My name is Margaux Worrall (Marg-o Wore-all). I am a student at Capilano University under the IDEA bachelor program. I love good poutine, contemporary, abstract and pop art. I have come to Cap to learn more about the arts and graphic design. My end goal would be to become a Graphic Designer or an Art Director.
This week I was assigned to design a zine about typography. I have decided to focus of the Glasgow style and its vertical and angles type style. I will focus on a few features, such as important characteristics of the type style, important figures, the history and it’s influence or maybe it’s appearance it’s present times. I definitely want to incorporate Glasgow style elements, such as long figures, value palette and natural shapes.
Characteristics:
Vertical lines
Geometrical
Long
Important Figures
The Four – Mackintosh, Charles Rennie, J. Hebert McNair, Frances and Margaret McDonald.
Beardsley
History
Hybrid of Arts in Crafts and art nouveau emerging in Scotland
Petticoats, the ideal undergarment for the ideal woman. Dated all the way back to the Middle Ages, petticoats have been used to create the idea woman figure of the era. It would fabricate an illusion – wider hips, smaller waist, larger butt making them todays spandex. Shapes and sizes but the crinoline stayed on the most recognizable (fig.1)
Originally made with horsehair and whalebone, steel crinolines were the fashion frenzy of the late 1840’s. First patented in England, steel crinolines became an immediate hit. Thousands of them could be produced in one day. This immense supply created an affordable prices meaning all social classes could wear them. Surrounded by cotton and linen, manufacturers used steel created a lighter spring allowing for more freedom to the legs. However, walking was still challenging. In addition to the weight, crinolines had a circumference of about 5 to 6 yards making the ability to walk through doors challenging as well (fig.2).
Figure 2 . Caricature scenes on the theme of crinolines and the various problems it causes.
The crinoline created a bell shape giving illusion to bigger curves and a smaller waist. The pairing of a corset, which was done more often than not, only added to the effect. Crinolines, mostly near the end of the 1850’s would allow the visibility of a woman’s ankle. The idea of an ankle being erotic is laughable in present times, but back in the day, very little of a woman’s body was shown. “Sexuality was severely repressed in the West during the Victorian era. Both sexual behaviour and public discussion of topics related to sexuality were suppressed” (SEXUALITY, 2003) creating a society that revered the slightest showing off of woman attractive.
Granted that some people might proclaim that there is no beauty without pain, I don’t think they thought of how far some people would go to achieve such a goal. Crinoline, as beautiful and desirable they are, were extremely flammable. It is estimated that 3000 women had died between 1950 and 1860 in England alone by crinoline related fires. However, this did not halt the market for the petticoats.
Fig. Crinolette
Crinolines then led to crinolettes, also known as the lobster(fig.4). Crinolettes were created through the dying fad of wider thighs. Instead of being wide all around they had a massive dragging back side and thin waist creating a smaller frame which created the Bustle.
Crinolines stay plat part in modern fashion. Fashion companies and designers such as Alexander McQueen, John Galliano and Christian Dior all took inspiration from the crinoline, adjusting it and created their own unique ideal female figure. Updated versions of the crinoline are also found in ball gowns and dresses of our time. Let’s just hope they won’t catch fire.
Work Cited:
Britannica, The Editors of Encyclopaedia. “Crinoline.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/topic/crinoline.
Britannica, The Editors of Encyclopaedia. “Petticoat.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/topic/petticoat.
“The Crinoline or Hoop Skirt.” VICTORIANA MAGAZINE, www.victoriana.com/Victorian-Fashion/crinoline.htm.
“Crinoline.” Wikipedia, Wikimedia Foundation, 27 Aug. 2019, en.wikipedia.org/wiki/Crinoline.
Delamater, John, et al. “Sexuality.” International Encyclopedia of Marriage and Family, edited by James J. Ponzetti Jr., Gale, 2nd edition, 2003. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/galemarriage/sexuality/0?institutionId=6884. Accessed 17 Oct. 2019.
Figure 1. A young couple cuddles near a peony in a vase, which symbolizes their sexual connection, in a panel from Katsukawa Shunshō’s “Secret Games in the Spring Palace,” from the late 1770s.
Life of prostitution could start as young as the age of 7. Many families living in impoverished villages or farms would sell their kids to brothels in Yoshiwara. Once introduced to their new “sisters”, the young ones would be used for manual labor. They cleaned, cooked, delivered messages and tended to courtesans. All during that time, they would get insights on the life ahead of them and learn new tricks such as how to speak with a manipulative tongue.
By the ages of 11-12, the children were tested to be seen if they were talented enough to be trained by an elite courtesan. Practice was laborious. They had to learn calligraphy, the tea ceremony, how to dance, sing and play the samisen. This training period was crucial in a prostitutes life. The quality of their craft would determine the quality of their life later along the line.
Figure 2. A ranking prostitute and a young customer are enveloped by layers of robes and brocades, a porcelain planter with blooming plum blossoms at the upper left.
