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Gloucester Harbor, Oil on Canvas, 1873 CE, Winslow Homer

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Gloucester Harbor, Oil on Canvas, 1873 CE, Winslow Homer

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Winslow Homer was a prolific american artist who utilized various methods like etching, watercolors, and traditional oil on canvas. Homer was an apprentice lithographer at the start of the career but truly began to gain popularity as an artist-correspondent during the civil war. Homer’s first oil painting was completed during this time period and captured a union soldier standing watch. He would go on to refine his oil painting and gain renown. In 1873, Homer went to Gloucester where he began to mesh figure and landscape painting together. Here he created several variations of a scene that would form the basis for Gloucester Harbor. Depicting a serene sunset on a calm sea, the composition focuses on two fishermen in their boat. The background is filled with white sailing ships and the entire composition oozes relaxation. The brushstrokes are very loose suggesting impressionist influence from Europe. However, Homer’s work is strongly based on realist tradition. Taking inspiration from this side of european oil painting, Homer depicts an everyday occurrence of life, fishermen taking the boat out. In all the composition depicts a peaceful and serene dynamic between man and nature. While one figure pulls the boat forward the other relaxes on the prow. The work shows the dynamic between man and nature by depicting the ordinary interactions between man and their environment. In this composition, there is no attempt to justify a message or make one greater. Instead, Homer depicts an everyday interaction between fishermen and the sea though the work is very picturesque. The realist influence is what drives this dynamic. Nature is not portrayed as either antagonistic or helpful but simply a constant in these men's lives. Thus Gloucester Harbor is able to communicate the dynamic between nature and mankind.

Possible Themes and Subthemes:

Dynamic between nature and man, the sublime, working class, realism, constant of nature, the sea

Possible Connections within the Image Set:

The Stonebreakers: Both works share a similar theme of the situation of the working class. Courbet via the Stonebreakers examines the backbreaking labor of the working class and their plight in a hostile world. Homer instead takes a more positive approach depicting working class fishermen rowing their boat. Though they have to face the sea and be in the sun, the picturesque lighting and beautiful scenery communicate a rugged yet fulfilling life.

The Saint-Lazare Station: Both Monet and Homer utilize natural light in their respective works to heighten the composition. Both artists had a tendency to paint outside rather than in their studio and sought to capture the beauty of the world. While Monet explores a bustling new modern Paris, Homer examines a quaint New England town and its fishermen. While Homer captures a beautiful sunset on a wide open sea, Monet captures how the light refracts through the glass and moves through the buildings.

“Gloucester Harbor.” art.nelson-atkins.org/objects/11366/gloucester-harbor.

“Winslow Homer in the National Gallery of Art.” www.nga.gov/education/winslow-homer.html.

Cape Ann Museum. Winslow Homer 1836 - 1910. https://www.capeannmuseum.org/collections/artists/winslow-homer/.

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Travelers among Mountains and Streams, Fan Kuan, c. 1000 C.E., Ink and colors on silk

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Travelers among Mountains and Streams, Fan Kuan, c. 1000 C.E., Ink and colors on silk

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Travelers among Mountains and Streams is a Northern Song work that was finished in the early 11th century. Created using a silk hanging scroll with black ink, the work was created using traditional chinese ink painting. Fan Kuan’s works serve as one of the premier examples of “monumental” landscape painting, which focused on depicting the immense beauty and majesty of nature. These works began to appear during the early Song period which lasted from the mid 10th century to the 12th century common era. Fan Kuan uses a tripartite composition which separates the composition into three different sections. The immediate foreground is characterized by the jutting rocks that run across the composition. Behind this, we see another major outcropping that is filled with rocks and trees. This layer of the painting is separated from the background by a layer of fog which helps add to both the height of the mountain and the depth of the composition. This main mountain dominates the scenery and takes up more than two thirds of the composition. It rises above the rest of the scenery and is dotted with the occasional clump of trees. On the right side of the mountain, we see a waterfall that plunges downward which may contribute to the fog and mist. Upon closer inspection one can make out a mule train being led across the path to the right of the rock face in the foreground. The figures seem to resemble a peasant and a merchant as the figure in the front is shirtless and seems to be pulling the mule train forward. The other figure seems to be dressed better and carries a whip, a symbol of his authority. The dynamic between man and nature is harmonious and does not necessarily communicate the supremacy of one party over the other. Although nature is displayed as towering and imposing, and can even be interpreted as overshadowing man, it is not antagonistic. Instead nature is peaceful and serene in harmony and communion with mankind. Man is not forced to submit to nature here but instead is invited to contemplate the majesty and monumental nature of mankind. To summarize neither party attempts to dominate the other, but the work invites the audience to contemplate how great nature is compared to mankind.

