Natalia Goncharova’s work was contradictory and mixed elements from the sacred and profane. The subject matter of Goncharova’s work are mostly around day to day tasks and lives of rural workers, this being a contrast to her wealthy family and upbringings. The early inspirations of Goncharova’s are Cezanne’s brushstrokes, Fauvism’s Matisse colours and patterns, and the world view of Gauguin.

Her early work named “Self-Portrait with Yellow Lilies” (1907) gives off a very confident use of simplicity. Here, Goncharova  uses a recurring theme of flowers as well as giving herself flowers and the studio background, giving the identity of a nature lover and an artist with bohemian experiences.

“Linen” (1913) was a piece using a cubist and futurist style and contains a lot of cool tones. The piece was a response to a very sexist comment by Marinetti who said he despised women. Goncharova decided to divide each gender’s clothes by their suggested labor but still contained a connection between the two genders.

“The Evangelists” (1911) was a piece entirely dedicated to representing the four evangelists. The piece was met with outrage as usually the religious icon pieces were traditionally reserved for men. Goncharova also wanted to create an icon for her age as every age had a different style and history.

A piece that stands out is “Cats” (1913). It demonstrates the movement of Rayonism as well as Goncharova finding a new way of seeing. It creates a new form and includes Goncharova’s past influences of Futurism, Orphism, and Cubism.

With “Spanish Women” (1923-24) Goncharova uses her costume design endeavors to create her famous polyptych. The piece holds some cubist elements as seen with the faces of the women. Goncharova painted her figures with towering presence which asserts dominance in her piece.

Sources:

• https://www.theartstory.org/artist/goncharova-natalia/
• https://www.theartstory.org/artist/goncharova-natalia/artworks/

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 Lisa Yuskavage honed an original style to figure painting. Her style is very bold, eccentric and introspective with the figure being both the subject and object of the piece. A common theme of her works would be that most of them are exhibitionists, as well as being inspired by pop culture and the dichotomy of subjects, this in turn creates her own emotional formalism in her pieces.

In “The Ones That Don’t Want To: Kelly Marie” (1992), Yuskavage was beginning to find her artistic voice and is part of a series that gained very mixed reviews. The scene revolves around trying to make you feel discomfort with sexual themes and innocent and vulnerable expressions.

“Big Blonde with Hairdo” (1994) was a part of her big blonde series of works which played with themes of alluring women as seen with “Penthouse” magazines, as well as that of Neo Pop artist Jeff Koons and Mike Kelly. Yuskavage took the “tasteless” subject and turned it into fine art with the figure somewhat fearful face hiding something beneath the surface.

“Half Family” (2003) changed styles from an interior to landscapes. It includes the theme of “coming of age” and embracing or exploring new found sexuality. However in the background comes a storm representing that of the dangers that is to come.

“Wilderness” (2009) is similar to a surrealist piece with the open landscapes and the intense colour of the sky. The piece shows off Yuskavage’s painting style which is quite mature and worn in. another interesting thing now, is that Yuskavage is now working with her own plaster sculptures rather than models.

One of the pieces that draws me the most is “Hippies in Tit Heaven” (2015) as I enjoy the moody vibe it gives off. It feels isolated and yet never lonely. The dark expressions of the figures behind the highlighted one feels creepy and very burdened.

Sources:

• https://www.yuskavage.com/bio/
• https://www.theartstory.org/artist/yuskavage-lisa/artworks/#pnt_4

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 An iconic painter was Philip Guston. His earlier works were mostly abstract, and he gained success from this. However, Guston decided that abstract life wasn’t for him, so he abandoned it to the dismay of many. Gustons later works however became why he was so well remembered. Some recurring themes they included were imagery such as the hooded Klansmen, Richard Nixon, smoldering cigarettes, and huge eyeballs.

An early career piece would be ”Gladiators” (1940). The piece flaunts abstract and shows a preview to how his later pop pieces would look a little like. As well as being a piece dedicated to the Mexican mural movement showing children fighting as a political statement.

One of his last pieces was “Painter” (1979), and was most likely a self portrait. Guston put a confusing amount of bandages onto the figure however it remains true to his style as it includes key characteristics of his art, the cigarette, and the large eyes.

One of the many KKK paintings that Guston made was “City Limits” (1969). The KKK appeared in Guston’s works as a sort of self portrait or reflection as the “idea of evil fascinated” him.

“Drawing for Conspirators” (1930) is a haunting piece made by a 17 year old Guston. Based on early experiences with seeing the KKK and filled with the theme of oppression and symbolism. 

