Posted by: mkl325 | May 12, 2013

Mike’s Visit (Part 2)… A Day in Edinburgh

You can’t come to St. Andrews and not visit Edinburgh. So one morning Mike and I took the train and got to the city in the late afternoon. We began our visit with a walk down the Royal Mile, the main street between Holyrood Palace and Edinburgh Castle.

Looking up the Royal Mile

Looking up the Royal Mile

One of my favorite spots on the Royal Mile is St. Giles Cathedral. The Cathedral was built in the 12th century and is one of Edinburgh’s recognizable landmarks.

St. Giles

St. Giles

The inside of the Cathedral is pretty impressive. I have a thing about ceilings – I love them. Mike likes to joke that because I am so short I have to look up to see anything so I pretend that I am looking at the ceilings. One of the things that I love about the ceiling of St. Giles is that amongst the old stone archways there is this stretch of bright blue, white and gold. It is really beautiful.

58795_534952455635_462162938_n

Then there are the stained glass windows…

230798_534952395755_978906971_n 578940_534952625295_634491012_n

Here is the window created by Morris and Co. It was designed by Edward Coley Burne-Jones and is one of the most beautiful windows in the whole church.

Morris Window

Morris Window

For a while we were standing in front of this window and I was telling Mike all the things I learned about William Morris last semester and analyzing the window. I noticed that the look on Mike’s face is the same one that I have when he was explaining the ins and outs of golf to me. So we moved on…

Window detail...

Window detail…

In 1911 there was a chapel added onto the Cathedral for the Order of the Thistle. There are up to 16 members of the order at one time, although right now there are only 15, along with the additional members, known as “Extra Knights and Ladies”, of Prince Phillip, Prince Charles, Princess Anne and Prince William. In the chapel, each member has a stall with their insignia on the top, this is there seat for the gatherings of the order. The coats of arms that mark the back of each stall is a historic record of who held that seat prior.

947229_542140116505_949954593_n

The carving in the chapel is amazing. The armrests for each stall are carved in the shapes of animals…

389007_542140156425_1809854616_n

…and there is at least one, although I suspect that there are actually three, bagpiping angels. Cause what would a chapel in Scotland be without a bagpiping angel?

934927_542140086565_1867171464_n

Outside of St. Giles is a stone mosaic in the shape of a heart. It’s known as “The Heart of Midlothian” and it is the spot where the Old Tolbooth (prison) stood in the 15th century. Since this was also the place where a lot of public executions take place, it has become a custom for people to spit on the heart. It’s now done for good luck, but originally the spitting was done to show disdain for what took place there. It’s a little shocking the first time you see it, mainly because I was standing right in front of the person spitting and thought it was directed at me. Thankfully, I am not very confrontation by nature, cause I am fairly certain that is called for a fight.

61112_534954257025_352482410_n

At the top of the Royal Mile is Edinburugh Castle. The Castle was built in the 12th century upon an extinct volcano plug. Not only does this make the castle have an impressive place over the city as well as a fantastic landscape.

The Entrance to the Castle

The Entrance to the Castle

View of Edinburgh from the front of the Castle

View of Edinburgh from the front of the Castle

Mike in front of the Castle

Mike in front of the Castle

King David I of Scotland built a small chapel for his mother, Saint Margaret, who died in the castle in 1093. David I was the son of Saint Margaret and King Malcolm III. Malcolm III was the son of King Duncan I. So, why the lineage lesson? Duncan I is the king that Macbeth murders in Shakespeare’s play. As I have always had a slight obsession with Shakespeare, and in particular Macbeth, this connection is very exciting for me.

Saint Margaret window in Saint Margaret's chapel

Saint Margaret window in Saint Margaret’s chapel

Saint George and the Dragon window in Saint Margaret's chapel

Saint George and the Dragon window in Saint Margaret’s chapel

 

603865_542140271195_21561822_n

Inside the Royal Apartments. Mary, Queen of Scots, gave birth to James IV of Scotland (James I of England) in one of these rooms.

Inside the Royal Apartments. Mary, Queen of Scots, gave birth to James IV of Scotland (James I of England) in one of these rooms.

 

I forced Mike into this picture because it makes me laugh.

I forced Mike into this picture because it makes me laugh.

 

View of Edinburgh from further into the castle. You can see the National Gallery and the Walter Scott Memorial.

View of Edinburgh from further into the castle. You can see the National Gallery and the Walter Scott Memorial.

 

577686_542140505725_934474072_n 947097_542140525685_478565929_n

Mike and Edinburgh. Directly across the sea is Fife, where St. Andrews is located.

Mike and Edinburgh. Directly across the sea is Fife, where St. Andrews is located.

I am not a very good tour guide. It happened several times that Mike asked me what something was or the story behind it was and I had no idea. It’s only when I come back and research what we saw that I actually know what all the stuff is.

I am a boss when it came to the shopping portion of the trip.

And yes, I do own that hat now.

And yes, I do own that hat now.

The night ended when we met up with my friends Iris and Lydia, and went to the Beltane Fire Festival. It is an old Celtic May Festival where people dance with fire, paint their faces and generally have fun.

166257_542140745245_187850815_n 922821_542140700335_104321521_n

 

Fire Dancers...

Fire Dancers…

Lydia, me and Iris. It was a good night.

Lydia, me and Iris. It was a good night.

 

Up Next… A Day in the Highlands…

Posted by: mkl325 | May 9, 2013

Mike’s Visit (Part 1)… A day in St. Andrews

Recently one of my best friends for the past 10 years came to visit me here in St. Andrews. Mike is one of the friends I made at St. John’s College and we have been pretty close since we bonded over horrible jokes, sci-fi movies and whiskey during our freshman year. I constantly tell him that I am going to pick out a lovely bridesmaids dress for him when I get married – I’m considering pink taffeta with some puffy sleeves, I think it will bring out the highlights in his beard.

