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How Art Reacts in the Face of a Pandemic

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How Art Reacts in the Face of a Pandemic

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On 11 March 2020, the World Health Organisation declared the spread of Covid-19, caused by the SARS-CoV-2 virus, a pandemic. The magnitude of this is a shock to us all. However, if we look at the history of mankind, it is clear that pandemics have been affecting us for centuries. Where better to find testimony than in art, which has always been the mirror of life. Works of art are often referred to as documents of our human history. In times of of crisis, this is more so the case as they open up to the viewer not only historical events and emotions, but also artistic poetry.

Nicolas Poussin, The Plague of Ashdod, 1630/31

The Plague in Art

Hardly any other catastrophe shaped the collective imagination of powerlessness and misfortune as much as the Plague. According to a study, the bacterial strain responsible for the pandemic, Yersinia pestis, first spread from Asia to Europe and from there back to China. The deadliest pandemic to date ravaged the world's population for a large part of the second millennium.

Nicolas Poussin

The outbreak of the bubonic plague (1629-163) in Italy was witnessed by French painter Nicolas Poussin, who was part of the Baroque Classicism movement. At that time, the artist was working in Rome on the commission Plague of Ashdod. This experience had a strong influence on the creation and implementation of his work. In the art of the 17th century, one finds only few artistic interpretations of the Plague. The reason for this was the belief that what was seen would manifest itself, leading artists to suspect that they themselves would fall ill should they portray the pandemic. Poussin's account provides us with frightening insights. He impressively captures the chaos, helplessness and fear of the people.

Michel Serre, Scene of the Plague of 1720 in La Tourette

Michel Serre

The last great outbreak of the Plague in Europe occurred in 1720, with Provence and Marseille being among the worst hit. Michel Serre's Plague in Marseille gives us monumental evidence of this. The historical event is the subject of numerous depictions. We see Chevalier Roze, a French aristocrat and general commissioner for the Rive-Neuve district in Marseille, in the center of the picture. During the Plague, he set up quarantines and organized the distribution of humanitarian aid to the population. On 16 September 1720, he led a group that buried corpses in the poor quarter of Marseille. As a result, Roze himself fell ill but fortunately survived the illness. Roze was lucky as the chances of survival without modern medicine were incredibly low. He is remembered for his courage and selflessness in providing humanitarian aid in inhumane times.

The Spanish Flu in Art

The Spanish flu was the first pandemic of the 20th century. It claimed millions of lives between the end of the First World War and December 1920. The cause was a virulent descendant of the influenza virus (subtype A/H1N1). According to researchers, it did not originate in Spain, as the name misleadingly suggests, but in the USA. This pandemic is also reflected in art. Its implementations are dominated by a strong poignancy and expressiveness.

Egon Schiele

Egon Schiele is one of the most important artists of Viennese Modernism and left us an unforgettable testimony containing a tragic fate. We learn from a letter from Schiele that his wife, then six months pregnant, fell ill with the Spanish flu on October 19. She died only nine days later. Just two days before, Schiele had made two intimate drawings of her: Edith Schiele and Mother and Child. These are his last works, because he also fell ill with the flu and died of it on October 31 at the ripe age of 28. His work is undoubtedly one of the most important achievements of Modernism, with an array of extraordinary artistic feats being unlocked in his much too short life span.

Edvard Munch

The Norwegian painter of symbolism, Edvard Munch, was able to recover from the Spanish flu unlike millions of others. In the format of the classical self-portrait, he looks back not only on his suffering but also on his triumph. In Portrait after Influenza he portrays himself sitting in an armchair. The vaguely painted facial features suggest that his eyes are closed. He may not yet be fully recovered, but is already wearing his jacket, trousers and shoes as a sign of his return to society. The work Self-Portrait after the Spanish Flu seems to be dedicated to an earlier stage of recovery. Munch is still wearing his dressing gown and the bed is visible in the background. The 56-year-old artist survived the Spanish flu and defied it by capturing it on canvas. These self-portraits provide exemplary insights into Munch's work: the painter in self-reflection about illness, his life and possibly his work.

In Times of Covid-19

Our Singulart artists are dealing with this profound situation in various ways. Through their artistic realization they reveal to us different points of view on the crisis. Below you will find the perspective of two of our artists.

Anastasia Vasilyeva

"As an artist, I can't step away and not speak about my feelings and thoughts concerning the Covid-19 crisis"

Swiss artist Anastasia Vasilyeva is working on a documentary art project. Anastasia records news, thoughts, feelings and statistics about the pandemic on canvas. Through her art, she allows the viewer to participate in the ongoing journey in a partly subjective manner. The series begins at the end of 2019 with Introduction: The information we had in 2019 and currently ends with the work 15.04.2020 - Two Million. The artist's aim with this series is not to create art that fulfils a decorative aspect, but to produce a document that allows later generations to understand our feelings during this time. This is also where the subtle difference lies between a mere historical source and art as a testimony of our time. Artistic creation makes it possible to document and at the same time to incorporate subjective feelings and to preserve them for later generations. The thoughts that are reflected in Anastasia's works are the thoughts of many who are confronted with the coronavirus epidemic. Anastasia Vasilyeva's works are testimonies of a historical situation in which we all find ourselves.

Kamile Lukrecija Lukosiute

"I'm always the one who probably will still be trying to have fun even at the most miserable moment. I always spot something that is funny and like to highlight it.