Only the most gifted and talented would be able to become a tayù. These women would live in luxurious brothels, and clients would go through an interview followed by 3 meetings with the tayù until he could have sex with her (fig.2). Below the tayù, was the kōshi. These prostitutes lived in less nicer brothels, but there kimonos were expensive and they held themselves in an aristocratic manner. These women were able to turn down men which was a luxury many couldn’t afford, namely the sanchas. Under them were the tsubone whose living conditions were much more grim. They would play the samisen for clients through lattices and cages (fig.3). Lastly were the hashi. Hashi lived on the outskirts of Yoshiwara. Living conditions were terrible and the pay much worse.
Figure 3. An illustration of women on display behind wooden bars in the Yoshiwara bordello district of Tokyo, circa 1800
Such hierarchy made for extreme competitiveness between sisters creating tension and cruelty amongst them, not to mention the treatment some received by clients. Although some lived in better conditions, almost all lived in dept. From the clothes to the food, “debt to the brothel would only increase as she rose through the ranks, as her luxurious and ever-changing wardrobe, which required as many as four or five layers of kimonos worn at a time, and the tips and fees for her attendants were her financial burden, too.” (Sex and Suffering, 2015).
Once these women would reach the age of 20, most of them would already be dead or die in the years to come. Due to toxic lead heavy makeup to whiten skin, venereal diseases or the berthing of a child, most women would die incredibly young. This death toll only generated the demand for more prostitutes and uplifted the market.
Although all the information we have on prostitutes of Yoshiwara comes from men’s perspective, one can only imagine how hard their life was. Even surrounded by luxury, they had no freedom and no say. Hard work, and little pay off.
Work Cited
Hix, Lisa. “Sex and Suffering: The Tragic Life of the Courtesan in Japan’s Floating World.” Collectors Weekly, 2015, www.collectorsweekly.com/articles/the-tragic-life-of-the-courtesan-in-japans-floating-world/.
Seigle, Cecilia Segawa. “Geisha.” The International Encyclopedia of Human Sexuality, edited by Patricia Whelehan, and Anne Bolin, Wiley, 1st edition, 2015. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/wileyhs/geisha/0?institutionId=6884. Accessed 12 Oct. 2019.
“ukiyo-e (Japanese ‘pictures of the floating world’).” The Thames & Hudson Dictionary of Art Terms, Edward Lucie-Smith, Thames & Hudson, 2nd edition, 2003. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/that/ukiyo_e_japanese_pictures_of_the_floating_world/0?institutionId=6884. Accessed 12 Oct. 2019.
Images:
Figure 1. Hix, Lisa. “Sex and Suffering: The Tragic Life of the Courtesan in Japan’s Floating World.” Collectors Weekly, 2015, www.collectorsweekly.com/articles/the-tragic-life-of-the-courtesan-in-japans-floating-world/.
Figure 2. Eizanexpand_more, Kikugawa. “Yoshiwara Prostitute , from Selections from the Brocade Quarter (E-Awase Kingaishō), Kikugawa Eizan ^ Minneapolis Institute of Art.” Mia, collections.artsmia.org/art/119640/yoshiwara-prostitute-from-selections-from-the-brocade-quarter-kikugawa-eizan.
Figure 3.Parker, Clark. “A Walk in the Sex Park: Yoshiwara and the Tokyo Bordello.” The Tokyo Files 東京ファイル, 14 Jan. 2019, thetokyofiles.com/2013/12/09/a-walk-in-the-sex-park/#jp-carousel-5216.
John William Waterhouse was born in 1849 in Rome where his father lived as an artist. He soon left back to England in 1854 where his interest in art, specifically drawing took off. By 1870, Warehouse was studying sculpture at the Royal Academy but redirected his studies to painting in 1874. His paintings became an instant hit with the academy and would be exhibited annually at the RAs summer exhibition till 1916.
Waterhouses’ early years in painting were undoubtedly marked by the academy as he followed a seemingly classical style of painting. He had accuracy in his characters and settings, his use of bright colors was sparse and his themes/subjects were conventional. Such can be seen in his artwork Sleep and His Half Brother Death (1874)(fig.1).
Figure 1. Sleep and his Half-brother Death, 1874
Despite his academic training and his classical start, Waterhouse began to show interest in more exotic paintings and vibrant colors by 1880. His themes became heavily based on literature and mythology and his figures were more often than not were “ (…) dramatic, beautiful women—damsels in distress, enchantresses, or femmes fatales ” (John William Waterhouse, 2019. , with his favorite being Ophelia (see fig.2, 3, 4). This change marked the beginning of his pre-raphaelite career.
Figure 2. Ophelia 1889
Figure 3. Ophelia 1894
Figure 3. Ophelia 1910
By the late 1880s, Warehouses began to adopt a unique technique, seen in many artworks of the Impressionist movement, which required quick and light brushstrokes. He paired his unique brushwork created for a blurry effect with one for extreme softness, detail, and accuracy. This enabled him to create beautiful compositions and realistic figures. It also enabled him to separate himself from other Pre-Raphaelite artists such a Millais or Rossetti whose figures approached a drawn and cartoon look (see fig.5).