In a lot of ways we are complete and total opposites. I am a democrat, Buddhist, who is devoting my life to studying art… Mike is a Christian, republican, government employee from Texas. We rarely agree on anything political, but we have learned to have spirited discussions where we are able to hear each other, treat each other respectfully, and come to the conclusion that I am right. He is one of a few people in this world that can be completely honest with me and no matter what he says I never doubt for a second that it comes from a good place. He, unfortunately, knows all of my stories (and revels in the most embarrassing ones) and I know all of his, although he is not embarrassed by anything. I’m his bro and he’s one of the girls – considering how he was once caught watching an episode of “Gilmore Girls” I feel that this definition is extremely accurate on his side. Needless to say, after what I have deemed to be the most challenging year I have had in a long time, I was jumping out of my skin waiting for his visit.

The first day we toured around St. Andrews was focused on golf. St. Andrews was the place where golf was invented in the 1400s and it has immense importance to all golfers. I have never been one to understand sports. I was raised knowing a few things about sports, all DC teams have to win (especially the Redskins), except in Baseball where the Orioles have to win, and Notre Dame is the only college that ever matters when it comes to Football. The day that my brother banished me from being in the same room with him when the Redskins were playing had little affect on my life. To be fair I might actually be bad luck for them, when I left the country both the Redskins and Notre Dame got to the playoffs (right sport?) and lost with one game to go the week I came home for Christmas. So of course, golf is not really my thing, but the course is pretty so I agreed to go take a look.

Keep Off the Grass

Keep Off the Grass

On Sundays the public is free to walk the Old Course. There are all these signs that tell you where you can walk and where you can’t. I was thoroughly confused as nothing was roped off and I wasn’t sure were I was allowed to walk. Apparently you are allowed to walk everywhere except the green.

Seriously... IT'S ALL GREEN!

Seriously… IT’S ALL GREEN!

Does this term make sense to anyone else? It’s all green! I think this was one of those moments when Mike is embarrassed for me. However, I think that this is a trick that is being played on everyone… and I am NOT falling for it.

There is a very cool feature to the golf course, the Swilican Bridge. It was apparently built around 700 years ago for shepherds to get livestock across the stream. Now it connects the first and eighteenth fairways (don’t ask me what those are) and has become a symbol of the golf course. It is very pretty.

VICTORY!

VICTORY!

Pretty bridge...

Pretty bridge…

The Old Course is under the protection of the National Trust, so it has been preserved really well. Here is a picture of the golf course in 1891, the bridge is on the right center of the photograph.

Old Course 1891

Old Course 1891

Here it is today with a similar view as it was over 100 years ago.

Old Course Today

Old Course Today

Right off of the Old Course is West Sands beach. This beach is famous for the scene in Chariots of Fire.

Pathway to West Sands

Pathway to West Sands

Who knew that when I had to perform this song on the flute when I was 11 that I would end up living right near it’s filming location? Maybe I should watch the movie sometime…

Chariots of Fire run on the beach.

Chariots of Fire run on the beach.

One thing I love about the beaches here is that the tide comes very high up the shore, changing the landscape pretty dramatically throughout the day.  When we walked onto the beach the infamous Scottish weather changed from gorgeous sun to wind and rain.

Look at how pretty the wind makes the sand look.

Look at how pretty the wind makes the sand look.

West Sands in the rain

West Sands in the rain

"Dammit Kit! I'm cold, stop taking pictures."

“Dammit Kit! I’m cold, stop taking pictures.”

Once off of the beach, the sun came back out which is when we went to the aquarium.

A very Scottish Mike...

A very Scottish Mike…taken literally 10 minutes after the beach picture.

I will say this about the St. Andrews Aquarium – it’s small but there are ADORABLE seals…

I almost jumped in there with them. Pretty sure Mike wouldn't have bailed me out of jail if I did though.

I almost jumped in there with them. Pretty sure Mike wouldn’t have bailed me out of jail if I did though.

AND you can FEED THE MEERKATS! (When my sister comes to visit this will be my birthday gift to her)

This meerkat is going to make damn sure that there is no food left in that bucket.

This meerkat is going to make damn sure that there is no food left in that bucket… I apologize to the stranger whose crotch ended up in these pictures.

From here we went to St. Andrew’s Castle ruins.

The Castle was built in the late 12th/ early 13th century and sits on a cliff that looks over the North Sea. It was used mainly to house the wealthy and important bishops. In the early/mid 15th century, James I of Scotland received part of his education here from Bishop Henry Wardlaw, the founder of St. Andrew’s University in 1410. It is believed that in 1445, James III – the great grandfather of Mary Queen of Scots, was born here.

Mike at the Castle

Mike at the Castle

Castle Ruins and the North Sea

Castle Ruins and the North Sea

In the Castle Ruins

In the Castle Ruins

Of course we used this magnificent location to take funny pictures.

Mike calls this "Death of a Kit"

Mike calls this “Death of a Kit”

This is where Mike convinced me to walk down into the mines.  I am somewhat claustrophobic so this was not something that I normally ever do but as he was visiting I gave in.

Looking back up the way I came - this picture makes me dizzy.

Looking back up the way I came – this picture makes me dizzy.

I am just over 5' tall - to give you an idea of how tight this is.

I am just over 5′ tall – to give you an idea of how tight this is.

I drew the line at going any further down once I got to a place where I could stand up…

Climbing further down into the mines - I was not going.

Climbing further down into the mines – I was not going.

At this point in the day we had about 30 minutes before the Rule Tower closed to visitors for the day. After walking around the town all day I was up for missing the tower climb but once again… I gave into Mike’s enthusiasm.

Cathedral Ruins and St. Rule's Tower

Cathedral Ruins and St. Rule’s Tower

So up we went…

The climb...

The climb…

St. Rule’s Tower was named after St. Rule (sometimes called St. Regulus) who is credited with bringing the relics of St. Andrew to Scotland from Greece. It, along with the rest of the Cathedral, was built in the 11th century, however, it the only structure that has survived.