The young Lithuanian artist Kamille Lukrecija Lukosiute also deals with the Covid-19 pandemic. In her works we find a humorous and partly ironic examination of the crisis. Kamille remains true to her style and is not afraid to infuriate when she uses provocative slogans such as "BUY THIS. AND GET A FREE ROLL OF TOILET PAPER" with acrylic on canvas. The work CORONAVIRUS also goes on to suggest that "CORONAVIRUS HAS INFECTED THIS MASTERPIECE" - another sharp-tongued and amusing treatment of the profound situation. The artistic interpretation of the pandemic contains a deeper message than the whimsical tone would initially lead one to believe. In all the misfortune that the pandemic has brought, she manages to illuminate the humorous aspects, because "serious is life, cheerful is art" - Schiller already knew. As is well known, one should not lose their sense of humor in order to survive such situations in a spiritually healthy way.

Art lovers are experiencing difficult times and more than ever we at Singulart believe in the effectiveness of making art visible online. We believe in the power it gives and the comfort it provides. The artistic examination of Covid-19 has many different faces and its interpretations highlight different aspects.

Browse through our curated Covid-19 collection here. See interpretations from the brushes of our Singulart artists.

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How Art Reacts in the Face of a Pandemic

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On 11 March 2020, the World Health Organisation declared the spread of Covid-19, caused by the SARS-CoV-2 virus, a pandemic. The magnitude of this is a shock to us all. However, if we look at the history of mankind, it is clear that pandemics have been affecting us for centuries.

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Washington DC

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The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Admission is always free.

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Less than an hour away in NYC

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Over 5,000 years of art from around the world.

Hours: Sunday-Tuesday and Thursday: 10 am-5 pm

Extended Hours: Friday and Saturday: 10 am-9 pm

Closed Thanksgiving Day, December 25, January 1, and the first Monday in May.

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The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.

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You'll have to cross the pond to get here. It's in London.

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Tate is a family of art galleries in London, Liverpool and Cornwall, known as Tate Modern, Tate Britain, Tate St Ives and Tate Liverpool + RIBA North. Tate art museum houses the UK's collection of British art from 1500 and of international modern art

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Christie's upcoming 19th Century European & Orientalist Art Sale in London will be led by a sketch for Eugène Delacroix's Liberty Leading the People, which is expected to fetch £700,000-1,000,000 (US$936,600-1,338,000).

Sketch for Liberty Leading the People

Eugène Delacroix was the leader of the French Romantic School and one of the first modern masters. As an artist striving to capture the interplay between light and form, and fascinated with optical effects and strong colours, he reshaped the pictorial tradition, depicting both classical and unconventional subjects. His innovations inspired the Impressionist movement and paved the way for new styles of painting.

Liberty Leading the People

Eugène Delacroix's Liberty Leading the People commemorates the July Revolution of 1830, when public protests led to the abdication of the deeply unpopular King Charles X and his replacement by King Louis Philippe. The painting represents a pivotal moment in French history, with a woman leading the people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution.

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer.

Considered as one of the greatest paintings by Delacroix, the painting now hangs in the Louvre. It was acquired by the museum in 1831 for 3000 francs.

The artist made numerous drawings exploring both elements of the composition as a whole. However, the present lot is the only known sketch in oil and which fully outlines the intended final composition. This sketch, like many sketches and preparatory works, is unsigned. It was through meticulous research and the competency of several scholars on Delacroix that it regained its rightful place within Delacroix's oeuvre.

Leading lot

Eugène Delacroix (1798-1863). Le 28 juillet - la liberté guidant le peuple, 1830.

Lot no.: 8
Size: 64.5x81.3cm
Created in: circa 1830.
Provenance:

(Probably) The artist, inv. no. 102, as 1 tableau représentant une esquisse de la liberté aux barricades par [M. Delacroix], 5F.

Collection Pierre Andrieu.

Grasset, Paris.

His sale; Hotel Drouot, Paris, 19-20 March 1918, lot 153, as Le 28 juillet 1830, 1er pensée.

Baron Hugo von Grundherr zu Altenthann und Weyerhaus, Munich and Castle Mittersill, Austria.

His sale; Galerie Fischer, Lucerne, 8 September 1924, lot 32 (unsold), as Combat de Barricade, Le 28 juillet 1830.

His sale (with the Hypothekenbank); Helbing, Munich 28 May 1930, lot 36 (unsold and returned).

Dr. Hans Wendland, Le Coultre Warehouse, Geneva*.

Sequestered by the Schweizerische Verrechnungsstelle, Zurich in 1945 and returned to Dr. Hans Wendland after 1945.

with Gallery Beyeler, Basel, acquired from the above through his brother-in-law Hans Fritz Fankhauser, in 1956.

Acquired from the above by Collection Stürm, Basel, in 1957.

Acquired from the above by the present owner, Switzerland.

Estimate: £700,000-1,000,000 (US$936,600-1,338,000)

Other highlights

Gustave Courbet (1819-1877). Bords de la Mer, Palavas.

Lot no.: 11
Size: 48.5x65cm
Provenance:

with Arthur Tooth & Sons, London.

Mr. Peto, Isle of Wight (by 1947).

Ruth Carter Stevenson (daughter of Amon Carter and founder and chairman of the Amon Carter Museum, Fort Worth; acquired in 1977).

Sold by a member of the immediate family of the above through Pilsbury Peters Fine Art, Dallas.

Property of a Private American Collector; Sotheby's, London, 3 June 2003, lot 139.

Acquired at the above sale by the present owner.

Estimate: £200,000-300,000 (US$267,600-401,400)

Alberto Pasini (1826-1899). Mercato a Costantinopoli.