Figure 5. Lady Lilith’, 1866-68 Dante Gabriel Rossetti
In his piece The Lady of Shalott (1888) (fig.6), his sketch-like brush strokes can be admired in the tree, his softness in the figure and his detail in the tapestry. What makes this piece all the more special is his application of complementary colors (green and red) and juxtapositioning of extreme tints and shades.
Until his death in 1917, his subject matter and style was kept rather unchanged. Some paintings were more abstract than others but Waterhouse never strayed from his principles – women, landscapes, and brushwork.
“Waterhouse, John William (1849 – 1917).” The Bloomsbury Guide to Art, edited by Shearer West, Bloomsbury, 1st edition, 1996. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bga/waterhouse_john_william_1849_1917/0?institutionId=6884. Accessed 11 Oct. 2019.
Wootton, Sarah. “Pre Raphaelite Brotherhood 1848 1853.” Encyclopedia of the Romantic Era, 1760-1850, edited by Christopher John Murray, Routledge, 1st edition, 2003. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/routromanticera/pre_raphaelite_brotherhood_1848_1853/0?institutionId=6884. Accessed 11 Oct. 2019.
Images
Figure 1. Warehouse, John William. “Sleep and His Half-Brother Death, 1874.” Wikipedia, en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:Waterhouse-sleep_and_his_half-brother_death-1874.jpg.
Figure 2. Warehouse, John William. “Ophelia,1889.” Wikipedia, https://en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:JWW_Ophelia_1889.jpg
Figure 3. Warehouse, John William. “Ophelia,1894.” Wikipedia, https://en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:Ophelia_1894.jpg
Figure 4. Warehouse, John William. “Ophelia,1910.” Wikipedia, https://en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:Ophelia_1910.jpg
Figure 6. Warehouse, John William. “The Lady of Shalott, 1888.” Wikipedia, https://en.wikipedia.org/wiki/John_William_Waterhouse#/media/File:John_William_Waterhouse_-_The_Lady_of_Shalott_-_Google_Art_Project_edit.jpg
The story goes, Isaac Newton had been sitting under a tree when an apple had suddenly fallen on his head. As a result, the first law of gravity was born. Although this story is fictional, a similar one was true “according to Newton himself…”(Newton, Isaac, 2018). He had been relaxing under an apple tree, and an apple had fallen but this time, beside him. The law of gravity hadn’t been resolved in that instant but it had sparked curiosity, one that would last him 21 years.
Image 1. Visual representation of the apple incident
Born on January 4, 1643, in Lincolnshire, England, Sir Isaac Newton would become a leading figure in scientific revolutions. Throughout his entire life, he made immense contributions to the understanding and discovery of mathematical aspects, mechanics and optics. Although much to debate, his most memorable and important discovery being the law of gravity.
After the apple incident during his visit back home to pursue personal studies, Newton was led to begging the question of the possibility that the “force that pulled the apple to the ground could also extend into space and pull the Moon into an orbit around the Earth” (Newton, Isaac, 2018). Although going from an apple falling to the orbit of the moon seems far-reached for most of us, it made complete sense to Newton. His studies concluded that the rate of the fall was equal to the force of gravity which was “proportional to the square of the distance from the center of the Earth.”(ibid.). Newton believed he had uncovered the universal principle of gravity but through many trials, he realized his theory was inaccurate.
Image 2. Cover page of Philosophiæ Naturalis Principia Mathematica
Despite his failed first attempt in ca.1667, Newton invested himself once more during his time as a professor at Cambridge in 1679. This time, Newton concluded that the “force of gravity is proportional to the masses of the object and decrease in proportion to the square of the distance between two bodies” (ibid.). Simplified, it meant the bigger the objects, the greater the force of gravity, and the smaller the distance, the smaller the force of gravity. This time, his theory was correct but was extremely general and wasn’t precise. It was only a few years later where Newton implicated himself in the subject leading him to publish Philosophiæ Naturalis Principia Mathematica in 1687.
Also known as the Principia, the 260-page book was considered as the epitome of his career and a key element to the development of modern astrology and mathematics. In Principia, Newton explored in extreme depth the law of motion – acceleration, force, and action equal motion, as well as the law of universal gravitation in depth. His discovery was so precise and effective it had enabled the understanding of the phenomenon as complex as the orbital motion and as simple as the tide.
His discoveries (concluded) that
every massive particle in the universe is attracted to every other massive particle with a force that is directly related to the sum of their masses and is inversely related to the square of the distance between them. Proportionality is held constant in this theory at all places and all times; thus it is known as the universal gravitational constant. (Newton’s Laws of Motion and Universal Gravitation, 2011).
Image 3. Equation of the universal gravitation theory
Was the discovery of the universal gravitation the lucky result of an apple falling or the result of the simple genius of Isaac Newton. I’d say that both played important parts. However, Newton’s ability to capture complex ideas and breaking them down to its fundamental values cannot be ignored. Each of his breakthroughs proved that “scientific principles are of universal application” (Newton, Isaac, 2018). His talent and intelligence placed him as a titan of science.