The view was pretty spectacular.

The town of St. Andrews. I can see my apartment from here - not going to tell you where so you should just trust me.

The town of St. Andrews. I can see my apartment from here – not going to tell you where so you should just trust me.

The Pier from St. Rule's Tower

The Pier from St. Rule’s Tower

Mike above the town of St. Andrews

Mike above the town of St. Andrews

After this long day of touring around, it was time to go home and rest before heading out to dinner where I was to fulfill my part of our agreement. Mike said he would come visit me in Scotland if I tried Haggis. I know that people say you have to eat Haggis when in Scotland but I was avoiding it the best I could. I don’t have the excuse of being a vegetarian so I was stuck. The moment that Mike set foot on Scottish soil there was a ticking clock – I was going to eat something made inside a stomach. I was convinced that Mike was going to make a production out of this event – never shying away from an opportunity to embarrass me or push me out of my comfort zone. I half expected him to march me down North Street behind a plate of Haggis that he had outfitted with sparklers. However, he was nice and allowed me to order Haggis stuffed chicken, when we were alone at dinner, so that it wouldn’t be a big production. It was not nearly as bad as I had built it up to be in my mind. He did however take a picture…just to prove how much I didn’t want to do it.

With friends like these...

With friends like these…

I considered posting the picture I took of Mike asleep clutching my stuffed highland cow at the end of this day but I decided that posting it on Facebook was good enough.

I lied.

I changed my mind.

Next Time… A day in Edinburgh.

Posted by: mkl325 | May 4, 2013

Bernini, Sex and the Loss of Agency

I am currently working on my final paper for my class on Bernini. I knew I wanted to talk about three sculptures in particular – Pluto and Persephone, Apollo and Daphne, and The Ecstasy of St. Teresa, and as a result had to find a way to bring these three sculptures together. The obvious connection between these works is sex.

Sex is a running theme through art, last semester I wrote a paper about William Morris’s attitude towards women, which ended up being about Morris’s writings on the sexual liberation of women. If this is a theme found in the works of a fabric and wallpaper designer, such as William Morris, it is definitely found in the works of Gianlorenzo Bernini. However, since it is such an obvious focus of his work, I have been doing my best in order to tie the sexuality of the women in these sculptures to something else. Eventually I came across the idea of the loss of agency.

Albert Bandura, the psychologist, claims that in order to have agency one must “influence intentionally one’s functioning and life circumstances”. This definition means that a person must have the ability to plan their lives with goals, the anticipation of likely outcomes, the ability to execute plans of action to obtain those goals and the capability to reflect on their thoughts and actions in order to be considered an agent of their lives. Therefore, as Bandura defines it, agency is accomplished is four parts; intentionality, forethought, self-reactiveness and self-reflectiveness. Many cultures, including that of 17th Century Italy, are patriarchal and exert their dominance through the subjugation of women, thereby taking away their right to agency. As a result, this loss is represented within the art of these cultures, as it mimics the society in which it is formed, and many times is attached to the sexuality of the female subject. The female figures in the sculptural works of Bernini, particularly Pluto and Persephone, Apollo and Daphne, and The Ecstasy of St. Teresa, are clear examples of the loss of agency of women.

The easiest understood example of a woman’s loss of agency is seen in the act of rape, where sex is forced upon a woman without regard to her feelings and actions. Bernini’s sculpture, Pluto and Persephone, is described as the rape scene of the story of the God of the Underworld and his wife. However, it is not necessarily rape in the way we think of it today. When the story of Pluto and Persephone was written down by Ovid, the ancient Romans used the term “raptus” which is translated as “carrying off by force”. It was a serious crime, but was applied to any kind of theft, not just the stealing of women. It was a crime that was not seen from the woman’s point of view and was seen as a crime committed against the woman’s husband or guardian. However, in the story of Pluto and Persephone, her father, Zeus, gives Pluto his permission to take Persephone when Pluto expresses desire for her. Here we see the way in which women were treated as material possessions, her father without her consent or consideration gives Persephone away. Bernini depicts Persephone in a state of anguish, with her mouth open in an almost audible cry for help and a tear streaming down her face. Although she is fighting for her freedom, she has no control over her own life. While Pluto is an imposing part of Bernini’s sculpture, it is Persephone that draws the eye of the viewer. Bernini makes her the animated figure within the sculpture, emphasizing her loss of control to the men in her life.

Pluto and Persephone

Pluto and Persephone

The loss of agency for Daphne in Bernini’s Apollo and Daphne is different from that of Persephone’s because the reactions and motivations of the men of the story are different. Where as in the story of Pluto and Persephone, Zeus and Pluto are the ones in complete control of Persephone, Apollo is not completely in control of himself, and Daphne’s father does answer her call for help. Apollo has his desire forced upon him by Cupid who, in retaliation for Apollo chastising Cupid for his use of a bow and arrow, strikes him with a golden tipped arrow. At the same time, Daphne already expressed a desire to live a chaste and virginal life when Cupid strikes her with an arrow of lead, so her feelings are not changed by this interference. As she runs from Apollo, Daphne calls to her father for help, to take away her beauty that has bewitched Apollo, so she can live her life chastely. Daphne’s father, Peneus, the river god, transforms Daphne into a laurel tree just before Apollo is able to take hold of her. The moment that Bernini chooses to depict is that moment of transformation. Again, Bernini depicts a look of terror on Daphne’s face as she transforms into the laurel tree. She is not only terrified by the fact that Apollo almost has caught up with her but also that she can no longer run from him, as her toes are transforming into roots and attaching to the earth. This transformation is not what she asked her father for and Bernini shows her reaching away from Apollo while the transformation forces her to endure his embrace. Even as a tree, Daphne maintains her beauty and Apollo uses the laurel as his symbol from that point on. She is forever united with Apollo without any ability over her own choices.