Lot no.: 75
Size: 46.3x38.3cm
Created in: circa 1880.
Provenance:

with Galleria d'Arte Martina, Turin.

Private collection, Italy.

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Christie's London to Sell Sketch for Delacroix's Iconic Masterpiece 'Liberty Leading the People' | Auctions News | THE VALUE | Art News

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Christie's upcoming 19th Century European & Orientalist Art Sale in London will be led by a sketch for Eugène Delacroix's Liberty Leading the People, which is expected to fetch £700,000-1,000,000 (US$936,600-1,338,000). Sketch for Liberty Leading the People Eugène Delacroix was the leader of the French Romantic School and one of the first modern masters.

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The Case for Abstraction | The Art Assignment | PBS Digital Studios

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TED Talk on the importance of visual intelligence.

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Are you looking closely? Visual educator Amy Herman explains how to use art to enhance your powers of perception and find connections where they may not be apparent. Learn the techniques Herman uses to train Navy SEALs, doctors and crime scene investigators to convert observable details into actionable knowledge with this insightful talk.

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All 4 parts combined.

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Magazine dedicated to contemporary art

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CultureSecrets, in collaboration with Singulart, invites you to meet the Dutch artist Pieter Ceizer in his studio in Paris. During this occasion, we interviewed Krystyna Winckler, founder of CultureSecrets. CultureSecrets was founded 6 years ago. What inspired you to create CultureSecrets? Having a passion for culture and being a contemporary art lover, especially for photography. I always found it complicated...

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Contemporary art is very intriguing as it often depicts and reflects on current affairs, sometimes in a critical way that wants to shine a light on societal shortcomings and aims to push humanity to do better. In light of recent events, the Black Lives Matter movement became once more a powerful voice that demanded change. To empower the voices of...

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Art curators deal with the organizational aspects of an art exhibition. They are responsible for defining the content of the event, choosing the works to be exhibited and the location. But that's not all. Those who choose to undertake this profession must know that the commitments do not end in the logistical sphere. In fact, it is important not only...

Angela Darling Faidley is a radiant woman - her crystal clear eyes are bright, with her smile releasing a beneficial energy. We didn't get the chance to meet her in person due to confinement but this feeling was palpable. Having exchanged messages with Angela, it was easy to sense that this Pennsylvanian woman was a force of nature. During quarantine,...

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CultureSecrets: Interview with Krystyna Winckler

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CultureSecrets, in collaboration with Singulart, invites you to meet the Dutch artist Pieter Ceizer in his studio in Paris. During this occasion, we interviewed Krystyna Winckler, founder of CultureSecrets. CultureSecrets was founded 6 years ago. What inspired you to create CultureSecrets? Having a passion for culture and being a contemporary art lover, especially for photography.

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The business side of art. Auction news

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The Value is a trilingual online platform providing the latest art market information of value to Chinese and English readers. Visit us for instant auction and exhibition news, videos and feature stories.

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It's an old video series originally aired on BBC. This is part 1. There's a lot to discuss and consider, particularly in regards to art in context.

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John Berger / Ways of Seeing , Episode 1 (1972)

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Free digital resource for getting started with digital painting

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Ctrl+Paint - Digital Painting Simplified

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Ctrl+Paint is a free learning resource dedicated to the basics of digital painting. Each bite-sized video covers a different concept, allowing you to learn complex subjects in manageable increments.

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Ctrl+Paint - Digital Painting Simplified

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Digital Painting Tutorials for Beginners

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The Sharing History Virtual Museum and Virtual Exhibitions address Arab-Ottoman-European relations in the 19th century from the specific perspectives of all parties, offering the first Database to document this period of common history.

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A guide to visual arts. A better starting place than Wikipedia.

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The Art Story: Visual Art Movements, Artists, Ideas, and Definitions

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The Art Story is the History of Visual Art that is optimized for the web: we clearly and graphically overview and analyze classical and modern artists, movements, and ideas.

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Before it was Kahn Academy

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World-class resources on art and cultural objects for learners from around the globe

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The history of art mirrors the history of humankind, and the study of works of art and the lives of artists illuminates much about our shared past.

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The history of art mirrors the history of humankind, and the study of works of art and the lives of artists illuminates much about our shared past.

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The best art created by Washington Post readers during the pandemic

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The best art created by Washington Post readers during the pandemic

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Color us impressed by your sharply tinted art in these trying times.

The Washington Post recently asked readers to share artwork that they have been creating during the pandemic, and received more than 650 submissions.

Art came from near (Washington and its surrounding states) and far (Germany and England, with a nod to Guatemala). The entrants spanned from tweens to artists in their 90s. And the choice of media included oil and acrylic, flowers, cinder blocks, a dryer sheet and hot glue.

The Post considered not only the quality and creativity of the art, but also the fascinating accompanying backstories. Enduring quarantines, some artists rendered what isolation and loneliness felt like, while others depicted longed-for social scenes from a pre-pandemic time.

Politics sometimes came into play - with one entrant cleverly adapting a stimulus check - and masks were a frequent feature. Some representational works transported us to a specific place, and some abstract works conveyed a distinct mood or state of mind. Some celebrated life, and some reflected a darkness or meditation on death.

Here are The Post's favorites:
(Note: The artists' words have been edited for length and clarity.)
"Social Distancing in the Mission"

Jennifer M. Potter, 45, San Francisco

Created using the iProcreate app on an iPad

"I drew this after picking up groceries one day. As I walked around the neighborhood, I was heartened to see how people and small businesses were adapting. Even though we can't socialize in the usual way, seeing everyone make an effort strengthens the sense of community I feel, and I wanted to share that feeling with others."

