Showing posts with label visual arts. Show all posts
Showing posts with label visual arts. Show all posts

Tuesday, April 5, 2011

La Belle Dame sans Merci/ J.W Waterhouse.


                                                     

'La Belle Dame sans Merci' is a poem by John Keats which served as a valuable store house of ideas for the visual artists during the Victorian era. Keats, who in a letter to his brother, claims to have been inspired to write this poem as the result of a dream, tells the story of a knight who meets a mysterious and ethereally beautiful woman, who captivates and enthralls him to such an extent that he is left wandering aimlessly in the woods, the captive of her snare. The painting of Waterhouse based on this poem is one of the most poetic creations, achieving a degree of emotional intensity which is unique in his oeuvre. It is reminiscent of an early watercolour by Rossetti, who had treated this subject in the 1850s, as Waterhouse was doubtless aware. The present study captures much of the same feeling and is unusual for Waterhouse is being so complete. It has almost the character of a small independent version."   

The poem 'La Belle Dame sans Merci'
John Keats.

I
O, what can ail thee, knight-at-arms,
       Alone and palely loitering?
The sedge has withered from the lake,
       And no birds sing.

II

O what can ail thee, knight-at-arms,
  So haggard and so woe-begone?  
The squirrel’s granary is full,  
  And the harvest’s done.  

III.
I see a lily on thy brow  
  With anguish moist and fever dew,       
And on thy cheeks a fading rose  
  Fast withereth too.  
  
IV.
I met a lady in the meads,  
  Full beautiful—a faery’s child,  
Her hair was long, her foot was light,       
  And her eyes were wild.  
  
V.
I made a garland for her head,  
  And bracelets too, and fragrant zone;  
She look’d at me as she did love,  
  And made sweet moan.         
  
VI.
I set her on my pacing steed,  
  And nothing else saw all day long,  
For sidelong would she bend, and sing  
  A faery’s song.  
  
VII.
She found me roots of relish sweet,        
  And honey wild, and manna dew,  
And sure in language strange she said—  
  “I love thee true.”  
  
VIII.
She took me to her elfin grot,  
  And there she wept, and sigh’d fill sore,        
And there I shut her wild wild eyes  
  With kisses four.  
  
IX.
And there she lulled me asleep,  
  And there I dream’d—Ah! woe betide!  
The latest dream I ever dream’d       
  On the cold hill’s side.  
  
X.
I saw pale kings and princes too,  
  Pale warriors, death-pale were they all;  
They cried—“La Belle Dame sans Merci  
  Hath thee in thrall!”         
  
XI.
I saw their starved lips in the gloam,  
  With horrid warning gaped wide,  
And I awoke and found me here,  
  On the cold hill’s side.  
  
XII.
And this is why I sojourn here,         
  Alone and palely loitering,  
Though the sedge is wither’d from the lake,  
  And no birds sing. 
 

Monday, March 28, 2011

The Swing/ Jean-Honoré Fragonard

 File:Fragonard, The Swing.jpg
 

Jean-HonorĂ© Fragonard (5 April 1732– 22 August 1806) -a French painter with remarkable felicity, exuberance and hedonism....his most important works being genre paintings conveying an atmosphere of intimacy and velied eroticism. The influence of Fragonard's handling of local colour and expressive, confident brushstroke on the Impressionists (particularly his grand niece, Berthe Morisot, and Renoir) cannot be overestimated.

 'The Swing' is one of his most popular works. In this painting, the woman is actively enjoying herself, but she is the man's "object" from four different viewpoints- the painter, Fragonard, the patron, Baron de Saint-Julien, the old cleric pushing the swing and ofcourse the suitor, who is looking up her dress!

Her power, on the other hand, resides in her seductiveness, which is displaced onto her shoe and thus is not as permanent as the man's power. For having been kicked into the air, the shoe must fall. And in doing so, the shoe itself becomes a metaphor for the proverbial 'fallen woman'!

Friday, March 18, 2011

Vision after the Sermon/ Paul Gauguin.

ArtistPaul Gauguin
Year1888
TypeOil on canvas
Dimensions72.2 cm × 91 cm (28.4 in × 35.8 in)


'Vision after the Sermon' is almost a traditional narrative. An attempt to use religious themes to break with the realist programme of Impressionism.Feneon's phrase for Gauguin's work was 'distanced creations', and this stresses both the imaginative invention of the subject and the distance put between the spectator and the peasant women. Gauguin relies on the steretype of the gullible and priest-ridden religiosity of women and the Parisian's view of the peasantry as simple and superstitious. The painting's narrative clearly indicates the distance of the metropolitan tourist from the people amongst whom he painted.

To achieve an aesthetic synthesis between artist and subject, the Synthetist artist must dominate rather than be submissive to nature. This work's equal engagement with 'vision' and the 'visionary' separate it from the Impressionist or Realist painting and its reliance on fields of vibrant color bounded by artificially exaggerated contours startled young artists.