Power_of_Art

The English Macquarie Dictionary defines the word “power” as: 1. Ability to do or act; capability of doing or affecting something. 2. Great or marked ability to do or act; strength, empower, might, potent, force. 3. The possession of control or command over others; dominion, authority, ascendancy or influence. Throughout history, artists have represented the meaning of power in many different ways to reflect strength, wealth, authority, influence and propaganda. From the colossal pyramids of Giza and the intimidating Persian palaces of the Ancient World; to the glorious paintings, sculptures, and buildings of the Baroque and Renaissance eras; to the compelling, conceptual and propagandised artworks of the modern and post modern eras, the power of the greatest art shakes the world into revelation. In this essay, artistic representations of power will be explored through the works of Carravaggio, Picasso and Michael Graves. Michelangelo Merisi da Caravaggio (1571 – 1610) was a significant Baroque style Italian painter. His work “David with the Head of Goliath 1609” is a great example of how power is achieved in art. It depicts a young boy, David, grasping the hair of a beheaded bearded male. He is clothed in peasant garments with a robe worn diagonally across his bare chest. He is holding a sword with his other hand and the blade directed to be placed between his thighs. His face has a strange expression of disgust and sorrow as it looks down at his trophy, the bloody head of the giant Goliath. The artwork provides a strong impact on first site due to the violent image of blood dripping from Goliath’s head. The painting is a portrayal of the story of David and Goliath as accounted in the Bible. It was the famous battle between the champion warrior of the Philistines, Goliath, and the young shepherd David, the future king of Israel. It was simply an event in which a virtuous and courageous young boy fought with his humility and by his God’s name to defeat an evil, enormous warrior fuelled with conceited arrogance and hatred. For more information refer to1 Caravaggio has used the tense subject matter with his famous use of chiaroscuro to create power in the image. The painting is oil on canvas, composed of dark colours black, silver and browns. The use of chiaroscuro models the two figures well to dramatise and empower the tense scene. A gloomy, anguished mood is produced reminiscent of Caravaggio’s life at the time which related to the portrayal behind it. Caravaggio painted this work for several reasons, one of which was redemption. Throughout his life, Caravaggio was constantly engaged in brawls and fights and known for his enigmatic and dangerous character. In one brawl incident Caravaggio accidentally killed a man. He was outlawed and fled to Naples. He kept moving throughout Southern Italy mostly because of expulsion for his rancid behaviour though achieving fame for his paintings at the same time. Caravaggio then returned to Naples where an attempt was made for his life. At first it was reported in Rome that the “famous artist” was dead, but then it was learned that he was alive, but seriously disfigured in the face. “David with the Head of Goliath” along with “Salome with the Head of John the Baptist (Madrid,)” were painted and sent to a friend who could help secure a pardon for his murder conviction. This painting represents much of Caravaggio’s life and it show his regret and sorrow for his past actions. Sometimes it is even seen as a self-portrait. On David’s sword is inscribed “Humilitus Occideit Superbium”, meaning humility conquers pride. This is not just the battle between David and Goliath but also the battle which has been fought out inside Caravaggio's head, reminding him that he had once killed a man. It shows his evil side, Goliath, and his virtuous side, David full of sorrow and disgust at himself Goliath. The painting therefore has a force of power, driven by the meaning behind it. The artwork also creates power because of the culture during the time. The Baroque period heralded ornamentation and intricacies in all aspects of art and thus the chiaroscuro was meant to be a naturalistic and perfected technique. As art progressed into the modern times the effect of power and protest in art has changed. The work of the Modernist painter Picasso can be an example as its power is represented in a different context and format. Picasso’s artwork, “Guernica,” is a moving work painted on a large scale mural canvas. It is an extremely powerful artwork to view complete with hidden themes and meaning, depicting suffering people, animals, and buildings wrenched by violence and chaos. The painting portrays the Nazi German bombing of Guernica, Spain, by twenty-eight bombers, on April 26, 1937 during the Spanish Civil War. The attack killed and wounded 1600 people. The painting is composed of oil on canvas of wall scale size. The visual line is very sharp and straight with many jagged shapes arising throughout the piece. This helps create the drama and chaos that gives the piece its power also emphasized by its large scale. The work is practically black and white but with shades of blue grey purposely done to represent a piece of reportage similar to black and white images from that of