"Distancing Bench"

Kimberly A. Kelzer, 62, Freeland, Wash.

Dyed black fir wood, tape measure, cinder blocks

"I used to make furniture and was thinking about how we now have to keep our distance, even to socialize - what if you had a bench that made you sit six feet apart? I put it at the end of my driveway. I wanted to communicate with passersby that we can take care of each other by keeping our distance right now, but still sit, admire the view and chat, even."

"Peaceful Lord Buddha"

Gladsona Somalal, 37, Folsom, Calif.

Canvas and acrylic paint

"I started painting during [the] lockdown period to cope with tension due to [the] pandemic. Painting this abstract of Buddha helped me calm down, as I was feeling as if serenity was flowing to me from him. I hope our world [will] be filled with peace and well-being soon."

"Creek"

Landry Dunand, 39, Takoma Park, Md.

8-by-10-inch tintype, wet plate collodion

"I used my old large-format camera, purchased many years ago in Thailand. With social distancing, I found a sense of peace and satisfaction in shooting long-exposure landscape. I shot Sligo Creek just down the hill from my house. [It inspired the setting of the book "The Bridge to Terabithia."] It is something of a magical place - I go there every day to run, walk or take photos and look at the nature changing constantly."

"Doctor"

Lisa Goren, 60, Hyde Park, Mass.

Watercolor, charcoal, dryer sheet

"A friend of mine is a doctor and an artist, and at the beginning of the pandemic, she posted a photo of her looking so beaten up. I used dryer sheets for the mask because I didn't want to use anything that could actually make a mask. Since then, I've done about 10 others based on photos of health-care workers injured or bruised by their masks."

"El Cadejo"

Mayra Fernandez, 67, Bad Reichenhall, Germany.

Acrylic on canvas

"Being in lockdown because of the coronavirus is numbing, frightening, frustrating. It makes me feel vulnerable and powerless. I was planning to travel to my home country, Guatemala, at the end of March but then [borders were] closed. [This has] ignited a kind of homesickness I did not know before. This painting is my interpretation of a scary, yet protective figure of the Guatemalan folklore - 'el cadejo' is a black dog with burning eyes that takes care of drunkards who have fallen asleep lying on the street. It was my way of 'traveling' to Guatemala while being unable to do so. Looking at it now, it feels like an anchor."

"L'eau de Bleach"

Bambi Ramsey, 45, Redding, Calif.

Digital (Procreate app)

"I did this quick sketch after a couple of weeks of shelter from home. My husband is an essential worker, so constant sanitizing of surfaces left my skin and clothes scented with Clorox water - family [teased] that it was my new perfume."

"Group Portrait (work in progress)"

Jacqueline Kudo, 50, Brooklyn

Oil on canvas

"If each one of us is light in the dark, isn't it wonderful to see the other lights around us? This is the last painting of a long day of paintings started on location [a series of views of Lower Manhattan from across the East River and across the Hudson River]. These canvases were started as the first coronavirus cases began to appear in the country. I knew this day would be the last day I could paint outside for a long time. Coincidentally, that day was the supermoon and also a holy day on some religious calendars. Because it was a special day, I worked on these paintings saying prayers and mantras and wishing for the best for the city. It all continues as I am finishing these paintings in lockdown."

"Mask Series #3: 'Stimulus Check' "

Jennifer Markowitz, 52, Raleigh, N.C.

Hand-embroidered on silk

"I'm a textile and fiber artist and have been trying to find the right creative response to this crisis. I sew everything by hand, so I didn't think masks I make should be wearable. So I'm working on a series of them as objects, each revealing a certain truth about our times."

"Endurance"

Jammie Holmes, 36, Dallas

Acrylic and oil pastels on canvas

"This painting is about endurance. Like no matter what you will go through in life, sometimes beautiful things can come from it. You can see a cement flower pot with a green plant growing from it, symbolizing growth from rough conditions. You can see the expressions of the faces of me and my brother - looking worn but yet still maintaining what's normal to us. This painting is a symbol for my whole family. I like to show the inside and outside. Two black men and a soft color wallpaper background [make] things seem less intimidating. Sometimes I feel as a black man, we have to always be on guard - always ready to fight and survive."

"A Quiet Place"

Silviya Georgieva-Sellvida, 39, London

Textured paper; collage on canvas

"My collage is inspired by, and created during, the lockdown in London. This is me. My kid [made] a photo of me in the window when it was not possible to go out, and basically this was our hope and connection with the world, nature, surroundings. After that, I was inspired to make my vision of this lovely photo. I'm a visual artist and a mum, and [it is] really important to express my feelings."

"Hold Me"

Cheryl L. Zemke, 56, Riverview, Mich.

Acrylic

"Considering life with covid-19 and the future [of] wearing masks and gloves when exposed to others led me to consider the restrictions. [I'm thinking of] an intimacy and our innate need for personal contact with others."

"A World United"

Vasu Tolia, 69, Bloomfield Hills, Mich.

Mixed media on canvas

"Medicine has always been my first passion. And during these unprecedented, tumultuous times, it beckons me again as I watch helplessly from the sidelines now. Since my retirement as a physician, I've poured my creativity into art and poetry, so creating this kind of response came naturally to me."

"Moody Little Guy"

Elizabeth Lana, 52, Pittsburgh

Acrylic on wood panel

"I love to paint large. In the time of corona, I have a small home studio. Watching the long lines at the food bank, I wanted to help. I created an exchange [and donate the proceeds] to the Greater Pittsburgh Food Bank. Buyers make a direct donation and send me a screen shot of a receipt. All sales have been local, and they pick the paintings up off my porch."