Work Cited:
Images:
Image 1: Blake, Quentin. “Newton’s Apple.” Newton Trust, www.newtontrust.cam.ac.uk/.
Image 2: Newton, Isaac. “Philosophiæ Naturalis Principia Mathematica.” Wikipedia, en.wikipedia.org/wiki/Philosophi%C3%A6_Naturalis_Principia_Mathematica#/media/File:Prinicipia-title.png.
Image 3: “Newton’s Law Of Universal Gravitation .” Fine Arts America, 2017, fineartamerica.com/featured/newtons-law-of-universal-gravitation-science-photo-library.html.
Jean Auguste Dominique Ingres was born on the 29th of August 1780 in Montauban, France. His first artistic education was received through his father, Jean-Marie Joseph followed by the Fine Arts Academy in Toulouse in 1791. His artistic career escalated quickly after 1797. In the following four years, he had studied in the studio of Dalia, was accepted into the École des Beaux Art and received the award Prix de Rome for his piece The Envoys of Agamemnon (fig.1). His paintings followed the Romanesque style with its vivid emotions and imaginary settings.
Figure 1. The Envoys of Agamemnon
Around the beginning of the 19th century, Ingres began to gain a reputation as a portraitist. His style, although still romantic is some perspective, began to reflect the Byzantines era due to harsh frontality found in his paintings. The adoption of a quality found in the Late Gothic period, labeled his art barbaric and archaic. His most criticized work being Napoleon on his Imperial Throne (1806) (fig.2). His front facing portrait, displaying little to no emotion with addition to his position emphasizing power displayed “stylistic references (…) of the past” (Napoleon, 2017). However, such work is now admired for his “uncanny control of delicate yet firm line, (his) inventiveness in posing sitters so as to reveal personality through gestures, and (his) impressive capacity to record an exact likeness”(Encyclopædia Britannica, 2019).
Ingles moved to Rome, Italy where he continued his portrait work. Even with the fall of Napoleon’s Empire, Ingles created small portraits easily sold to English tourists. Suddenly, around the 1818s, Ingles began to resent portrait work and desire to paint great historical moments. Despite his change in subjects, his paintings were still being criticized as gothic. Notably his piece Paolo and Francesca (1819) (fig.3) which displayed extreme stiffness according to the public.
Figure 2. Napoleon on the Imperial Throne, by Jean-Auguste-Dominique Ingres, 1806
Figure 3. Paolo and Francesca (1819)
His reputation turned for better after the 1820s. Ingres has begun to be recognized as a religious painter and his style slowly geared towards an academic style – Neoclassical. He became in favor of drawing over color and committed to idealization. Paintings such as The Vow of Louis XIII (1824) (fig.4) had become sensations in France and revered as exemplary. As a result, Ingles returned to France.
By 1828, Ingles became professor at the École des Beaux-Art. As a result of imposing his own narrative on french painting, he was forced to leave in 1833. The following year, Ingles became director of the Académie de France in Rome. With ever growing popularity in France, Ingles returned once more where he was celebrated by banquets and dinners with the King.
By the 1840, Ingles had become the “greatest living artist in France”(Encyclopædia Britannica, 2019). Ingles returned to portrait, a style he had once been mocked for, due to prestigious commissions such as Mme.Inès Moitessier (fig.5). He later died in 1867 in Montauban.
Work Cited.
Figure 1
“The Ambassadors of Agamemnon in the Tent of Achilles.” Wikipedia, Wikimedia Foundation, 14 July 2019, en.wikipedia.org/wiki/The_Ambassadors_of_Agamemnon_in_the_tent_of_Achilles#/media/File:The_Envoys_of_Agamemnon_by_Ingres.jpg.
Figure 2
“Napoleon on the Imperial Throne, by Jean-Auguste-Dominique Ingres, 1806, oil on canvas.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bridgemandeag/napoleon_on_the_imperial_throne_by_jean_auguste_dominique_ingres_1806_oil_on_canvas/0?institutionId=6884. Accessed 03 Oct. 2019.
Figure 3
Blog-Senirupa. “Jean Auguste Dominique Ingres.” Seni Rupa, 18 Feb. 2013, blog-senirupa.tumblr.com/post/43395248778/jean-auguste-dominique-ingres.
Figure 4
“The Vow of Louis XIII.” Wikipedia, Wikimedia Foundation, 25 Apr. 2019, en.wikipedia.org/wiki/The_Vow_of_Louis_XIII#/media/File:Le_Voeu_de_Louis_XIII.jpg.
Figure 5
“Madame Moitessier.” National Gallery Collection, National Gallery, The National Gallery, 1st edition, 2009. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/ng/madame_moitessier/0?institutionId=6884. Accessed 03 Oct. 2019.