Possible Themes and Subthemes:

Dynamic between nature and man, grandeur of nature, spirituality, meditative image, class, daoism

Possible Connections within the Image Set:

Court of Gayumars: Both works display harmony between man and nature. While the Court of Gayumars depicts a utopian society in which man is in harmony with nature, Travelers among Mountains and Streams shows man as subordinate to nature. The diminutive human figures are almost oblivious compared to the great size of nature.

Summer Trees: Both Summer Trees and Travelers among Mountains and Streams utilize traditional methods of ink painting common to the region. Both works followed traditional Chinese and Korean styles of ink painting with the only difference being how they incorporated it. Summer Trees unlike Travelers does not follow the conventions of Asian ink painting and instead relies on European conventions of abstraction.

Kleiner, Fred. Gardner’s Art Through the Ages: A Global History, 16th ed., e-book, Cengage Learning, 2019, p. 490.

“Exemplar of Heritage: Fan Kuan and His Influence in Chinese Painting.” Y, 6666, theme.npm.edu.tw/exh104/FanKuan/en/legacy.html#.

“Neo-Confucianism & Fan Kuan, Travelers by Streams and Mountains (Article).” Khan Academy, www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/china-art/a/neo-confucianism-fan-kuan-travelers-by-streams-and-mountains.

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Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji, Katsushika Hokusai, 1830-1833 C.E.Polychrome woodblock print; ink and color on paper

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Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji, Katsushika Hokusai, 1830-1833 C.E.Polychrome woodblock print; ink and color on paper

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The Great Wave off Kanagawa is an example of Japanese Woodblock printing. The artwork was created during the Edo period in Japan by the famous artist Katsushika Hokusai in the ukiyo-e style. This method of printing directly translates to paintings of the “floating world,” which are tied into the Buddhist ideals of transience of earthly beauty and joy. Hokusai earned renown for his landscape paintings becoming one of the foremost Japanese artists of the era. Hokusai created the Great Wave under Kanagawa while he was in his 70s incorporating the district pigments and colors that dominated his career. The most distinct is certainly the deep dark Prussian blue which had to be imported by Dutch merchants from Europe. This rich dye and poignant dye allowed for distinct colors. Great Wave off Kanagawa was part of a series, Thirty-Six Views of Mt.Fuji, that exploited newfound interest in the sacred site due to increased travel in Japan. The sacred snow capped mountain is now one of the foremost things that come to mind when thinking about Japan. Hokusai’s series beautifully captured this sacred landmark and regularly changed the primary focus of the painting while keeping the same constant, Mount Fuji. On a first viewing of the Great Wave off Kanagawa it is difficult to notice Mt. Fuji. The majestic summit seems to blend into the Great Wave. Hokusai plays with perspective by placing the mountain in the background which makes it difficult to separate from the wave. The wave itself is enormous, ready to swallow what seems to be two fishing boats. The wave’s crest bubbles to a white foam that fragments into tiny sprays that resemble claws. Here, nature is resplendent and firmly in charge. The wave easily surpasses the boat and looks ready to capsize the vessel. Upon closer inspection we see about a score of people between the two boats frantically watching the bow of the ship attempting to guide it out of the storm. The mountain stands in the background which poses a stark contrast to the turbulent scene below posing a calm scene. Thus, nature here is portrayed as immense and great tossing around humans. The dynamic is firmly in nature's corner with man literally tossed around by it.

Possible Themes and Subthemes:

Dynamic between man and nature, plight of the working class, grandeur of nature, spirituality, wrath of nature

Possible Connections within the Image Set:

Starry Night: Both the Great Wave and Starry Night utilize similar color palettes to communicate the beauty of nature. The dark blues of both the wave and the night sky dominate their respective compositions. The use of similar shades like Prussian blue allow for a vibrant dark blue that draws the eye.

The Kiss by Klimnt: Both works comunícate an aura of spirituality, in the Kiss, Klimt uses a gold background to communicate otherworldliness and a spiritual plane. Meanwhile, the inclusion of Mount Fuji brings an element of spirituality to the Great Wave. In Japanese culture Mount Fuji is a sacred and spiritual location. Thus the inclusion of the mountain calls to mind this sacred space and would have called for contemplation by the Japanese audience.