Zuania Muñiz Meléndez, 34, San Juan, Puerto Rico

Flowers, wire, hot and white glue, cardboard, plastic bowl and salt.

"The abrupt changes I have experienced since the end of 2017, caused by Hurricane María and the recent pandemic, have destroyed my stability - my way of doing things and the way I relate to others. It is as if life has plowed my land and sown salt in the furrows. But from that same salt that sterilized me, that destroyed me, is where a new me arises. One never seen before, imagined, dreamed - only possible from the chaos and scarcity that drives me to innovate and grow. We are new flowers that emerge with more strength, ready to face the new challenges that lie ahead."

"Into the Void"

Dina D'Argo, 56, Springfield, Tenn.

Acrylic on canvas

" 'Into the Void' symbolizes stepping into the unknown - the idea of life 'after the pandemic' and the insecurity of not knowing what lies ahead. The veil symbolizes not only the unwillingness to accept reality, but also our cultural preoccupation with covering or uncovering one's face, and what it represents or says about who we are as a society. In a greater sense, this image is about the space between mortality and a spiritual state. I created this piece to sooth my own restless mind - to prepare myself for the possibility that during this pandemic, I may lose a loved one or lose my own life. And to remind myself that life is fluid and ever-changing, and it is okay not to know what lies ahead."

"Covid-19 Trash Campbell's"

Mary L. Aro, 90, Grosse Pointe Park, Mich.

Watercolor, graphite, colored pencil on paper

"I was inspired to paint trash when a nurse at Henry Ford Hospital in Detroit liked one of my paintings of a crushed beer can. I gave her the painting. My family and friends started to bring me pieces of trash found on their covid walks. I don't go outside, so they drop off the trash in my garage. The trash has very interesting abstract shapes. It's a challenge to paint them. At 90, I have a hard time with a shaky hand. I love the beautiful colors, the creased and wrinkled, dirty parts. The cans are luminous and shimmery. I think it's nice that my paintings involve other people - kind of a collaborative effort."

"Covid-19 Diary Excerpt"

Natalie Dupille, 28, Seattle

Watercolor and ink on paper

"I have been creating semiregular illustrated diary pages both for myself and my community. It's been helpful to process and acknowledge the wide range of emotions that comes from such an absurd situation - the silliness of partners/roommates, the uncertainty and fear, and the day-to-day moments."

"Ode to Helen Rosner's Roast Chicken"

Agnes Barton-Sabo, 39, Corvallis, Ore.

Flour, water, masking tape, two issues of the New Yorker, acrylic paint

"As I cook from what's available in my pantry, I'm challenging myself to think of art projects to do with materials I already have around the house - like a few years' worth of the New Yorker. First I made a paper wig. Then I dialed it up a notch and I created a papier-mâché hat as an ode to New Yorker food writer Helen Rosner and her infamous viral post about drying chicken skin with a hair dryer before roasting. In an additional nod to Ms. Rosner's Beard Award-winning essay about chicken tenders, I made a 'wig reveal' video, lifting up the hat to shower myself with papier-mâché chicken tenders. My quarantine crafting and cooking style is over-the-top ridiculous. I think any uplifting and joyful moments are so important right now to help counteract the amount of negativity and stressful information we are constantly bombarded with."

"Corona Rises"

Tomás Serrano, 59, Lexington, Ky.

Digital after pencil and ink

"I'm the cartoonist of an online newspaper in Spain, but I'm living in Kentucky. I saw the alarming news of the covid cases increase in New York, and tried to capture the feeling in a drawing of every day's dawn transforming the sun into a virus that invades the streets."

The honorable mentions

"Hanging On" by Peggy Wilson

"Trump fiddles" by Graeme MacKay

"Isolation" by Gordon Skalleberg

"Cv19 Apron" by Susan Kricorian

"Isolate" by Leni Newell

"Cali Love" by Susana Sanchez-Young

"My muse" by Abdul-Rahim Brown

"Guernica 2020" by Tony Aguero

"Ramona" by Carol Gellner Levin

"Hope-19" by Gordana Gerskovic

"Ready!" by Arwa Nasir

"The Dreamer" by Abi Salami
Related stories How artists are tweaking famous paintings for our coronavirus era These women photographers have created a visual journal of their lives during the pandemic Copy edited by Doug Norwood. Design by Beth Broadwater.

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The best pandemic art created by Post readers, from a stimulus-check mask to a chicken-recipe sculpture

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Color us impressed by your sharply tinted art in these trying times. The Washington Post recently asked readers to share artwork that they have been creating during the pandemic, and received more than 650 submissions. Art came from near (Washington and its surrounding states) and far (Germany and England, with a nod to Guatemala).

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Studying Art through the Lens of a Pandemic

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As many of us find ourselves working and studying from home during the worldwide spread of COVID-19, let us use this time to think about the impacts other pandemics and epidemics have had on world populations and their arts.

Sometimes we can directly see visual records of such times as seen in medieval depictions of leprosy in illuminated manuscripts. Likewise, pictographic accounts of smallpox epidemics that spread across the Great Plains of North America in the 18th and 19th centuries are seen in winter counts-pictorial calendars that use a single image to represent a year or a season. In fact, as noted by ethnohistorian Linea Sundstrom, "Chronological listing of references to epidemics in winter counts shows that the northern plains groups endured about 36 major epidemics between 1714 and 1919."