Websites:
“Ingres, Jean Auguste Dominique.” The Columbia Encyclopedia, Paul Lagasse, and Columbia University, Columbia University Press, 8th edition, 2018. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/topic/ingres_jean_1780_1867?institutionId=6884. Accessed 03 Oct. 2019.
“Ingres Paintings, Bio, Ideas.” The Art Story, www.theartstory.org/artist/ingres-jean-auguste-dominique/.
Shelton, Andrew Carrington. “J.-A.-D. Ingres.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 25 Aug. 2019, www.britannica.com/biography/J-A-D-Ingres.
Young, Rebecca. “Napoleon I on His Imperial Throne.” Napoleon.org, Jan. 2017, www.napoleon.org/en/history-of-the-two-empires/paintings/napoleon-i-on-his-imperial-throne/.
Nicolas Poussin was a french painter and draftsman born in 1594 in Normandy, France. As most other well known artist, Poussin showed an interest and talent for drawing at a young age. He first studied under Quentin Varin, but soon left for Paris in 1912 where he studied architecture and anatomy. It was during his time in the city of lights where he was introduced to roman engravings of the Renaissance period which influences him to visit Rome twice between 1619 and 1922 before moving permanently there in 1624.
He soon began to work commission most notably for the Jesuits and Giabattista Manno, an italian poet. Poussins work regularly concerned the bible and mythology. His style resembled immensely Romantisms by his representation of intense emotions. In addition, he painted with vivid color palettes and loose compositions which was a direct result of his admiration for venetian painters such as Titian. However, his style changed suddenly in the late 1930. Rebuking Venetian paintings intense colors and seductivity, he took on “severe and cerebral style that emphasized clearly delineated and modelled forms and cold, pure colours.” (Encyclopedia of Britannica, 2019). Such can be notably seen in his painting Landscape with Saint John on Patmos (see fig.1) in contrast with one of his early works (see fig.2).
Figure 1. Landscape with Saint John on Patmos (ca. 1940)
Figure 2. L’Assomption De La Vierge (ca.1630-1632)
With time, his reputation grew and commissions from prestigious clients came in. The Cardinal Richelieu and the king of Spain Philip IV to name a couple and later in 1639, Louis XIII of France. Poussin returned to France to work under his majesty until 1642 where he left back to Rome. His days in France we recalled to be some of his worst times. His creative freedom and process had been completely halted as many of his works had to be done by assistants.
Once back in Rome, Poussin continued to paint, each artwork more impressive than the previous. In 1647, Poussin defined a theoretical principle to painting – The Theory of Modes. He described that each aspect of the painting had to be chosen carefully in order to provoke an emotion from the viewer, appropriate to the paintings subject. This theory has been used over decades, most evidently in the Abstract movement which fundamentals are based on emotional response.
In his final years, Poussin refined his style both taking from Venetian and Classical painting (see fig.3). He had an ability to harmonise his colors and compositions to create simple yet dramatic pieces. His artworks had become effective and so polished, little had to be criticized about his work. Sadly, Nicolas had become increasingly ill in the past years and died in 1665 in Rome, Italy.
Figure 3. The Holy Family on the Steps (1648)
Work Cited:
Images:
Figure 2. Poussin, Nicolas. “L’Assomption De La Vierge.” Libération, next.liberation.fr/culture/2015/04/17/poussin-le-gout-de-grace_1246747.
Figure 1. Poussin, Nicolas. “Landscape with Saint John on Patmos.” Wikipedia, https://en.wikipedia.org/wiki/Landscape_with_Saint_John_on_Patmos#/media/File:Nicolas_Poussin_-Landscape_with_Saint_John_on_Patmos-_Google_Art_Project.jpg
Figure 3. Poussin, Nicolas. “The Holy Family on the Steps.” Encyclopædia Britannica, Encyclopædia Britannica, Inc, 28 May 2019, www.britannica.com/biography/Nicolas-Poussin/Conversion-to-Classicism.
Websites
“Poussin, Nicolas.” The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide, edited by Helicon, 2018. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/topic/poussin_nicolas_1594_1665?institutionId=6884. Accessed 02 Oct. 2019.Verdi, Richard. “Nicolas Poussin.”
Before beginning my essay on First Nation clothing, I would like to recognize that the land I stand upon is traditional unceded territories of the Squamish, Tsleil-Waututh, Musqueam, Lil’wat and Sechelt (shíshálh) Nations. It is with privilege that I explore the history of First Nations and do so with the utmost respect. If I have misrepresented the culture or misworded myself, I truly apologize as it is not my intention to do so.
As the biggest hunting group ever is known, it comes as little surprise that animals played a crucial part in Aboriginal culture. Whether it be the meat for feeding or the fat to gel down hair, each part of the animal was utilized. Clothing, in particular, was also made from animals till they traded them for woolen clothing which was thought to be more practical.
With the large land that first nations inhabited, the various ecosystems meant for a large variety of animals. In some territories as what we now know as the northern areas of Canada, Alaska, and Greenland, polar bears and seal were the main sources for food and clothing. However, in the Southwest and Great Basin area where the climate was warmer, bison and buffalo were there the animals of choice. Both will be used as an example in this essay to create an ensemble for both men, women and two-spirited.