Kleiner, Fred. Gardner’s Art Through the Ages: A Global History, 16th ed., e-book, Cengage Learning, 2019, p. 1087.

The Metropolitan Museum of Art. Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), https://www.metmuseum.org/art/collection/search/36491.

Gepson, Suzanne. "The Great Wave off Kanagawa." School Arts, vol. 105, no. 8, 2006, p. 39+. Gale In Context: High School, link.gale.com/apps/doc/A144047882/GPS?u=miam81941&sid=GPS&xid=a4b60d5c. Accessed 26 May 2021.

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Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) Joseph Mallord William Turner 1840 C.E. Oil on canvas

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Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) Joseph Mallord William Turner 1840 C.E. Oil on canvas

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Slave Ship or Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On is an example of an oil on canvas painting from the Romantic period. Created to memorialize the Zong massacre Joseph Turner sought to display an abolitionist cause and demonstrate an example of divine justice. The work was created after the turbulent issue of slavery had been resolved in the British Empire and sought to recollect the terrible Zonng massacare, an event where the white crew threw African slaves from the ship to drown in order to collect the insurance money. The work would have been shown to an educated British audience who would have been revolted by the subject material. Turner also included a poem that was entitled “Fallacies of Hope,” that was also exhibited with the work at the British Royal Academy. Turner uses vibrant colors and loose brushstrokes to distract the audience so they only see a ship sailing during sunset. It is only with closer inspection that the viewer can see the slaves drowning while fish devour the dead. This gruesome imagery horrifies the audience and makes them empathize with the dead and dying slaves. Meanwhile, the audience can see a typhoon heading towards the ship hinting that some level of justice may occur on the depraved crew. Contrary to the previous works, Slave Ship shifts the dynamic between man and nature placing nature as the superior force. The power of nature dominates the composition with the swirling clouds and stormy sea contrasting the brilliant light of the sun. These dark blues seem like they move to blot out the sun and immerse the composition in darkness. Here the ship seems minuscule in comparison dwarfed by the power of the storm. Nature is firmly in control here and it seems the storm will be a conduit of divine intervention ready to smash the ship to pieces. Man is helpless in the face of such power. Thus the dynamic, contrary to earlier works, portrays nature as the dominant force uncaring to the plights of humans whether they be the innocent slaves or the morally depraved crew.

Possible Themes and Subthemes:

Abolitionism, Greed and corruption, beauty in nature, divine justice, good vs evil, murder

Possible Connections within the Image Set:

Oath of the Horatii: Both works depict a political and moral message that is meant to inspire the public. The Oath of the Horatti was created to inspire loyalty to the state while the Slave Ship was meant to inspire support for abolitionism and disgust for the greed of slave traders.

Darkytown Rebellion: Both works strive to depict the struggle of African Americans and graphically show the pain and suffering they have endured. Darkytown depicts images of mutilated people who have lost limbs and suffered while Slave Ship graphically shows the deaths of slaves being thrown overboard.

Sources:

Kleiner, Fred. “Gardner’s Art Through the Ages: A Global History.” Gardner’s Art Through the Ages: A Global History, 16th ed., e-book, Cengage Learning, 2019, p. 819.

“Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) – Works – Museum of Fine Arts, Boston.” collections.mfa.org/objects/31102.

Shallcross, Gilian, and Dorothy Amore Pilla. "Turner's Slave Ship." School Arts, vol. 100, no. 1, 2000, p. 35. Gale In Context: High School, link.gale.com/apps/doc/A65014679/GPS?u=miam81941&sid=GPS&xid=214b0d18. Accessed 26 May 2021.

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The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm) Thomas Cole 1836 C.E. Oil on canvas

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The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm) Thomas Cole 1836 C.E. Oil on canvas

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The Oxbow is one of the quintessential examples of American landscape painting by painter Thomas Cole. Originally from Lancashire, England Cole and his family moved to the U.S. Cole eventually began painting landscapes and moved to New York City where he would eventually become the leader of the Hudson River School, a collection of Landscape painters. One of Cole’s greatest abilities as a landscape painter was his ability to imbue a moral message into the landscape. Cole’s work via his oil on canvas was heavily influenced by European historical paintings. Seeing these gigantic works that communicated moral values to the audience, Cole wanted to communicate his own message via the landscape. The parallels between the two can also be seen in the great size of Cole’s landscapes. The Oxbow displays a bend in a river that separates the composition in two. On the right side of the composition we see pastoral land along with fields for agriculture symbolizing human development. On the left side we see a much more untamed wilderness with broken trees and thick undergrowth. This is further accented by the stormy weather compared to the clear blue skies of the right side. Art historians dispute whether Cole is in favor of this development or not but both interpretations relate to the dynamic between man and nature. One interpretation supports manifest destiny and believes that mankind should continue to develop nature for their own benefit. This interpretation reinforces people being superior to nature in the dynamic with nature being tamed and restrained by mankind’s advancement. The second interpretation believes that Cole is warning the audience about future development. This interpretation cautions mankind about upsetting the dynamic and attempting to shift the dynamic in their favor. Cole in this theory supports a dynamic in which nature and mankind are equal and mankind respects the beauty and untamed aspect of nature.