The 1837-38 epidemic of smallpox, for example, decimated the Mandan Nation. Middle Missouri prehistory specialist Donald Lehmer's 1977 study suggests that the Mandans, Arikaras, and Hidatsas from the upper Missouri River region lost a combined 70% of their populations. A recent article by history scholar Clay Jenkinson on the spread of smallpox in this region states that, "In two waves of smallpox on the Upper Missouri, separated by 56 years, the Mandan had been reduced from a proud nation of more than 15,000 individuals to a pathetic remnant of 145." With so much loss we must consider the dramatic impact such events had on the transmission of Indigenous knowledge, but also celebrate the perseverance of these communities to adapt. Today the population of the Three Affiliated Tribes (Mandan, Hidatsa, and Arikara) have again risen to around 15,000 citizens who live on the Fort Berthold Indian Reservation in North Dakota and elsewhere.

Understanding this history of pandemic and loss provides us with a lens through which we can see artworks from this same time period. When looking at arts from the first quarter of the 19th century that came from the upper Missouri River region, we see many similarities in materials, design, and construction-so much so that it is impossible to attribute the work to artists from one specific Indigenous nation from this region or another. Sundstrom notes that:

"Some of the most definitive characteristics of northern plains groups at contact may have developed in response to disease and population decline. The social fluidity whereby tribes or divisions of tribes split apart and regrouped may have developed as a means of coping with catastrophic population loss. An example of this was recorded historically when the Mandan, Hidatsa, and Arikara survivors of a series of smallpox epidemics in the first half of the nineteenth century joined at Like-A-Fishhook Village. Many plains tribes included bands whose names, language, or customs indicate separate ethnic origins. Some of these alliances may have been formed to compensate for population losses owing to epidemics."

Furthermore, she writes that "any aspects of Native life in the Great Plains were affected by epidemics. Military might depended as much on a group's health as on the training and technology available to its warriors. Patterns of social aggregation and dispersal, religious revivals, migrations, and survival of particular groups were affected by epidemic disease." Other challenges to specific attributions of arts from this region and period of time come from the scarcity of extant objects and few visual references from which to compare.

Museum Collections and the Paintings of Catlin and Bodmer

We see evidence of Lehmer's observations in men's shirts from this time period. While we may know they were made by artists from this region, assigning an attribution to a particular community is difficult for several reasons. In the 1965 exhibition catalogue American Indian Art Before 1850, then Denver Art Museum curator Norman Feder noted that few pre-1850 arts by Indigenous artists from any region exist in US museums. Some collections exist from Lewis and Clark's expedition from 1804-1806, but William Clark's personal collection, once housed in his home in St. Louis until his death in 1838, went missing around this time and the whereabouts remains unknown to this day. Feder also mentions that "a few early collections may be found in museums outside the United States. Noteworthy among these is the Paul Kane collection in the Manitoba Museum in Winnipeg" as well as the collections of Prince Maximilliam of Wied "dispersed in museums located in Berne, Berlin, and Stuttgart." However, the total number of works of American Indian arts from the Plains before 1850 remains quite small.

When you narrow down these early 19th century arts to just shirts and those exclusively from the upper Missouri River region, there are few examples from which to compare, and even fewer with documentation. Of the 40 shirts in the collection of the Denver Art Museum from the Plains and Plateau regions, only two date to around 1830 or before. One is attributed to an Assiniboine artist and the other is the focus of this article. So with limited examples, great losses in the continuity of Indigenous knowledge, and because these works predate photography by decades, the primary way to identify these shirts is through the written reports of fur traders and explorers, as well as the paintings of George Catlin and Karl Bodmer who traveled in the region in the 1830s.

Interpreting Biographical Art

In December 2019, the Denver Art Museum received two shirts from the Upper Missouri region of the Plains as gifts from a private collector: one dated around 1800-1820 and the other to around 1855 (not pictured). The earlier of these two shirts is without question the single most significant work to come into the DAM's Native arts collection in decades. It is exceedingly rare and among the earliest shirts from the Upper Missouri River region in existence. The shirt's lack of beadwork, minimal use of Bayetta trade wool, and quilled design elements point to its early creation date and connection to this region.

This fringed "poncho" style shirt with red trade wool rectangular "bibs" was made using Native tanned mountain sheep hides and sewn using sinew (animal tendons or ligaments used as thread). On both the front and back of the shirt are saw-tooth edged medallions (rosettes) and over each shoulder and along each sleeve are three quilled lanes with geometric patterning. While little was recorded about the meanings of such elements, the medallions are commonly considered representations of forces of nature, such as the sun or powerful winds. Museum ethnographer Colin Taylor has also suggested that the designs on medallions such as those seen on this shirt and many others from this region may represent the wings of a Thunderbird, a sacred being for many Plains tribes. The central medallions are made from porcupine quills and likely plant material, and possibly also bird quill. Porcupine quillwork is a technique indigenous to North America and was prevalent prior to the trade of European manufactured glass trade beads. Today this technique is experiencing a resurgence among many Native artists. The materials used on his shirt (as well as materials not used, such as glass beads) suggest it was made just as trade between fur trappers and Native people began in the central part of North America.

What is among the most exciting elements of this shirt are a series of pictographic and geometric drawings found on either side. If you look closely you will see faint indigo drawings of six heads, above which lines depicting lances or coup sticks float. Below the heads is a row of four bear paws, and to the right are three pipes. The exact meaning of these elements was not recorded; however, based on Indigenous knowledge and with the help of Dr. Timothy McCleary, a colleague from Little Bighorn Tribal College at Crow Agency in Montana, we believe we know what they mean.