Image 1.
Head:
The hair was very important for many First Nation tribes. Hair was commonly worn down, braided or attached. It was occasionally styled with small animal skin bands around the head would be worn, adorned with small feathers.
Top:
Before trading animal skin for woolen clothes, men and women were generally uncovered in the chest area in the Great Basin area. However, depending on the tribe, some women would wear tanned bison and or buffalo skin for dresses. When the weather cooled down, the animals (bison and buffalo) thick fur would provide ample heat and would be enrobed around the bodice like cloaks.
Image 2. Native American leggings, fringed and detailed with paint.
Bottom:
Contrary to the top, the bottom half was usually covered. Men would wear breechclout, tanned bison skin worn between the legs and secured with a skinny belt. During colder climates, tanned skin leggings were attached. Women wore leggings and skirts with length varying for each tribe.
Feet:
For the feet, Native Americans either wore moccasins or mukluk.
Accessories:
Accessories were very important to first nations as they represented status and beauty. Bones of the bison and buffalo would be used to make necklaces, bracelets, earrings, combs and hair ornaments.
Image 3.
Many of the clothing generally known as Aboriginal came well after the 15th century. The feathered headgears, “fringed buckskin clothing, (…) and woven blankets” (“Native American Indian Clothing and Regalia”) were popularized after the colonization of the Americas.
In First Nation culture, animals were respected to a degree which many of us aren’t able to understand and so was clothing. It carried not only symbolic value or functional purposes but represented their culture, heritage, and identity. Although first nation clothing from the medieval times to the Renaissance may look simple, it cannot be overlooked. It gives us the ability to understand and respect those who have come before us and whose lands have been stolen.
Work Cited
Book:
Steele, Valerie. Encyclopedia of Clothing and Fashion. Vol. 1, C. Scribner, 2005.
“The Historical Encyclopedia of Costumes.” The Historical Encyclopedia of Costumes, by Albert Racinet, Facts on File, 1995, pp. 19–20.
Kidwell, Clara Sue, et al. “Native American Women.” The Reader’s Companion to U.S. Women’s History, edited by Wilma Pearl Mankiller, Houghton Mifflin, 1st edition, 1998. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/rcuswh/native_american_women/0?institutionId=6884. Accessed 01 Oct. 2019.
“Native American Hairstyles.” Native American Indian Hairstyles (Braids, Whorls, Scalplocks, Roached ‘Mohawk’ Hair, And Other Styles), www.native-languages.org/hair.htm.
Image 1. People of the City of Cahokia.” Great Empires of North America, Part 4: People of the Pyramid, thestrangecontinent.com/2018/05/26/great-empires-of-north-america-part-4-people-of-the-pyramid.
Image 2.“Native American Leggings.” Breechcloth/Breechclout and Native American Leggings, www.native-languages.org/breechcloth.htm.
Image 3.People of the City of Cahokia.” Great Empires of North America, Part 4: People of the Pyramid, thestrangecontinent.com/2018/05/26/great-empires-of-north-america-part-4-people-of-the-pyramid.
Girolamo Francesco Maria Mazzola (ca. 1503-1540), better known as Parmigianino, was one of the leading painters and etchers of the Mannerism period. Born in Parma, hence his name, he was raised by his mother and two of his uncle, both of them artisanal painters. From an early age, Parmigianino was trained to draw and paint by his teachers and uncles with his earliest work, The Baptism of Christ (ca.1519), figure 1, being painted between the ages of 14 and 16.
Figure. 1 Baptism of Christ. ca 1519.
Later in his youth, Parmigianino worked aside another great High renaissance and mannerism artist, Antonio da Correggio. Although Parmigianino never became his apprentice, he took great influence from him in the softness and composition of his pieces. Notably, Michelangelo and Raphael additionally were great influences of his work.
In 1523, the 21 year old artist moved to Rome where he continued to paint. The sack of the city in 1527, forced Parmigianino to leave Rome and head to Bologna. He returned to Parma 4 years later. Near the end of his life, Parmigianino was imprisoned for missing a commissions deadline from the church and died a year after bail in ca.1540 at the age of 37.
Figure 2. Madonna with a long neck ca.1534-40
Although living a short life, Parmagianinos legacy and style is still one of the most recognized of the Mannerism period. His artworks expressed great sensuality with his ability to create softness and rhythmic beauty. He painted figures with exaggerated height and slender, a quality particular to Mannerism style. Such characteristics are notably seen in his painting Madonna & child with Saint-John the Baptist and Jerome (1524), figure 2, with Madonna adorning a long neck and slender fingers. Such treatment of “affectation and sophistication” (Gombrich, 1995, p.364) to the “sacred subject”(ibid.) became nearly offensive. This particular piece also demonstrates his mastery in composition with the angels densifies into a corner and shortened creating contrast with the beautifully elongated Madonna thus making her the central focus of the peace.