Apollo and Daphne

Apollo and Daphne

The final sculpture that I am going to talk about is that of The Ecstasy of St. Teresa. St. Teresa was a Spanish mystic and Carmelite nun who was known for her visions. The one that Bernini depicts is that of the angel stabbing St. Teresa in the heart with a golden spear, much like the golden arrow that Cupid uses on Apollo.  She says about this experience in her autobiography,

“I would see beside me, on my left hand, an angel in bodily form … He was not tall, but short, and very beautiful, his face so aflame that he appeared to be one of the highest types of angel who seem to be all afire … In his hands I saw a long golden spear and at the end of the iron tip I seemed to see a point of fire. With this he seemed to pierce my heart several times so that it penetrated to my entrails. When he drew it out, I thought he was drawing them out with it and he left me completely afire with a great love for God. The pain was so sharp that it made me utter several moans; and so excessive was the sweetness caused me by the intense pain that one can never wish to lose it, nor will one’s soul be content with anything less than God.”.

 

The Ecstasy of St. Teresa

The Ecstasy of St. Teresa

This experience, although she gives herself into it, is not something that she sought out and causes her great pain as well as ecstasy. The moment that Bernini chooses to show is when the angel has withdrawn the golden spear and is about to stab Teresa’s heart once again. The expression on her face and her bare foot, hanging over the edge from outside of her skirts, proves her loss of control. Again, this loss of control is caused by another being therefore illustrates a loss of agency. Not only does this moment show control over St. Teresa by another, in this case the angel is acting as an emissary for God, but is also being watched by the male members of the church. Considering the fact that one of St. Teresa’s most important fights was trying to get autonomy for her order from the Catholic church, it is an added emphasis of her loss of agency that she is unable to experience God without the rest of the church looking on.

Cornaro Chapel

Cornaro Chapel

Cardinals of Cornaro Chapel

Cardinals of Cornaro Chapel

There are still many things that I need to add in from my research. For example, the history of “heroic” rape imagery from Ancient Greek and Roman art and the transformation of rape imagery during medieval times would have been an influence on Bernini, as he had studied ancient sculptures and would have been aware of many of the medieval drawings. I also need to address the concept of marital exemption of rape and the political connections, in both the secular world and the church. I am contemplating discussing Bernini’s sculpture of his mistress, Constanza Piccolomini, whose face he had slashed when he discovered her affair with his brother, Luigi. However, I am not sure that I will be able to fit it accurately into the study. Either way, the information surrounding Costanza’s life gives a good insight in the control of women of 17th Century Rome, adding some concreteness to the theory that Bernini was aware of the loss of agency of women within his society and represented it in his work. The moments that Bernini chooses for the three sculptures above, illustrate the loss of agency of the female figures. The influence of Ancient Greek and Roman sculptures, as well as medieval art, would have no doubt had an influence on Bernini, here’s hoping I can organize my research into a paper in the next couple of days that proves this point.

Costanza Piccolomini

Costanza Piccolomini

One of the assignments we have this semester is a keyword essay where we picked one word that is associated with our dissertation. You were supposed to take the word and look at it in terms of other discipline. My word was “community” and I chose to look at it in terms of psychology, anthropology and sociology. This is the rough draft of my paper so excuse the grammar and scattered feel of it. Also, I left out the citations because it was already too long for a blog post, but this is definitely a topic that took a lot of research. 

My dissertation focuses on the way that types of government encourages and limits the ways in which artist communities, specifically focusing on William Spratling and his work in New Orleans, Louisiana and Taxco, Mexico. In order to understand the connection between government and community, one must first understand what constitutes “community”. The term “community” is most commonly defined as “a body of people who live in the same place, usually sharing a common cultural or ethnic identity” or even at times, the physical location where this group forms itself is referred to as a community. At first glance, the location seems to be an essential aspect of the formation of a community. The artist group formed in 1920s New Orleans, Louisiana by the writer William Faulkner and his roommate the designer and artist William Spratling is a prime example of a social group formed by people from different places and with different interests brought together through location. However, the members of this group, whose time in the New Orleans French Quarter became known as “The New Orleans Renaissance”, formed a bond that transcended their shared space, allowing for them to remain a social entity when they dispersed from New Orleans. Is it by chance then that communities form or is it something other than just location that bond people together?

Artists have a long history of forming social groups but in many of those cases, as contact between different parts of the world became easier, the members of the group are not from the same location. In her discussion of rural artist, Nina Lübbren describes an artist community as “not simply haphazard collections of individuals who happened to share the same space but cohesive social entities with shared rituals and commitments”. This description removes the element of location as a necessary aspect of the art world, and can easily be applied to community in general. Since the idea of community is universal, affecting every culture and subculture in the world, it is important to see the different ways that this bond is form and affects its members in a overarching view. In this paper I look at the study of the term community outside of the art world, in three separate fields of study: psychology, sociology and anthropology.

The psychological impact of community is one that has been studied in depth since 1974 when Seymour Sarason first introduced the concept of people needing a “sense of community”. Sarason’s work focuses mainly on education reform and he was able to identify that the shared experiences between students with each other and their teachers, form a type of ever-changing community . This idea of a “sense of community” was expanded upon twelve years later in the work of David W. McMillan and David M. Chavis, who took Sarason’s work and identified the specific term “community”. There is a difference between a community and a sense of community, since a sense of community is temporary and is centered around institutions such as schools, where as a community is built upon over longer periods of time and the bonds formed are longer lasting. A sense of community is dependent on the individual, where as community involves a collective of people and can even be built through generations.

McMillan and Chavis define this permanent community as having four essential elements: membership, influence, integration and fulfillment of needs, and shared emotional connection. “Membership” is the most basic element of community as it is the initial feeling of belonging, which leads to the other elements necessary and without bonds between people cannot form. The next element, “influence”, is the concept of the individual being able to make a difference within the group and thereby making the group matter to its members. This element is important in order to make the members of the group want to participate within the community, and without individual participation there is no community.