The heads with lance or coup sticks likely reference coups counted on (or subjected to) an enemy (when a warrior touches his enemy with his coup stick, it was regarded as an act of extreme bravery called "counting coup"). The pipes may suggest how many times the shirt's owner led successful war parties. The bear paws show how many Plains grizzlies the owner of the shirt killed. American ethnologist Garrick Mallery's 1889 publication, Picture Writing of the American Indians, supports these interpretations. His book depicts a drawing and explanation by an Oglala Lakota man made in the late 19th century that explains the meaning of pipes depicted in this way, as well as other design elements recorded here, which emphasizes how wide spread such imagery was among Plains artists.

The designs on the front of the shirt tell even more specific stories about the owner. Here we find drawings of five X-like forms arranged below the medallion. These are war honor marks. From left to right, we can read these to recount the original owner's achievements in war. The first shows the warrior was the third person to touch a live enemy in battle (counting coup). The next shows that after he had dismounted an enemy, the owner of the shirt captured the enemy's horse. The next two X's show he was the fourth person to count coup on an enemy during battle. Then the last shows that he was again the third to count coup on an enemy. Mallery recorded variations of these designs and meanings as told to him by Hidatsa, Mandan, and Arikara consultants.

These marks were common ways to record war deeds among the Native people of the Upper Missouri River region and are also found on clothing, tipis, and in rock art. The Mandan, Hidatsa, Arikara, and Crow people are well known for their use of this X to represent an enemy. While a few other tribes also used this imagery, this form with the associated hash marks (denoting the number of coups) and horse hoof prints are all from one of the Upper Missouri River tribes.

Conclusion

Indigenous people have faced so many challenges to their ways of life since the arrival of settler-colonial people. Sickness and disease took its toll, but so did forced relocation, land allotment that broke up clan and society structures, prohibitions against ceremonies and religions, traumatic boarding school experiences, broken treaties, and institutional and structural racism, to name a few. Each of these created seemingly insurmountable hurdles for Indigenous people to overcome.

Many of these challenges still exist today. The Navajo Nation has been hit hard by COVID-19. Two Lakota reservations are under attack from the governor of South Dakota for the medical checkpoints they put up on their own roads to protect their citizens from the spread of this disease. Generational trauma from past experiences warns them to protect themselves. Elders are the keepers of knowledge and they are most at risk. The transmission of intergenerational knowledge of all forms, artistic included, is difficult during such times. But this knowledge still exists in communities. These art forms are still created by brilliant and innovative Indigenous youth. And this should give us hope for the future.

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Studying Art through the Lens of a Pandemic

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As many of us find ourselves working and studying from home during the worldwide spread of COVID-19, let us use this time to think about the impacts other pandemics and epidemics have had on world populations and their arts. Sometimes we can directly see visual records of such times as seen in medieval depictions of leprosy in illuminated manuscripts.

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Artyfactory's free art lessons share the knowledge, understanding and experience of art and design to encourage you to develop your own artistic voice. The lessons explore a variety of drawing, painting and design techniques across a range of subjects and styles. Each lesson leads you through an illustrated step by step development of the artwork from its initial stages to the finished example.

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With the new coronavirus pandemic in full swing and amid a shortage of face masks in our local pharmacies, let's learn something new about this (now) really precious object.

According to the book by John L. Spooner titled "History of Surgical Face Masks: The myths, the masks, and the men and women behind them," face masks first appeared at the end of the 19th century and were used by doctors during surgery to prevent bacteria from entering wounds.

In 1910, China adopted them to stop the spread of pneumonic plague. Since then, they have been used by people all over the globe as a means of protection from air pollution or a disease.

A girl wears a gas mask as protection during air attack. Hackney, Great Britain, 1938. (AP Photo) Continue reading "

Amina Arsakova

A girl from Chechnya is admired for her unusual beauty, but Albinism is not the only thing that distinguishes her from others. Continue reading "

Jenny Boot

Being stuck at home for prolonged periods of time has inspired some people to get creative. While some are cutting their own hair and trying out high-fashion looks, others are recreating famous paintings - and you'd be surprised how good they are at it. Continue reading "

skatergates

Every year on the first Saturday in May, gardeners are encouraged to shed their clothes and tend their gardens naked, just as nature intended. Continue reading "

160 photos of the strange and intriguing objects people display behind their windows, for passers-by to look at.

These things will make you smile, or maybe even stop and reflect. A stuffed fox, a portrait of Christ, a dusty Egyptian bust, a globe with gaudy colours... They are installed like treasures behind a glass screen, inviting you to wonder about the stories behind them, or about the intimacy of the daily lives that are lived behind the façade. Continue reading "

The winner of the 2020 Head On portrait prize is Australian photographer Fiona Wolf, with her image titled The gift, RHW 2020. Here is a selection of photographs from the 40 finalists.

The Gift. A modern family story of a girl born by a warrior woman to two dads with the love and support of a wonderful family around them. Photograph: Fiona Wolf Continue reading "

A wide-angle view of the huge crowd facing the distant stage during the Woodstock Music & Art Fair in August 1969.

The LIFE Picture Collection/Getty

In 1969, more than 400,000 people descended on Bethel, New York, headed to a dairy farm owned by Max and Miriam Yasgur, where the Woodstock Music & Art Fair was being held. Continue reading "

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With the new coronavirus pandemic in full swing and amid a shortage of face masks in our local pharmacies, let's learn something new about this (now) really precious object. According to the book by John L.

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Adjectives, nouns, verns, adverbs. Not sure of what words to use when talking about art? Here you go!