The “Last Piece” (1958) was a transitional piece and ironically not Guston’s last abstract impressionist piece. It was a piece to show that he had began to move away from his inspirations of nothingness and Buddhism to more recognizable motifs

Sources:

• http://www.artnet.com/artists/philip-guston/
• https://www.moma.org/artists/2419
• https://www.theartstory.org/artist/guston-philip/

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 Max Ernst was more than just a prolific artist, he was a painter, sculptor, graphic artist, and poet. Ernst was also an artist with no formal training as well as a pioneer for dada and surrealism. Furthermore, Ernst invented the techniques of Frottage and Grattage. Constant  themes of Ernst’s work includes the use of symbolic birds, The dream-scape, and painting from his subconscious.

The piece that demonstrates Ernst’s unique collaging style would be “Here Everything is Still Floating” (1920). The piece creates a coherent piece out of unrelated cutouts and ends up being a fun outlet for the insanity of WW1 to Ernst.

Ernst often paints with references to his own life. An example of this is “Two Children Are Threatened by a Nightingale” (1924). It seems quaint at first but becomes more terror inducing as you look more into it. 

“Europe After the Rain II” (1940-42), depicts a futuristic apocalypse. It was also most likely based around the Spanish war and the beginnings of WW2. Executed well is the cluttered feeling of an aftermath of destruction.

The piece that I find most enjoyable is “Celebes” (1921). The piece takes a photograph of a vacuum cleaner and creates an imaginative dream-scape with it, and the headless nude that is with it.

Another one I enjoy would be “Barbarians Marching to the West” (1937). I enjoy the feeling of inevitability and two giant figures of the piece. The dream-scape used here is framed very constrained and the one “barbarian” leading left is very eye catching.

Sources:

• https://www.tate.org.uk/art/artists/max-ernst-1065
• https://www.theartstory.org/artist/ernst-max/

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 Otto Dix gained a reputation with his ghoulish and grotesque portrait paintings and visions of war. After serving in the first world war for Germany painting for him was as he states “Art is exorcism. I paint dreams and visions too; the dreams and visions of my time,”. Dix also stayed in Germany during WW2, where he attempted to fly under the radar, and painted landscapes and christian themes in a traditional style to avoid the label of “degenerate art”. Dix was also heavily inspired by northern renaissance artists.

In his earlier ”Self-Portrait with Carnations” (1912), Dix had a brighter style. Dix also treated himself with respect and self confidence. This is unlike how he painted portraits of others, as he usually accentuates their worst features.

“The Portrait of the Journalist Sylvia von Harden” (1926) was an iconic image and one of Dix’s most recognized works. Dix had said that she was a perfect representation of society in that era.

“The Trench” (1923) was a piece that shocked many and launched a series of paintings of horrific scenery from Dix’s service from WW1.

“The Skat Players” (1920) also visualizes the tragedies of war with its subjects. Utilizing his dadaist and cubist influence to show veterans mangled and playing cards.

One Piece that I particularly like would be “Stormtroopers Advancing Under Gas” (1924). The eerie atmosphere and the choice of mediums is oddly intriguing for a gloomy scene.

Sources:

• http://www.artnet.com/artists/otto-dix/
• https://www.theartstory.org/artist/dix-otto/artworks/#pnt_5

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 Gustave Moreau was very imaginative and fantastical in themes. He was a known symbolist painter from France. Moreau found his style with pieces that depicted mythical and religious themes with a heavy jewel like embroidered decorations. He set himself apart from the main movements of the era, realism and naturalism.

“Oedipus and the Sphinx” (1864) was the beginning of Moreau’s mature period. The piece gives a new interpretation to the scene of Oedipus on his journey to Thebes. He also emulates the early renaissance style in this piece.

“Orpheus” (1865) was a piece that gave Moreau much popularity. The piece itself gives no directness, instead it replies to your viewership with ambiguity and implied symbolism. It was also another piece where Moreau went back to Greek mythology for inspiration.

After two unpopular pieces, Moreau went to reassess his art and came out with “The Apparition” (1876). The piece gives no identified part of a story, as well as breaking away from the central figures of his past paintings.

Two pieces that I appreciate are the ornately decorated “Dream of the Orient of the Peri” (1826-98), and “The Fiancee of the Night” (1892). These pieces show his mastery of decoration through animals as well as on a dark backdrop.

Sources:

• http://www.artnet.com/artists/gustave-moreau/
• https://www.theartstory.org/artist/moreau-gustave/

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William Blake, the major poet, original thinker, printmaker, and prominent figure of the Romantic age. Blake received visions from a young age as well as having the bible engraved onto him, these became the main inspirations of his works. Other inspirations for his works were stories and scenes from other literary stories. 