a newspaper. The tone is smooth and washed with gradients that blend the characteristics of Surrealism with Abstract Expressionism. The lighting used is dynamic with contrasting bright and dark areas creating the tense atmosphere when combine with the dull colours. This structural frame provides insight into the painting’s meaning. The Spanish government commissioned Pablo Picasso to paint a large mural for the Spanish display at the Paris International Exposition. Picasso was inspired by the Guernica bombing and began painting this mural within 15 days of the attack. Guernica’s aim is to present a scene of death, violence, brutality, suffering, and helplessness without portraying the victim’s immediate causes. It is a statement on the brutality of warfare in general but with particular emphasis of the horror that occurred in Guernica. Many hidden symbols are used throughout the work including the use of daggers to suggest screaming which have replaced the tongues of the bull, grieving woman, and horse. Another symbol includes a light bulb which blazes in the shape of an eye over the suffering horse's head. This could represent the bare bulb of a torturer's cell. These symbols all interrelate with each other to express Picasso’s abhorrence of warfare and to bring the tragedy of the Spanish Civil War to the world’s attention.2 After the painting travelled throughout the world in exhibitions, the audience feedback was immense. The day the painting went on tour to London was the same day that Munich agreement was signed by European leaders. The painting was also sent to the United States to raise funds and support for Spanish refugees. It was the icon for Spaniards of both the end of the Franco regime and of Basque nationalism. The artwork also created controversy amongst Nazi occupied nations and during its tour to Spain, it was kept behind bullet-proof glass and guarded by machine guns. Picasso’s “Guernica,” was a clear example of the power of art in a propagandized and protesting from. It helped to change world politics and issues, helped to cease warfare in Spain and brought the true horror of warfare to the world’s attention. A tapestry copy of Picasso's Guernica is still displayed on the wall of the United Nations building in New York City as a reminder of the horrors of war. Art in the form of architecture produces the same amount of power. Michael Graves, a popular post-modern architect who created many very original buildings has a great example. His design of “The Walt Disney World Dolphin Resort,” is a great example of how power is created in architecture. The structure emanates regality, majesty and intricacy, and together combined with its massive scale produces a particularly powerful image. The structure has a triangular, semi-circular and trapezoidal form with two wings spanning from either side. This polygonal shape provides a powerful design that is appealing to the eye and structurally strong. The design incorporates brilliant contrasting colours of red, blue and green. With the added tool of landscaping through floral and water schemes the result is stunning, accentuated by the ornamentations of swan sculptures and shell designs. Overall the power created through the structure is derived from its stunning visual appearance and size emphasized through the use of landscaping. The artwork is in mainstream being a hotel in a Disney theme park. In conclusion, artists from different times have represented power differently because of the different contexts. Similar techniques have included size, colour and the subject matter and the meaning and symbol behind the artwork. Strength, wealth, authority, influence and propaganda are reflected in these powerful artworks to express the emotion of the artist. Footnotes 1Summary of Samuel 17 The Israelites were facing the warring Philistines at Socoh in Judah. For forty days, Goliath came out of the Philistine camp and challenged the Israelites to send out a champion of their own to fight him and the victor of the battle would be decided, but the Israelites were all afraid of the Philistine who was over nine feet tall. David however, who was bringing food for his older brothers hears of Saul’s, leader of the Israelites, plea and reward, and he declares that he is not afraid. Saul reluctantly agrees offering his armour, but David declines since it is too heavy for him. As David and Goliath confront each other, Goliath with his armour, sword and shield-bearer, cursed David by his gods since he was insulted that he was just a boy. David, however, was without fear and denounces him in God’s name. David then ran towards the Philistine, fits a stone into his sling and launches it at Goliath, striking him in the forehead. As giant then fell to the ground David seizes his sword and kills him by cuts his head off. The Philistines then fled, pursued by the Israelites. 2Picasso on Guernica “The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death' ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death.” http://en.wikipedia.org/wiki/Guernica_(painting) http://www.wsu.edu/~lauren_clark/pomoarchitecture.html http://www.bbc.co.uk/arts/powerofart/picasso.shtml http://en.wikipedia.org/wiki/Carravagio http://en.wikipedia.org/wiki/Michael_Graves Holy Bible NIV