Friday, June 26, 2009

"Adam; Eve" Paper


Giuliano di Piero di Simone Bugiardini
(Italian, Florentine, 1475–1554)
Adam; Eve
Oil on Canvas



Label on painting:

Towards the end of the first decade of the sixteenth century Bugiardini painted a number of oblong paintings on canvas with male and female nudes in a landscape. These may have been intended to hang in a bedroom framed in a wainscoting. This pair is unusual in illustrating a Biblical rather than a classical theme: the temptation of Eve. The landscape and figure types, with their angular contours, recall Northern paintings and prints, which Bugiardini must have studied closely. The picture was long ascribed to Piero di Cosimo.

The painting “Adam; Eve” can be found at the Metropolitan Museum of Art in New York City within the European Paintings section. It was painted by Giuliano di Piero di Simone Bugiardini who was also known as Giuliano di Piero di Simone. It measures 61 ¾ inches wide by 26 3/8 inches high. Bugiardini was known for painting oblong paintings on canvas with male and female nudes.
Some of Bugiardini’s other works include “The Madonna and Child with the Infant St John the Baptist”, “Portrait of a Woman, called "The Nun", “Virgin and Child with the Infant St John the Baptist”, and “Virgin and Child with the Infant St John the Baptist” which all can be found at www.lib-art.com (direct link below.) Bugiardini trained with a man named Domenico Ghirlandaio in his workshop in Florence, Italy. Bugiardini went to Rome in 1508 to help Michelangelo paint the ceiling of the Sistine Chapel.

This painting depicts the temptation of Eve, whose story is told in the first book of Genesis in the Holy Bible. Eve is handing the forbidden fruit to Adam while the serpent looks on. The serpent, who is Satan, has the head of Eve, which I can only imagine is representing Eve taking the place of the serpent’s role when the serpent tempted Eve to eat the fruit after God had specifically instructed both Adam and Even not to eat the fruit. God said man would die if Adam or Eve were to eat fruit from the tree of good and evil. The serpent tells Eve that this is not true and, conversely, if they eat the fruit they will become like God when he says, “Ye shall not surely die: for God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.” (Genesis 2:4-3:24) The scripture goes on to say:

And the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat. And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons.



Other places where this painting has been on exhibition are:

Baltimore Museum of Art. "Bacchiacca and His Friends," January 10–February 19, 1961, no. 22.

Rochester, N.Y. Memorial Art Gallery of the University of Rochester. "Renaissance Vignettes," February–March 1964



References:

http://www.metmuseum.org/works_of_art/collection_database/european_paintings/adam_eve_giuliano_di_piero_di_simone_bugiardini/objectview.aspx?collID=11&OID=110000256

http://www.lib-art.com/artgallery/834-giuliano-bugiardini.html


P Author. “The Old Testament King James Version” from the book of Genesis. Literature of the Western World: Vol. I 5th ed. Brian Wilkie, James Hurt. Macmillan 2001 p. 70


I declare the honor pledge

Monday, June 15, 2009

Metropolitan Museum of Art

I visited the Met last Sunday. It also happened to be the day of the Puerto Rican Day parade so it was nice to see all the spirit of the people lining the streets of New York!

I probably spent the most time on one piece looking at this display below. It was fascinating! It is a display of Armor for Man and Horse made of steel and leather. I can't imagine how long it would have taken to make even just one piece (and how HOT it must have been under there!)














As I expected, I loved the Greek sculptures! This one of Orpheus was my favorite. I'm a big music fan, myself, and music does tame my inner beast regularly. I'm convinced that I'd go crazy without it. It amazes me how these artists got so much detail of the human form in such a hard substance!
















































I really liked this sculpture of the Siren in the European section









































I found a medallion of the painting I liked at the Yale Center for Britsh Art, "Death of Lucretia". How cool!

































I really enjoyed the Arms and Armor section of the Met. The detail in the pieces were mind blowing to me. A lot of the pictures did not come out well due to being behind glass so I hope these couple I am posting do them justice.
























































This piece intrigued me not just for it's beauty, but I like the fact that it's a sculpture within a sculpture and also because of the symbolism of the poppys.



















I felt a connection with this painting of Adam and Eve mainly because we just read from the book of Genesis in my Humanities class. (I am pretty sure I'm doing one of my papers on this one) I especially appreciated the "wide screen" set up of this painting.































It might be hard to see the details in the painting below but it's quite beautiful and I love the story behind it.

























I love, love, love anything with symbolism so this painting of Mary Magdalen really drew me in. It was hard to get a good picture of it because of it's height (and my lack there of).




































This one caught my eye but was more appealing after reading the story about it.




































































































Monday, June 1, 2009

Yale Center for British Art






One whole bay on the 4th floor at the Yale Center for British Art is dedicated to pieces that depict untimely deaths. The first is a painting done after the death of a little girl, age 6, and is depicted as a memory next to her mother.

Another from this bay is "Portrait of an Elderly Woman and a Girl" which indicates the death of the mother of the young girl, daughter of the elderly woman.























"Selling Guinea Pigs" caught my attention because it's companion, "Dancing Dogs", is on display at the Metropolitan Museum of Art and I'm looking forward to tracking it down when I go there in a couple of weeks. Other than that, I like the story this piece tells - a poor man going door to door selling pet Guinea Pigs trying to earn a buck and the little girls trying to convince their mother to let them have one - and the man hoping they succeed.
















The next 2 paintings were favorites of mine mainly due to their use of color. In the case of the "Winter Landscape" I like how the lack of color enunciates the few items in the painting which have colors.



















Another from the bay of pieces depicting untimely deaths is a marble statue of a boy, William La Marchant, who died at the young age of 16 and the parents hired this artist to create his likeness in a bust. During this time period, the only thing the artists had to go on for a project like this is verbal descriptions from loved ones. This must have been tremendously difficult to do. Although the death of young people was more common in earlier times, the difficulty for a parent to deal with the grieving was no less than it would be today seemingly because they went to great lengths to memorialize them (sculptures, paintings, etc.)















"The Death of Lucretia" was probably my favorite piece at the museum because there are so many emotions portrayed here and they felt like they were jumping off the painting at me. Grief, sorrow, anger, hatred, revenge...there are so many things going on here and I almost felt them all.










The next piece is an oil painting "John Michael Rysbrack, Modeling His Terracotta Statue of Hercules". I just thought it was cool that the subject of one piece of art became another.














"Fish Market" was fascinating to me simply for it's historical value. I made a note about this painting that artists today must have much more difficulty finding subjects that portray something that was once so everyday (catching and selling fish) that can be appealing in a painting.








"Academy by Lamplight", shown below, captured my attention because I was intrigued by the obvious adoration the student has for the sculpture and how the artist could be alluding to the myth explained about King of Cyprus falling in love with a statue of Venus which came alive in answer to his prayers.