either
a period of time an event, or a specific set of mediums, to a division of specific creators/ artists.
There is also a large vinyl information sign about the overall exhibit placed on a wall nearby.
The information therein is about each collection, or event that these works of art where shown in
all their glory. The initial works that the viewer goer sees are created by the artist Dante Gabriel
Rossetti. The images are also accompanied by their own placard of information on the artist, the
works source material if any or the reason as to why the work was created to be the way it is.
Both works consist of a female figure being the main point of focus. The differences are that
while one is a complete work with a figure and a background called Woman with a Fan (Fanny
Cornforth) which was created in 1870; the other which is called La Donna della Finestrawhich
was created in 1881 is only a that of a figure with a disembodied head, neck, and hands. The
images are similar in that they themselves are painted using the artistic style of realism. The
attention to detail is exquisite in that they look as if they could come off of the canvas and enter
the current time period. The figure that is complete is a portrait of the individual Sarah Cox, the
daughter of a Sussex blacksmith. The information placard goes on to tell more about the subject
matter and her life, and as to why Rossetti used her as a model for his work. The most important
aspect is not only the placard, but also the choice in selecting Sarah as a model and therefore the
depiction of her. The important change this work shows in how the use of Sarah influenced a
series of sensual single-figure images of female subjects. The stylized depiction of Sarah is of an
affluent woman reclining with a feather fan composed within a room with flowers in the
background. The fact that both of Rossetti ‘s works in this gallery are of female figures with little
to no background or foreground information thus putting emphasis on the figure in each painting.
The image is also one of the few images of figures that differ from the majority of the figures in
that the female is wearing clothing of the age in which she is living rather than the clothing and
styles of the medieval era.
As the viewer continues through the exhibit into the next quite a few of the following
works involve imagery from what the viewer or human audience in general have come to expect
from the Medieval era of Europe. Both religious historical figures along with figures of literary
significance. There is an image by Dante Gabriel Rossetti created from ink and graphite of the
Medieval figure of Dante Alighieri (a different Dante from the artist) best known for his
authorship of his Commedia(The Divine Comedy); The Inferno, The Purgatorio, The Paradiso.
He is depicted in robes of his era, drawing an angel. Or in the specifics Beatrice whom he came
across when she was a child. She apparently made quite the impact on his life and inspiration as
she is depicted within his Commedia as an angel whom in turn goes on to lead and protect Dante
the Pilgrim within the trilogy on novels. This is significant in that as the actual individual died
rather young, and Dante the poet spends a large portion of his journey/ quest referring to and
talking about Beatrice as a symbol of purity as she passed away at a young age. She also leads
him through the final novel in the Commedia. This image itself was created for the first
anniversary of her physical death and is an example of the realistic figures in a natural stare of
being rather than a purposefully posed figure only there for the artists use. The other figures
within the image are all male, and appear to be scholars or other poets given that they are drawn
in the company of Dante whom is known for his authorship. While there is no color beyond the
patina of the paper or the brown colored ink in the lower inscription the depiction of the figures
leaves the audience to imagine them in their day to today existence even if these figures are
imaginary rather than based on true fact as Dante the poet is. The aspects that are important
within the work are the fact that scholarship and remembrance of not only an individual but also
an individuals’ (if they follow a Christian religious belief) own religious connection is on view
and are shown preferential treatment over material needs in life.
Another aspect explored in the exhibition is the Victorian’s draw to Greek and Roman
mythos for their allegorical tales found within. Multiple works in that they share common myths
and their figures such as the myth of Proserpina better known as Persephone. She in this work
titled Prosperpinepainted in the approximate years 1881-1882 by the artist Dante Gabriel
Rossetti is depicted as female of approximate twenty or so years of age in a long flowing green
gown with many creases and layers. Her hair is red, and she is also depicted as a Caucasian
female. The paintings background plays as a backlight to the figure, and her specifically
positioned body posture clutching the pomegranate. There is also a small pot in the bottom left
corner plane that has what appears to be incense burning in it with rising smoke in front of
Proserpina. The ivy in the background can be construed as being a symbol of growth and spring.
As Proserpina is said to be the goddess of spring or at least associated with it through her story
line in Greek and Roman Mythological tradition. The important aspect of this particular lies in its
allegory found within the original story of the figure. Rossetti again in this image of a female has
the style of realism as its main goal in design.
There are also examples of Christian religious allegory in some of the works in the
gallery. For example, in a work of art by Edward Burne-Jones by the name of The Holy Grail
Tapestries: Study for The Attainment, created approximately in 1890-1891. The mediums chosen
for this particular work of art are that of watercolor and gouache, gun, and gold paint over traces
of graphite on buff paper. The differences of this work in comparison to many of its surrounding
works lie in its choice of medium and depiction of its figures. The figures are of knights, angels,
all either gathering around or looking at a chalice that is placed upon an altar. The knight’s in
particular follow the medieval tradition of not only design, but also possibly an accurate
historical depiction of men in battle gear during the medieval period of Europe. The historical
connections between the work and actual fact are a little vague as the individuals and subject that
it is the main point of this work is based on religious information. Also the writing down of
actual truthful events aren’t always reliable when referencing back to the medieval era. The
figures play second to the main focus which is the grail. They exist in a space that appears to be
at night in a grassy area with an elevated room that has a cutaway in the side so that the
audiences are able to see the focal point of the work. Several of the figures are also kneeling
giving a sense that the object of their attention is worthy of adoration and idolatry.
The Victorian Radicalsexhibit exemplifies multiple traditions in choice of medium and
focus of inspiration. Many of the artists found in the exhibit focus their attention on the depiction
of various figures of either historical context, fictional context, religious context, and or
allegorical myth storytelling. The gallery itself exemplifies the Victorian era as it is eclectic and
is all over the place. The varied aspects of the works lie in how in one section of the gallery the
viewer can go from a painting to, coins with profiles of figures, to stained glass windows, and
then see illuminated manuscripts. The viewer could be looking at an oil painting of a single
figure with little to no historical context (namely the image is simply for the use of its owner and
is usually a portrait of some type). The reasoning behind the want of reliving the stories of the
past are that humans crave nostalgia. We as a human race are also drawn to the stories of old so
that we may learn from the mistake of others so that we may in turn learn to not repeat mistakes.
Unfortunately, human kind is flawed and mistakes are routinely repeated unconsciously or
deliberately. Art work that contains allegorical symbols and connections have always been a way
for people to immortalize tales of morals so that audiences themselves recall and learn from the
past and hopefully change for the better in the future. (2009 Words)
Home
Blog
Exhibition Reviews
Olivia Armstrong
Megan Coca
Caroline Frost
Sara Garner
Megan Lowry
Aubrey Holt
Paige Kutchka
Annabel Marshall
Sam Medina
Laney Moreno
Taylor Morey
Kristen Pearson
Jessica Solis
Lauren Sollohub
Kayla Swinford
Artist Interviews
Olivia Armstrong and Tia Daubas
Megan Coca and Mack Evans
Caroline Frost and Sasha McKay
Sara Garner and Rebecca Jenson
Aubrey Holt and Theresa Sawczyn
Paige Kutchka and Brandy Hill
Megan Lowry and Devon Smith
Annabel Marshall and Melanie Martinez
Sam Medina and Gerlyn Friesenhahn
Laney Moreno and Brianna McDonald
Taylor Morey and Michaela Livingston
Kristen Pearson and Brenna Wissmann
Jessica Solis andEren Eiswirth
Lauren Sollohub and Kirsten Hall
Kayla Swinford and Celica Douglas
Resources
Schedule and Readings
Contact