Another great painting was his Self-Portrait in a Convex Mirror (ca.1524), figure 3. This artwork demonstrates his rigorous exploration and examination of various perspectives and “unusual spatial relations within the frame.”5. His ability to create congruous compositions was well characterized in this self-portrait as well with elements such as his impersonal face expression with the irregular and unstable perspective. These conflicting components purposely counterbalanced each other in such a way creating in other words, harmony.
Figure 3. Self-Portrait in Convex Mirror ca.1524
His etching were equally masterfully done with the same attention to detail, composition and mannerist qualities. Some of his most notable works are The Lovers (ca. 1527-30), figure 4, Youth & Old men (ca. 1518-40), figure 5, and The Annunciation (early 16th century), figure 6.
Figure 4. The Lovers
Figure 5. Youth and Old Man
Figure 6. The Annunciation
Parmigianino was a master of demonstrating both quality and style without one inhibiting the other. Granted he was gifted from an early age, it was his passion and drive to be the best that led him to become an artist still praised to this day.
Work Cited.
Online Encyclopedia
“Parmigianino, (Girolamo) Francesco (Maria Mazzola) (1503–1540).” The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide, edited by Helicon, 2018. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/topic/parmigianino_1503_1540?institutionId=6884. Accessed 24 Sep. 2019.
“Parmigianino.” The Columbia Encyclopedia, Paul Lagasse, and Columbia University, Columbia University Press, 8th edition, 2018. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/columency/parmigianino/0?institutionId=6884. Accessed 24 Sep. 2019.
“Parmigianino.” Britannica Concise Encyclopedia, Encyclopaedia Britannica, Britannica Digital Learning, 2017. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/ebconcise/parmigianino/0?institutionId=6884. Accessed 24 Sep. 2019.
Website
“Parmigianino Paintings, Bio, Ideas.” The Art Story, www.theartstory.org/artist/parmigianino/.
Images
Parmigianino. “Baptism of Christ.” USEUM Beta, ca.1519, useum.org/artwork/Untitled-Parmigianino-1519.
Parmigianino. “Madonna with the Long Neck.” Artble, 1534, www.artble.com/artists/parmigianino/paintings/madonna_with_the_long_neck.
Parmigianino. “Self-Portrait in a Convex Mirror.” Khan Academy, ca.1524, www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/pontormo/v/parmigianino-self-portrait-in-a-convex-mirror-1523-24.
Parmigianino. “The Annunciation.” THE MET, www.metmuseum.org/art/collection/search/391602.
Parmigianino. “The Lovers.” THE MET, ca.1527-30, www.metmuseum.org/toah/works-of-art/26.70.3[102]/.
Parmigianino. “Youth & Old Men.” Spencer Alley, spenceralley.blogspot.com/2016/10/etchings-by-parmigianino-1520s-and-1530s.html.
Ancient Egypt was one of the most powerful empires of its time, known for its riches as well as its advanced knowledge on architecture and agriculture. Although not often the main topic, fashion was also an essential part of Ancient Egyptian culture. From head to toe, each component worn represented their wealth and status with certain details symbolizing principal elements such as animals, gods and the region they lived upon.
A vital component of wardrobe for royalty was the headdress. It that was both indicative of status and retained extreme symbolic value. For the numerous amount of headdresses made, all were given a unique symbolic significance and purpose. While some signified the area of which the Pharaoh ruled, others represented characteristics important to royalty. More so, some headdresses were only worn for important occasions and ceremonies. With so many to choose from, these named few are known as the most important and recognizable headdresses; The Pshent, the Hedget, the Deshret, the Khepresh, the Nemes, the Hemhemet, the Atef, the Flat crown, and the Urseus.
1.Regional
The Hedget, also known as the White crown symbolized the rule over Upper Egypt. The Deshret, in other words the Red Crown symbolized the rule over Lower Egypt. The Pshent (image 1) was a combination of both Hedget and Deshret both in its appearance and significance as it was symbolic of power over both Upper and Lower Egypt. The Nemes headdress (see image 2.), the most recognized and famed headdress, was worn by Pharaohs that ruled between the Old Kingdom and the New Kingdom. It draped over the shoulders, surrounded the temple and had a “long tail center” symbolizing the tail of a lion1.
2. Ceremonial
For ceremonial purposes the Pharaohs would wear the Kephresh, the war or blue crown that symbolizes “military power or when going in war”. The Atef crown, adorned with ostrich feathers on both sides was worn during religious ceremonies. The Hemhemet was a ceremonial crown as well representing the run and rebirth. However this crown was rarely worn as its large scale made it hard for Pharaoh to keep their head up.
3. Queens and others.
For Queens, they wore the Falcon/Vulture headdress symbolizing the act of protection. They also wore the Flat crown, famously adorned by queen Nerfeti to complement the symmetry of her face. The Urseus, worn by both female and male pharaohs, was a gold band with a cobra on the front symbolizing power. The Urseus was worn alone or accompanied other headdresses (image 3) .