Built upon these first two initial aspects of community come the ideas of integration and shared emotional connections. “Integration and fulfillment of needs” is the concept that through participation in the group each member has their needs met, thereby making membership in the community beneficial to each respective individual. If a group is not beneficial to its members, then there is no purpose for the members to remain and the community cannot be sustained. Although the first three of McMillan and Chavis’s elements of community are important, the final element, “shared emotional connection”, is the one that cements a community together. This element derives only from continued participation in the group. This connection is formed between members of the group through shared history, common places, time together and similar experiences. This aspect of community helps remove the geographical aspect associated with the term since these connections can be formed through belonging to the same community that is divided by location. One prime example is seen in religious communities, where people of the same religion share this bond, even if they are in separate locations. It is the most important outcome of a community as it takes a time to develop and becomes an integrated part of the individual. With these elements of community defined, the study of community psychology was formed and split focus into two main components, that of the ecological world of community and the push for change that comes from community.

One psychologist who approaches this topic from an ecological angle is James G. Kelly. This angle is the most scientific aspect of community psychology, as ecology is the study of how individuals react to each other and their environment in a physical sense. Kelly claims that there are four separate components to the ecological avenue of community psychology: adaptation, succession, cycling of resources, and interdependence. Although based more in a biologically scientific view, these four components of the ecological side of community psychology coincide with the four aspects of McMillian and Chavis’s definition of community. The first component, “adaptation”, refers to the concept that the actions of the individual are in direct response to the demands of their surrounding world. As each individual adapts to their surroundings, then their respective community must also change in order to fulfill the “influence” element of community. The next component, “succession”, is a concept that is built upon McMillan and Chavis’s definition of “shared emotional experiences”. “Succession” refers to the necessity of understanding the history of a particular community, and the members understanding and respecting that history. The history is established by the shared emotional experiences between previous members and therefore the community builds upon itself through time.

Kelly continues to discuss the needs of the community through the discussion of resources within the community. He uses the phrase “cycling of resources” to describe the how communities become stronger by building on the existing strengths of the individual members instead of looking for strength from outside of the community. This definition is applicable not only to humans, but can be seen throughout the natural world, allowing for the concept of community to be seen as a biological need. The final ecological element of community psychology is “interdependence”, which refers to the consequences that change have on the community, its members and its setting. It is the inevitable aspect of an ecological approach, as ecology is rooted in the concept of change, and emphasizes that any impact and change within the community will have unintended consequences.

Since change and impact are an expected part of community it is important to look at why these groups change. In 1974, family psychologist and community theorist, Paul Watzlawick, identified two “orders” of change that he attributes to community psychology. These changes are important in the community because they identify the ways that communities change as a way of problem solving, thereby fulfilling both McMillan and Chavis’s “integration” and Kelly’s “adaption” elements of community. Watzlawick identifies “first-order change”, which consists of changing the individuals within a community in order to fix a problem, and “second-order change”, which involves changing the structure of the community in order to fix the problem in the community. He emphasizes that these elements of change are a part of keeping a community alive, as he believes that the purpose of a community is to work towards positive social change. Again, these aspects of change can be found within nature, and are not limited to the human psyche. The fact that the psychological definition of community and the ecological psychological definition merge seamlessly helps illustrate that community is a natural psychological part rooted in humanity. It is also a necessary aspect of humanity, as is seen when looked at from the anthropological and sociological approaches.

While psychologists study community as a natural and essential component to the human psyche, anthropologists look at how communities are formed and sustained. An important aspect of the anthropological approach to community is that it allows for the communities to be contained within each other. For example, a family, or community organization, can be contained within a religious community, a community of culture, which itself can be contained with in a geographical community. In recent years there has been the development of a branch of anthropology based on the impact of the Internet on social groups. This branch of anthropology, known as cyber anthropology, focuses on the communities formed through the Internet and therefore does not necessarily coincide with the three types of anthropological communities listed above. However, even as an anthropological study, the development of cyber anthropology reflects the study of the ecological psychology of community, specifically Kelly’s element of “interdependence”.

Since, according to cyber anthropologists, communities can now be formed without members ever physically meeting each other, then what are the intrinsic actions needed to form a community? Scott Peck is one anthropologist that focuses his work on the concept of building a community. Peck claims that there are four stages of community building: the pseudo-community, chaos, emptiness and true community. Unlike the psychological definitions of community, these four stages are developed only through building on each other. According to Peck, every community begins as a “pseudo-community”, where people first come together and put forward what they consider their best attributes in order to gain acceptance into the community. Once individuals are comfortable with each other, they allow all the aspects of their personality to emerge within the group, creating a form of “chaos”, the second stage. Peck explains that at this point of community development, there are individuals that try to take a leadership role in order to control the chaos. Peck warns that this action should be resisted, as it is detrimental to the natural development of a true community.

Once chaos has begun to tear apart the community, and no one individual has taken control of the group, comes the stage of “emptiness”. Peck sees emptiness as a stage of healing, where the members of the community address where their needs are lacking and everyone comes together in order to meet their collective needs and repair the community. It is only through the process of emptiness that “true community” is formed. This is the final stage of community, when individuals of a group develop a deep respect and care for the other members of their community. It is this stage that Peck believes is the deepest desire innate in every human being. True community can only come out of conflict, since it is only through overcoming that conflict that can bring a community close enough to truly care about the needs of its members. Peck believes that building a sense of community is an easy and natural process, however it is maintaining that community that is challenged in the modern world.

Where anthropology studies the formation of community, Sociology approaches community through the study of the networks that stem from the interactions of the individual members. In 1887, Ferdinand Tonnies made a distinction between community and society in his book, Gemelnschaft and Gesellschaft. Tonnies describes community, gemelnschaft, as a cohesive social entity, which is contains a tighter bond, such as a family. Traditionally a strong community was formed through location and cultural similarities. The other side of social groups is what Tonnies refers to as the gesellschaft, which is translated as society or association. The society is described as a society made of individuals that enter the society through self-interest. It is not the motivation of the group in this instance, but the motivation of the individual that helps form the society. Tonnies claims that no group is wholly gemelnschaft or wholly gesellschaft, but is always a varying combination of the two.