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Anniversary Back to School Bar & Bat Mitzvah Birthday Breast Cancer Awareness Congratulations Friends Get Well Graduation Housewarming Love & Romance New Baby Sorry Sympathy & Funeral Thank You Thinking of You Wedding

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Words for Talking About Art and Critiquing Paintings

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To talk about paintings, and art in general, you need the right words to describe, analyze, and interpret what you’re seeing.

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Like any creative field, art history has its own language. While this reality can be overwhelming for aspiring art historians, having a handy glossary of art terms can make analyzing a work of art a lot less intimidating.

In this list, you'll find 20 words that will help you discuss art with ease. Ranging from general concepts, like brushwork and composition, to specific techniques, including c hiaroscuro and troupe l'ceil, this arsenal of art terms offers everything you need to make the most out of your next museum visit.

Analyze art like a professional with this art history glossary.

Abstract

Breaking away from the figurative representation of objects, abstract art reimagines imagery as a study of the relationship between shape, form, color, and line. Abstraction occurs on a continuum, including the fractured-yet-recognizable forms of Cubism and the totally non-pictorial nature of Abstract Expressionism.

Avant-garde

The French term avant-garde literally translates to "advance guard," but is used to describe artworks, movements, or artists that are experimental and forward-thinking.

Brushwork

Brushwork refers to the way a painter applies paint to a surface. It is typically characterized by the size, texture, and precision of the strokes.

Chiaroscuro

Italian for "light-dark," chiaroscuro is the use of strong contrasts between luminosity and shadow to achieve a sense of volume and dimensionality. This unique technique was developed during the Italian Renaissance by Leonard da Vinci, the Baroque period by Caravaggio, and the Dutch Golden Age by Rembrandt.

Composition

The composition of a work of art is the way in which its visual elements are arranged, especially in relationship to one another.

Contrapposto

In sculpture, contrapposto ("counterpose" in Italian) is an asymmetrical posture in which most of a figure's weight is distributed onto one foot. This results in a realistic stance, as famously evident in Michelangelo's David statue.

Figurative

A work of art is considered figurative when its subject matter is representational.

Foreground

The foreground of a work of art is the part of the composition that is closest to the viewer. It is typically discernible from the background, which appears to be further away.

Foreshortening

Foreshortening is a technique in which an artist distorts perspective to evoke an illusion of depth. Foreshortened subjects often appear to recede into the picture plane.

Genre

A genre refers to a type of art (typically painting). Examples of genres include landscape and still life.

Iconography

Iconography refers to the subject matter, or images, used to convey meaning or communicate a message in a work of art.

Medium

A medium is the material used to create art. Examples of mediums are watercolor paint, pastel, clay, and charcoal.

Modern

As a movement, the term "modern" refers to art created between the onset of Impressionism and Pop Art, which ushered in contemporary art. On a more general scale, however, "modern" can mean current or cutting-edge.

Motif

In the visual arts, a motif is an element of the iconography. In paintings, a motif can refer to any pictorial feature of the composition. In the decorative arts and architecture, it often denotes a recognizable symbol that repeats.

Pentimento

Pentimento ("repentance" in Italian) refers to the presence of evidence that an artist has painted over a previously-rendered subject. In The Old Guitarist by Pablo Picasso, for example, the vague outline of a woman's face is apparent beneath the final brushstrokes.

Perspective

Perspective is the representation of 3-dimensional depth and space on a flat surface. There are two main types of perspective: linear and atmospheric. Linear perspective employs intersecting lines and vanishing points as a means to make objects appear far away. According to Leonardo da Vinci in A Treatise on Painting, atmospheric perspective, on the other hand, illustrates the idea that "colors become weaker in proportion to their distance from the person who is looking at them" through tonal changes.

Scale

Scale refers to the size of an object in relation to another. Often, as in the case of large-scale paintings, this comparison is based on the portrayed object's real-life size.

Predominantly associated with the paintings of Leonardo da Vinci, (derived from fumo or "smoke" in Italian) is a method of shading and color-blending that evokes a soft, "smoky" haze. This technique is apparent in the blurred background and softly-defined facial features of the .

Style

A work of art's style is a classification of its visual appearance. Often, style is characterized according to the distinctive aesthetic approach of an individual artist, art movement, period, or culture.

Tone

Tone refers to the lightness or darkness of a particular color.

Trompe l'oeil

In French, trompe l'oeil means "deceive the eye." It is a technique that creates optical illusions of three-dimensionality by employing eye-catching lifelike imagery.

Now that you've grasped the basic terms, master Art History 101 with these must-have art history books.

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20 Art History Terms to Help You Skillfully Describe a Work of Art

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Like any creative field, art history has its own language. While this can be overwhelming, a handy glossary of art terms can make analyzing a work of art a lot less intimidating. Whether you're familiar with the field or new to Art History 101, this list of terms will help you a master of art analysis.

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The Museum about Vincent van Gogh in Amsterdam

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See Vincent van Gogh's masterpieces such as Sunflowers, Almond Blossom, and his Self-Portraits, experience special exhibitions, guided tours, workshops, and more for all ages. Plan your visit, book tickets online.

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Louvre Museum Official Website

Highlights

Welcome to the Louvre

There are plenty of good reasons to visit the Louvre! So many works of art to discover in this fabulous museum that used to be a palace! So plan your visit in advance to make the most of it. Why not pick one of our visitor trails to follow a theme-based tour? And when you need a break, where better than the museum's restful gardens?

Louvre at home

Delve into the Louvre

Things to see

On Instagram

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Welcome to the Louvre - prepare your visit, explore the palace and museum collections and check out the latest news

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