Deities were also depicted wearing headdresses, such as the Atef, worn by Osiris the god of death (see image 4.). Considering that only gods, goddesses, and royalty were capable of wearing headdress makes them extremely sacred and ultimate accessory symbolic of the highest power.
The significance of headresses didn’t crumble down with Ancient Egypt. Its importance has been passed on through generations and has spread to different parts of the world. Whether it be the Crown Jewels of England, or Swazilands “tribal chief’s headdress of black ostrich feathers”, headresses are emblematic of power, culture and royalty making them the most significant accessory there is.
1.The lion was a complex symbol to the ancient Egyptians, capable of representing alternately danger and chaos or protection and the defeat of chaos. It was a secondary attribute of several gods, and of the king as well. Always, it represented power and vitality, and depending upon context it could be a worthy foe, a capable defender, or a fierce avenger.”
Image 1. DGA510603 Egypt, Ancient Thebes, Valley of the Queens, mural of Ramses III and god Anubis; (add.info.: Egypt – Ancient Thebes (UNESCO World Heritage List, 1979). Valley of the Queens. Tomb of Amonherkhopeshef. Painted relief of pharaoh Ramses III before jackal head Duamutef); De Agostini Picture Library / G. Dagli Orti; out of copyrightImage 2Image 3. DGA920988 Egypt, Luxor, Ancient Egypt Museum, gilded wood ushabti figure, close-up; Luxor Museum of Ancient Art, Egypt; (add.info.: Luxor, Ancient Egypt Museum); De Agostini Picture Library / G. Dagli Orti; out of copyrightImage 4. DGA571622 Egypt, Thebes, Luxor, Valley of the Queens, Tomb of Nefertari, Antechamber to burial chamber, Mural paintings, Osiris, Red belt symbolizes assimilation of Osiris and Nefertari; (add.info.: Egypt, Thebes (UNESCO World Heritage List, 1979) – Luxor – Valley of the Queens. Tomb of Nefertari. Antechamber to burial chamber. Mural paintings. Osiris. Red belt symbolizes assimilation of Osiris and Nefertari (Dynasty 19, Ramses II, 1290-1224 BC) (QV66 – 333356)); De Agostini Picture Library / S. Vannini; out of copyright
Work Cited
Websites:
“Crowns of Egypt.” Crowns of Egypt & Headdreses of Egyptian Gods ***, www.landofpyramids.org/crown-of-egypt.htm.
Fassbender, Michael. “Symbolism of the Lion in Ancient Egypt.” Michael Fassbender, michaeltfassbender.com/nonfiction/ancient-history/symbolism-of-the-lion-in-ancient-egypt.
Parks, Michael. “Amid Animal Skins and Family Pride, a Youth Becomes Swazi King.” Los Angeles Times, Los Angeles Times, 27 Apr. 1986, www.latimes.com/archives/la-xpm-1986-04-27-mn-24006-story.html.
Books:
“A History in Fashion.” A History of Fashion, by J. Anderson. Black and Madge Garland, Black Cat, 1990, pp. 37–38.
“A Survey of Historic Costume: Instructor’s Guide.” A Survey of Historic Costume: Instructor’s Guide, by Phyllis G. Tortora and Keith Eubank, Fairchild Publications, 1998, pp. 45–46.
“Symbolism of the Lion in Ancient Egypt.” Michael Fassbender, michaeltfassbender.com/nonfiction/ancient-history/symbolism-of-the-lion-in-ancient-egypt/.
“The Worldwide History of Dress.” The Worldwide History of Dress, by Patricia Rieff Anawalt, Thames & Hudson, 2007, pp. 38–41. “20,000 Years of Fashion.” 20,000 Years of Fashion, by Francois Boucher, 1987, pp. 46–47.
Images:
“Egypt, Ancient Thebes, Valley of the Queens, mural of Ramses III and god Anubis.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bridgemandeag/egypt_ancient_thebes_valley_of_the_queens_mural_of_ramses_iii_and_god_anubis/0?institutionId=6884. Accessed 21 Sep. 2019.
“Ancient Egypt (C. 10,000 B.C.E. 525 B.C.E.).” A Brief History of Egypt, Arthur Jr. Goldschmidt, Facts On File, 1st edition, 2009. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/fofbe/ancient_egypt_c_10_000_b_c_e_525_b_c_e/0?institutionId=6884. Accessed 21 Sep. 2019.
“Egypt, Thebes, Luxor, Valley of the Queens, Tomb of Nefertari, Antechamber to burial chamber, Mural paintings, Osiris, Red belt symbolizes assimilation of Osiris and Nefertari.” Bridgeman Images: DeAgostini Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference, https://ezproxy.capilanou.ca/login?url=https://search.credoreference.com/content/entry/bridgemandeag/egypt_thebes_luxor_valley_of_the_queens_tomb_of_nefertari_antechamber_to_burial_chamber_mural_paintings_osiris_red_belt_symbolizes_assimilation_of_osiris_and_nefertari/0?institutionId=6884. Accessed 21 Sep. 2019.