Once a group is established, the individuals within the group build a freedom and security that helps build social networks. These networks become known as “social capital”, a theory that Robert D. Putnam uses his work to define and rebuild communities within the United States. In one particular study done in 2000, Bowling Alone, Putnam uses the bowling and bowling leagues to illustrate the decline of social capital in the United States. In this book, Putnam explains that the increase of individual bowlers correlating with the decrease in bowling league memberships is representative of the breaking down of social networks and the elevation of the individual. In order to understand the importance of social capital, it is important to understand the two types of social capital, bonding capital and bridging capital. Bonding capital is formed between individuals who are similar to each other. This network can be based on age, race, gender, religion or other cultural connections. On the other hand, bridging capital is created between people who are not alike.

These networks are necessary for forming diverse and therefore peaceful societies. Bonding and bridging capitals are necessary for any type of social capital to survive and as they develop, they strengthen each other and when bonding capital declines, so does bridging capital. This correlation is important because as bridging capital declines, tensions between groups rise disturbing the peace of a community, such as ethnic tensions. In his subsequent book, Better Together, Putnam provides different case studies that show the development of new forms of social capital that is occurring in the United States. This book coincides with the study of cyber anthropology, as it discusses the establishment of social networks that form on the Internet.

In order to form social capital and therefore community, a level of trust is necessary. Trust is such an important aspect of social capital that there are two theories that discuss the destruction of community through the loss of trust and the breakdown of bonding and building capitals with regards to ethnic groups: conflict theory and contact hypothesis. Conflict theory refers to the distrust between diverse ethnic groups, but not within the group itself, whereas contact hypothesis refers to the establishment of trust between different ethnic groups as individuals from those groups interact and get to know each other. In order for these groups to form social capital and build trust with each other, according to Ray Oldenburg, they need three things: home, the office, and the gathering place. As the concept of community has evolved in modern times, so have the traditional forms of these three places, again changing the traditional form of location that was previously necessary for community building.

Psychologically, all people need to feel a sense of community in order to form bonds with others as well as fulfill their own needs. It is a basic need that, unlike most basic survival needs, requires that consistent participation from its members, and is therefore not completely controlled by the individual. Anthropologically and sociologically, community is something that needs to be actively pursued and maintained. In the past, that need was handled by groups in a specific location, so much so that location became an essential part of the definition. However, as communication between geographical groups became easier, different types of community were formed, in spite of geographic location. Most of the members of the “New Orleans Renaissance” left New Orleans by 1931, but they were still just as bonded. For them, it was not about the location but about the social capital and true community they formed with each other.

When Spratling moved to Taxco, Mexico, he tried to take the social groups there and bind them together through his silverwork. He hired local artisans and tried to keep his designs close to the area’s cultural history of craft. Since craft itself can help to form a community, Spratling was wildly successful in revitalizing the town of Taxco and was later enlisted to reconstruct his work in Mexico for fledging communities in Alaska. However, as the members of, and the needs required by the communities were different, the communities itself was inherently different. In an interview he gave, Spratling once claimed that New Orleans was not the same when he returned for visits. He claimed the difference was the people that had defined the city for him, were no longer there, and as a result it was no longer a representation of his community. It is maybe better to think of the geographic element of community as a catalyst or container of community, but not the community itself, for as Spratling points out, while the location of New Orleans remained the same, his community is no longer there because the people that formed it were no longer there.

Next week I have to present my thesis topic to the Art History department. I am not particularly skilled at speaking in public so this whole event is a little nerve-wracking. Regardless, I am excited to get some feedback on my topic before I delve heavily into the writing process. Here is the work-in-progress of the overview of this topic that I am presenting next week.

william-spratling-slide1

The working title of my dissertation is Politics and the Artist Community: The Role of Communism in William Spratling’s Revitalization of Taxco, Mexico.

I began my research with a look at patronage and the arts. Patronage is an essential aspect of the art world; it is the way in which an artist and their art are supported and a way in which art is introduced into a larger society. There is, however, a danger that the desires of the patron can overtake the view of the artist, thereby distorting the artist’s vision. This danger is especially prevalent in a capitalist society, such as the United States of America, and can become a force that disrupts art communities, through an establishment of ideals forced upon the artists. One particular example of this distortion occurred in the 1920s in New Orleans, Louisiana.

Dixie Bohemia by John Shelton Reed - the greatest resource for information on the members of "The New Orleans Renaissance".

Dixie Bohemia by John Shelton Reed – the greatest resource for information on the members of “The New Orleans Renaissance”.

In the 1920s, the French Quarter of New Orleans was a bohemian center of the American South, a time known as the “New Orleans Renaissance”. An architect professor and illustrator, William Spratling, along with his roommate, the author William Faulkner, helped to lead a group of artists and writers include the community in the preservation of the French Quarter.

Drawing of William Faulkner by William Spratling

Drawing of William Faulkner by William Spratling

Spratling and Faulkner's book of the members of their community

Spratling and Faulkner’s book of the members of their community

However, as the group became more popular, more prominent people in New Orleans society began to move into the French Quarter, changing the dynamic of the community. Although the new wealthy inhabitants of the French Quarter planned to become a part of the bohemian community established there, they ultimately destroyed that very same community by using their influence to pass restrictions on the behavior and practices of the current residents of the area.

Advertisement for the Arts and Crafts Club of New Orleans

Advertisement for the Arts and Crafts Club of New Orleans

Why were the wealthier members of New Orleans able to take over the community so easily? Quite simply, New Orleans is a city within a Capitalist nation. Capitalism is a social and economic system where private persons control capital assets, such as property. This system unfortunately leads to the wealthy having greater political influence, which made it easier for the high society members of New Orleans to eject the members of the “New Orleans Renaissance”.

