To give context to my art practise and to highlight my aspirations as an artist, I've taken the time to put this page on my website. It gives a brief, albeit cursory summary of the artists and key works from art history that have influenced me in the type of art that I create. In these works I see a visual narrative of story telling that is greatly missing in today's art.
During western art's long history and development most artwork was produced by artists that were financed either by a church (religious institution) or a rich patron. As such this art was extremely limited in subject matter. It focused on either the spiritual, the beautiful (beauty being extremely limited in definition) or the specific desired whim of the rich patron (who usually wanted a commissioned landscape or a portrait painting). It was not until the 18th century with the French Revolution (political upheaval) and the Industrial Revolution (economic expansion) that western art really began to change in it's subject matter and creative approach. As the economics of art shifted to a working class with expendable cash, artists were free to paint subject matter derived from motivations other than purely demand economics. Some artist's used their talents to address political and social concerns of great importance to them. They used their art and subject matter to comment on, direct, shape or spearhead public awareness and opinion on crucial, contemporary issues of their time. In this sense activist art was born. The work of such artists have defined from a historical perspective social and political movements or periods in modern man's growth. Key in this vein were 18th and 19th century artists like Francisco Goya, Honore Daumier, Theodore Gericault, Eugene Delacroix and Edouard Manet. Although they themselves may not have considered themselves activists, they were responsible in their own ways for giving birth to the blossoming of a new attitude towards art, subject matter and re-defining an artist's practise and role in society.
Here are some samples of the artwork they created with related abridged historical notes.
During western art's long history and development most artwork was produced by artists that were financed either by a church (religious institution) or a rich patron. As such this art was extremely limited in subject matter. It focused on either the spiritual, the beautiful (beauty being extremely limited in definition) or the specific desired whim of the rich patron (who usually wanted a commissioned landscape or a portrait painting). It was not until the 18th century with the French Revolution (political upheaval) and the Industrial Revolution (economic expansion) that western art really began to change in it's subject matter and creative approach. As the economics of art shifted to a working class with expendable cash, artists were free to paint subject matter derived from motivations other than purely demand economics. Some artist's used their talents to address political and social concerns of great importance to them. They used their art and subject matter to comment on, direct, shape or spearhead public awareness and opinion on crucial, contemporary issues of their time. In this sense activist art was born. The work of such artists have defined from a historical perspective social and political movements or periods in modern man's growth. Key in this vein were 18th and 19th century artists like Francisco Goya, Honore Daumier, Theodore Gericault, Eugene Delacroix and Edouard Manet. Although they themselves may not have considered themselves activists, they were responsible in their own ways for giving birth to the blossoming of a new attitude towards art, subject matter and re-defining an artist's practise and role in society.
Here are some samples of the artwork they created with related abridged historical notes.
The Raft of the Medusa was painted by Theodore Gericault when he was 27. The artist was fascinated by a current tragic event; the ship wreck of a French Naval frigate at the hands of an accused, incompetent ship's captain. Almost all of the crew were lost in the initial disaster but a handful of people survived on a makeshift raft. After weeks of being adrift on the sea with incidents of cannibalism, the few remaining survivors were discovered and saved. This event became a political nightmare for the French government who were rightly or wrongly accused of culpability. Gericault made extensive preliminary sketches for this masterwork, multiple visits to the morgue to study cadavers, built a replica of the raft in his art studio, interviewed two survivors and painted himself into the work as one of the tragic figures. This painting was shown at the Paris Salon and caused a stir. Both acclaimed and reviled, the painting put Theodore Gericault on the map of emerging artists. Sadly Gericault died five years later at the age of 32. The painting was so popular that it toured other European countries where it had an enormous influence on future artists. This painting remains a key work of the period and a powerful symbol of political indictment.
Francisco Goya is one of the more famous Spanish painters in art history. Later in his career Goya veered heavily towards political and social issues. He worked with equal ease in creating plate etchings or working with oil and canvas. Goya focused heavily on the horrors of war and eventually the corruption of the Royal family and aristocratic system. His painting of Carlos IV and His Family (1800 - 1801) was met with condemnation and scorn simply because Goya chose to depict the royal family in a non-glorified manner and in an undignified setting (they were depicted in Goya's art studio). Goya even had the "audacity" to include himself in the painting's background. As a result Goya lost important Spanish social status and influence at the king's court. He was ostracized and isolated during his last living years.
Honore Daumier used his talents to question civil authority and social conditions in early 19th century France. This caricature drawing, Gargantua (1831) caused the artist to be imprisoned for six months. His crime was depicting the French King in an unfavourable light. Shortly after getting out of prison the magazine that published his drawing went out of business. This did not stop Daumier as he started his own publication and continued to draw attention to France's political and social ills. During his career Daumier created a large body of work moving easily from caricature to realism with ease. He worked in several mediums.
Eugene Delacroix's Liberty Leading the People (1830) is notable as a major work of Romanticism. Although not activist art it is notable as a piece of political propaganda with an emphasis on patriotism, historical idealism, objectification and symbolization. It's scale and accomplishment in style set a high standard for future artists.
Edouart Manet's Luncheon on the Grass was painted in 1862 - 1863. Manet was annoyed, frustrated and very concerned with the rigid process imposed upon artists in Paris when choosing their subject matter for public exhibition at the Paris Salon. Luncheon on the Grass was an affront to that art establishment's authority. Manet used this painting to challenge conventional art perceptions. The painting caused a major stir at the Salon sparking strong debate between the administration, artists and patrons alike. Traditionalists were offended by the presentation. Today this artwork is considered a key painting in art history and a landmark work in the transition from realism to impressionism. Coincidentally as impressionism grew, the artists of that particular movement had to start their own Paris Salon to show their artwork as the old Salon rejected their art.