Possible Connections within the Image Set:

The Valley of Mexico from the Santa Isabel Mountain Range (Valle de México desde el cerro de Santa Isabel: Both works depict a serene landscape intended to highlight a moral message that their home country espoused.

The Stone Breakers: Both works seek to communicate a moral message on social progress and utilize oil painting to communicate the rich tones that highlight anguish in the stone breakers and progress in the Oxbow.

Possible Themes and Subthemes:

Manifest Destiny, Expansion, Dynamic between man and nature, the sublime, American identity, the beauty of nature.

Sources:

The Metropolitan Museum of Art. “View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow.” https://www.metmuseum.org/art/collection/search/10497.

Zygmont, Bryan. “Thomas Cole, The Oxbow – Smarthistory.” smarthistory.org/cole-the-oxbow.

“Thomas Cole, The Oxbow (Article).” Khan Academy, www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/cole-the-oxbow.

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Winged Victory of Samothrace Hellenistic Greekc. 190 B.C.E.Marble

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Winged Victory of Samothrace Hellenistic Greekc. 190 B.C.E.Marble

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The Hellenistic sculpture Nike of Samothrace was constructed on the Greek island of Samothrace during the Hellenistic period. Created out of Parian marble, the statue would have originally been painted. The statue was carved into shape using a chisel and was set atop a base that resembles the prow of a ship. The Greek people advanced the movement seen in the earlier classical period and emphasized the drama of the scene. After the dissolution of the empire of Alexander the Great, the various Greek states began warring and seeking to enforce hegemony of one state above the others. The statue was intended for the residents of Samothrace and it is thought that the statue was built to commemorate a naval victory that occurred near Samothrace. It would have been a unifying presence and solidified their cultural identity as a people who had fought and died together. Because of this we see how humans interact with the world. Despite this, the Goddess Nike is displayed like a real human. Tying back to the Greek idea that the gods were a reflection of humanity, Nike is displayed in a naturalistic manner. Nature is fully incorporated into the scene via the drapery, pose and placement of the figure. First, the figure was placed looking out to the ocean as if she was staring into the sea. From here, her clothes look like they are being whipped around her with the drapery almost flowing in the wind and tightly clinging to her. Not only does this create a sense of movement but also fully incorporates nature into the scene. The triumphant position of the figure signifies victory not only over their fellow Greeks but also on the waves themselves. Here, the Greeks placed themselves in a dominant position over the natural world.

Possible themes and subthemes: Conflict and Adversity, the human body, the natural world, supremacy over the earth, power, identity, unity, propaganda

Possible Connections within the Image Set:

David Figure: Small figure also celebrates a victory and binds a population together as victors of a conflict.

Bahram Gur fights the Karg: Shows human figure triumphing over a natural force, the Karg an incarnation of destruction.

“Winged Victory (Nike) of Samothrace (Video).” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/hellenistic/v/nike-winged-victory-of-samothrace-c-190-b-c-e.

“A Stairway to Victory The Daru Staircase.” Le Louvre, www.louvre.fr/en/explore/the-palace/a-stairway-to-victory.

“A Closer Look at the Victory of Samothrace | Musée Du Louvre.” musee.louvre.fr/oal/victoiredesamothrace/victoiredesamothrace_acc_en.html.