As a result, between 1926 and 1928, several key figures in the New Orleans Renaissance traveled to Mexico, including William Spratling, becoming part of Diego Rivera and Frida Kahlo’s social and artistic circle.

Sketch by William Spratling. You can see many of Diego Rivera's paintings represented.

Sketch by William Spratling. You can see many of Diego Rivera’s paintings represented.

William Spratling and Frida Kahlo

William Spratling and Frida Kahlo

Rivera and Kahlo were both members of the Mexican Communist Party and were well known for their beliefs, beliefs that were popular throughout the country and that many Mexico artists, in particular, shared.

Communism is a revolutionary, socialist movement aimed at creating a classless, moneyless and stateless social order structured upon common ownership of the means of production, as well as a social, political and economic ideology that aims at the establishment of this social order.

In 1928, Spratling permanently moved to Taxco, Mexico and by 1931 he started work as a jewelry designer, determined to revive the town’s historic silver industry.

The town of Taxco de Alarcon, Mexico

The town of Taxco de Alarcon, Mexico

mexico_map

After his interactions with the Mexican Communist Party, he found that the community reacted differently than they did in New Orleans. Again he focused on the historic preservation of the culture, and as a foreigner to Mexico, he relied on the people of Taxco to influence his designs.

Spratling and his assistants at his studio

Spratling and his assistants at his studio

He consistently and vigorously employed the people of Taxco as his assistants and was very conscious to use silver mined only in the area. These two aspects went were in accordance with the Communist ideals of the city, for example, it was much cheaper for jewelry designers to buy silver items in pawn shops and melt them down than to have new silver mined but having the silver mined meant more jobs and community involvement in his work.

Bracelet by William Spratling

Bracelet by William Spratling

Butterfly Brooch by William Spratling

Butterfly Brooch by William Spratling

Brooch by William Spratling

Brooch by William Spratling

Silver and Amethyst Jaguar Brooch by William Spratling

Silver and Amethyst Jaguar Brooch by William Spratling

I have been able to find a decent amount of primary source material including William Spratling’s autobiography and his book “Little Mexico” on the town of Taxco itself. I am currently waiting on the letter collections of William Spratling and two members of the “New Orleans Renaissance”, Caroline Wogan Durieux and Natalie Scott, both of whom relocated to Taxco and participated in Spratling’s community. These papers are important for they show the change in political viewpoints of the members of the “New Orleans Renaissance” as well as descriptions of the change in community from New Orleans to Taxco and the artistic influence there.

Caroline Wogan Durieux

Caroline Wogan Durieux

This particular community revitalization was an incredible success, and is in fact still known for it’s silver smithing and jewelry. This sustained success leaves me to believe that the Communist nature of the country encouraged this success, where as the Capitalist nature of the United States prevented the continuation of the New Orleans Renaissance. I believe that William Spratling’s community revitalizations are great examples of how the political identity of a country encourages or hinders the sustainability of art communities.

Memorial at William Spratling's home in Taxco

Memorial at William Spratling’s home in Taxco

Posted by: mkl325 | April 17, 2013

Sacred Spaces and Revisiting the Past in Italy

About a month ago, I was in Italy with some friends from school, some undergrads and one of my professors. We spent 5 days traveling through Rome and Florence, soaking in as much as possible in the short time we were there. Although I have been to Venice several years ago, I had never actually been to Rome or Florence and was bubbling with excitement to experience these archaic and beautiful cities. Through all the churches, sculptures, and maybe just a little bit of wine, there were two elements of the trip that stick out in my mind. First is the definition and purpose of sacred spaces and the second is the idea of how aspects of your past leave an imprint on your life and aid the development of who you become.

It is almost impossible to turn a corner in Rome and not encounter a church. As Art Historians, we approached the churches in terms of their architectural and artistic elements but it is impossible to separate the spiritual aspects of these buildings. I don’t know if it is the initial silence when entering the church, or if the calm of the building is an essence left behind by those who worked on it, but there is a very palpable shift in the air when you step into one of these buildings.

Santa Maria Vallicella….

Santa Maria Vallicella

They build upon themselves, over time, as though they are living beings on their own. This is in part because of the amount of time it takes to build it but it also occurs as the patrons turn the focus of the church or decide to redesign it. As a result in a lot of churches there are pockets of inspirational ingredients that make each church unique.

The chapel in the basement of Santa Susanna…

The Chapel in the Basement of Santa Susanna

…And the Cornaro Chapel of Santa Maria della Vittoria. In this chapel you find The Ecstasy of St. Teresa by Bernini. (Unfortunately the picture is pretty blurry – my camera is getting old and doesn’t do as well in low light as it used to)

Bernini's "The Ecstasy of St. Teresa" in the Cornaro Chapel of Santa Maria della Vittoria

For me, the most mesmerizing part of a church is the ceiling and dome. We have read a few articles in class discussing the way in which the dome lanterns bring light into the church. It has to do with looking up towards heaven and having the light from above permeate the darkness. It is a deeply moving element to the churches, one that seems to have been perfected in Rome.

One of my favorite examples of this idea is this ceiling of the San Carlo alle Quattro Fontane designed by Francesco Borromini.

Francesco Borromini's San Carlo alle Quattro Fontane

Then of course there is the Pantheon…

The front of the Pantheon

Since the Renaissance, the Pantheon was used as a tomb for artists and architects such as Raphael and Brunelleschi. However, the building was originally built as a temple to the pagan gods and then transformed into a Christian church in the Medieval times.

Inside the Pantheon

The churches are not the only sacred space in Italy, however. As an Art Historian, encountering certain works of art turns into a spiritual experience. One problem in the study of Art History is that the impact of the art gets lost in pictures and slides. One of the books I read in my program is by the literary theorist and artist, Mieke Bal. She talks about the idea that all art is a personal narrative that needs to be experienced instead of described. A photograph and a slide is a type of description, removing the personal experience from the artwork. So when you come face to face with a piece of art that you have studied for years and grown to love, it is a very emotional experience. I equate coming into the presence of such an artwork as being in the room with someone you have a crush on. You walk into the room and the hairs on your next stand up a little, your heart beats a little faster and even when you are looking at other pieces of art, you keep it in the corner of your eye.