One of Blake’s more well known works was “The Ghost of a Flea” (c1819-20), came to Blake during a seance. The mood of this painting is very bleak and nightmarish

An image that Blake loved was and made multiple copies of. “The Ancient of Days” (1795) depicts Blake’s personal myth of an evil god bringing uniformity. A very symbolic and dark piece

“Newton” (1795-c1805) is about Blake’s distaste of science as he depicts Newton in an isolated cold space.without much life.

In “Satan” (c1789) Blake was experimenting with echoppe needles, a french engraving method. The piece itself is very fine tuned and captures a tortured spirit well.

Sources:

• https://www.biography.com/writer/william-blake
• https://www.theguardian.com/culture/2014/nov/21/the-10-best-works-by-william-blake
• http://www.blakearchive.org/work/biblicaltemperas
• https://www.tate.org.uk/search?aid=39&type=artwork

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Note: Apologies for the late upload, during this time I was having troubles with logging into my account.

 My man, Caspar is a god at scenic landscapes. He was acknowledged as an important painter of the German romantic movement. His style is very dramatic and occasionally includes people. His works are more spiritualistic and contrasts the material world during an era where everyone had become too disillusioned to a material world. 

 As we begin a deep dive of his works we see how his first important painting was “maturity”(1808). It was met with quite some controversy as his use of landscapes instead of people for symbolism was unique and unnatural. Compared to one of his last pieces with a strong death symbol “Owl upon the Grave Marker”(1836-37). This piece was avoided for its strong symbols and not really noticed as well.

 The painting that got Caspar into the view of international buyers was “The Monk by the Sea”(1808-10). It was a minimalist masterpiece and caused many people to reevaluate themselves.

 One of the last paintings Friedrich made was “The Stages of Life”(1835) before having multiple strokes that left him barely capable of doing art. The painting is very cinematic and shows an allegory for the stages and the journey of life.

Sources:

• https://www.caspardavidfriedrich.org/
• https://www.theartstory.org/artist/friedrich-caspar-david/artworks/#pnt_4

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 The man known as Bartolome Estaban Murillo, was a good hearted man who later died months after a fight with twenty feet of gravity as well as a marble floor. He was an artist of the Baroque movement, and as such his subjects mostly contained religious themes as well as children. His style was mainly focused on naturalistic, mystical, idealized reality that was very intimate.

 The “Virgin of the Rosary”(c. 1650) was one of his relatively early works and shows his care into making the figures feel soft and inviting. It is also probably his best virgin and child paintings.

  A very masterful portrait was that of “Portrait of Don Justino de Neve”(1665), one of Murillo’s close friends and one who was vital in getting major commissions. As well as a painting with lots of Easter eggs and hidden meanings.

 “The Young Beggar”(c. 1645) was one of the pieces that showed how Murillo was unique in subject and portraying a quality level of realism. He also made these kinds of paintings specifically for foreigners.

 Some final paintings of Murillo were “The Two Trinities”(1675-1682) and the one that ended him “The Mystic Marriage of Saint Catherine”(1680-1682), which was completed by his pupil later on. Both of these have a strong religious theme and have a very strong use of light and dark. 

Sources:

• https://www.theartstory.org/artist/murillo-bartolome-esteban/life-and-legacy/
• https://www.britannica.com/biography/Bartolome-Esteban-Murillo

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 Hieronymus Bosch (c.1450-1516) was a notable painter of the fifteenth and sixteenth century. The main theme of his artworks were fantastical, imaginative, apocalyptic, and satirical. Bosch was quite popular as he constantly received commissions. However, Bosch never dated his paintings and had only signed some of them, therefore we have less than 25 paintings from him. 

“The Seven Deadly Sins and the Four Last Things” (c. 1500) is one of Bosch’s more important works as it depicts God watching man’s downfall and the 7 deadly sins in everyday situations with different social classes. There are also references to his other works in the four corners with, the Death, the Last Judgment, Heaven, and Hell.

 “The Last Judgement” (c. 1482-1505) presents the fall of humanity from left to right. An interesting thing to note is that the piece only depicts heaven and hell, with no indication of a reflective purgatory or middle ground.

 “Death and the Miser” (c. 1490) is the piece I enjoy the most and one that blends the fears of imagination with the grounds of the tangible. Quite relatable as sometimes people fear imaginary creatures around their bed.

 “The Garden of Earthly Delights” (c. 1490-1510) Considered Bosch’s masterpiece, displaying the Garden of Eden, the third day of the world’s creation, and the last judgement, the key stories of mankind in the Bible.

 A famous painting of the Triptych of “The Temptation of St. Anthony” (c.1501), one that has been recreated many times. Interestingly enough this is one of Bosch’s many interpretations and paintings of “The Temptation of St. Anthony”.

Sources:

• https://www.hieronymus-bosch.org/
• https://www.theartstory.org/artist/bosch-hieronymus/

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