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Screen with the Siege of Belgrade and hunting scene Circle of the González Family c. 1697-1701 C.E.Tempera and resin on wood, shell inlay

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Screen with the Siege of Belgrade and hunting scene Circle of the González Family c. 1697-1701 C.E.Tempera and resin on wood, shell inlay

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The Siege of Belgrade was originally part of a collection of panels held in the palace of the Viceroy where it would have served to divide rooms. The panels would have separated a state room for court dividing the room along gender lines, with men on one side and women on the other. Made from oil on wood and mother of pearl inlay, the panels combine two forms of Mexican art, biombos and tabletas de concha nácar y pintura. These two genres combine to form the biombo enconchado which utilizes the Japanese style of folding screens with further Asian influence of pearl inlay. The Asian influence saturates the painting and can be seen in the materials and style. However, European painting traditions remain constant and are prominently used in the Hunting scene. Though Japanese influence can be seen at the bottom and tops of the screen via the resemblance to Japanese lacquer, the botanical motifs are firmly European. Furthermore, the use of Lions to hold up the banners is a classical motif used in Roman art and continued use in the Renaissance. Though the work has two sides, one depicting the victorious Habsburgs in the siege of Belgrade, the other shows a serene and tranquil environment. Here a group of aristocrats in their free time hunting animals. The Spanish hunters are displayed in full control, taking down wild game. This work showed the dynamic between man and nature by once again placing man above nature. In the hunting scene, the serene balance of nature is shown not with nature being left at peace but rather humans using the natural environment for their own pleasure. The hunter's disruption of the natural world and killing of animals is shown in a positive light as an only natural series of events.

Possible Themes and Subthemes: Pleasure, Dynamic between man and nature, hunting, nobility, human supremacy, asian influence

Possible Connections within the Image Set:

Red and White Plum Blossoms: Both works are folding screens that would have been placed in an aristocratic home.

Woman Holding up a Balance: The works are similar in how they both would have been displayed in an affluent environment.

“Brooklyn Museum.” www.brooklynmuseum.org/opencollection/objects/207337.

Kilroy-Ewbank, Lauren, and Steven Zucker. “Screen with the Siege of Belgrade and Hunting Scene (or Brooklyn Biombo) – Smarthistory.” smarthistory.org/screen-with-the-siege-of-belgrade-and-hunting-scene-or-brooklyn-biombo.

“Unfolding the Untold Stories of an Object d’art.” University of Cambridge, 2 June 2014, www.cam.ac.uk/research/features/unfolding-the-untold-stories-of-an-object-dart.

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Sistine Chapel, Vatican City, Italy Michelangelo Ceiling frescoes: c. 1508-1512 C.E.

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Sistine Chapel, Vatican City, Italy Michelangelo Ceiling frescoes: c. 1508-1512 C.E.

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The Sistine Chapel resides in the Apostolic Palace in Vatican City. The ceiling was painted between 1508 and 1512 by Michelangelo and commissioned by Pope Julius II. Michelangelo would later return to paint the Altar wall between 1536 and 1541. The Sistine Chapel served as one of the Pope’s smaller sanctums and also served as the Place where the Pope was chosen. The chapel’s frescoes decorate the ceiling and are created in typical Renaissance style. From the idealistic portrayal of the figures to the extreme attention to detail, the work is stunning to look at. The ceilings frescoes depict several events from the book of Genesis in the Old Testament. These range from the creation of man to the aftermath of the Great Flood. Surrounding these scenes are depictions of Siblys of the ancient world and ancient Hebrew Prophets. Finally, the altar wall departs a bit from traditional Renaissance style displaying its figures in a more contorted style typical of Mannerist style. This scene depicts the Last Judgement and shows not only the worthy ascending to be with Jesus but also the damned be cast into hellfire. The work was intended to decorate a sacred Catholic space and thus its main audience would have been Catholic clergy. The work shows the dynamic between man and nature through its displays of the creation of man and the flood. Via the creation of man, Michelangelo portrays the idea that humans are superior to nature created in the likeness of God and thus superior. He however reminds the audience on how nature’s power can be utilized via the flood. Here the catastrophic flood destroys the world and nature nearly succeeds in wiping out all life. Thus, the dynamic between Nature and Man is one of uncertainty with either side being able to gain control of the other for a portion of time.

Possible Connections to the Image Set:

San Vitale: Both works were commissioned by rulers in order to demonstrate piety and show power.

Scorevingi Chapel: Both works have frescoes that place greater influence on modeling and work to display the human body in a more accurate manner.

Possible Themes and Subthemes: Dynamic between man and nature, salvation, human spirit, Heaven and Hell

“Ceiling of the Sistine Chapel (Article).” Khan Academy, www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/a/michelangelo-ceiling-of-the-sistine-chapel.

“Sistine Chapel of Vatican City - Useful Information.” Copyright 2021, Rome Museum, 2021, www.rome-museum.com/sistine-chapel.php.

“Sistine Chapel.” Vatican Museum, m.museivaticani.va/content/museivaticanimobile/en/collezioni/musei/cappella-sistina/storia-cappella-sistina.html.