The Trevi Fountain by Bernini is one of those works of art that in which is better experienced than viewed in photos.

Bernini's Trevi Fountain

Then there are the natural sacred spaces, such as parks, which for me are the most calming. On one of our last days in Rome, everything we tried to go to was closed. As a result, we ended up walking around the park surrounding the Villa Borghese. This was one of my favorite parts of Rome, as I love finding pockets of green within a city. At one point I held back from my friends for a little bit, put in my headphones and got lost in the trees and the wind. It was the most peaceful I felt through the whole whirlwind trip. It was more spiritual for me than all of the churches that I visited.

Park around the Villa Borghese

The second element of the trip had to do revisiting and remembering parts of my past.  There are people and traditions from your past that change over time, but that also leave a lasting imprint, determining the person that you become.

In keeping with the theme above, I’ll start a discussion of the Catholic Church. I was raised in an Irish Catholic family and attended an all-girls Catholic school from the age of 5 till the age of 18. For the first part of my life my faith was an important part of my life, I was even an altar server when I was in the 5th grade. When my father died a few years later, I really began to question the purpose of religion. I didn’t find the comfort in the Catholic religion that others did, and even though I am confirmed in the church, I began to look at other religions in order to understand and move on from my grief. Since then, after a lot of testing of different religions, I have become a Buddhist, however my family is still, for the most part, Catholic. Walking around St. Peter’s Basilica on my last day in Rome, brought up a lot of feelings. The church is not only a part of my history but my family’s history and I was standing in the most important building to the Catholic religion on the day of new Pope’s first mass. I felt the monumentality of where I was and was very conscious of the fact that I had rejected this world. The values with which I was raised, the community that I was born into and the religion that shaped my childhood, it was all represented in this one building. The building itself is a gorgeous combination, on a grand scale, of the two things that shaped my life, religion and art. I was able to walk around the church and embrace the impact that this religion had on my life and still understand the reasons I needed to move on away from it.

St. Peter’s…

St. Peter's Basilica

Pictures from the inside…

Light inside St. Peter's

Inside St. Peter's 2

Bernini’s baldacchino…

Bernini's Baldacchino

The Dome…

The dome of St. Peter's

Then there was Florence, a city that has been near the top of my “Must Visit” list for a long time.

For as long as I can remember, I have been in love with the Basilica di Santa Maria del Flore. Chop it up to my sister introducing me to the movie “A Room with A View” when I was young but I have always thought of it as one of the most beautiful buildings that I have ever seen in my life. We didn’t get the chance to go inside but just being in the presence of this building was amazing, each time I walked by it I had to stop and take pictures. Yes it is beautiful, the green, gold and pink of the design is gorgeous in person, and it Brunelleschi’s dome design is an important one in the study of Art History, but the most important element of this church was the connection it has to my sister. I have three older siblings who introduced me to different writers, music, and movies, leaving me with a very eclectic taste and an open mind. So not only was standing in front of this building the culmination of a life’s dream to experience it in person, but also reminded me of the connection to my siblings, whom I have missed terribly while being here in Scotland.

The Duomo…

Basilica di Santa Maria del Flore

Details of the Church Façade…

Church detail Church Facade

Gorgeous even in the rain…

Basilica di Santa Maria del Flore

The last part of revisiting my past is in a very obvious form, that of seeing an old friend. The first two years of my college experience was completed at St. John’s College in Santa Fe, New Mexico. It is a wonderful program, focusing on the great books and discussion. As a result, the people drawn to the school are done so for a multitude of reasons and bring a unique perspective to the readings. It was a wonderful introduction to college, and to a life outside of Washington, DC. There is also an amazing community that develops (some of my most important friendships came from my time at St. John’s) that has lasted over time. So when I found out that my friend, Kevin, was studying in Florence I was thrilled. I had not seen him since I left St. John’s, around 2004, and we had not kept in very good contact, so I was excited to see where the past 9 years had led him. My friends and I got off the train and there he was with a giant smile, on his bike, to show us to where we were staying.

Kevin marking places for us to visit on the map, after bringing us wine and chocolate, such a sweet guy…

Kevin in Florence

He is studying theater at a school where they have done amazing some amazing work with masks and movement, then he told me that they were starting clown work (there is a link to his blog on the side). I am absolutely terrified of clowns, in the traditional circus sense, but I was assured that their work was a more pure form of clowning, without all the makeup and rainbow afros. It was strange and wonderful to hear about the work and the people that Kevin had found himself with. He was always a person that just completely exuded joy and it was wonderful to see that not only has that not changed but also that he has found a group of people that are of the same spirit. Marisol, who was at dinner with us, gave off the same wonderfully kind energy from the very instant that I met her. This of course leaves me to believe that these people, who spend their lives connecting with an audience in order to bring them joy, are of an exceptionally kind disposition. It was surreal to encounter an old friend as an adult, so much has changed for each of us and yet there are still aspects that are exactly the same. It made me realize how lucky I am to have established that community at St. John’s and how much I have grown up in the last 9 years. Along with seeing the Duomo, making this reconnection was the highlight of my trip.

Me and Kevin making clown faces (this was the best I could do as a non-performer and the one glass of wine I had turned my face completely red) …

Clown Faces

Although the trip was short, it was definitely worthwhile. Every time I travel anywhere, I learn something new. It’s corny, I know, but if you leave yourself open then you can return with some insight on yourself and how you approach the world. For me this trip helped me realize that I have grown to appreciate my history with the Catholic Church and it reiterated how lucky I am to have the communities in my life that I do.

Oh…and there was some awesome pizza.

Pretty and Tasty Pizza

Posted by: mkl325 | April 15, 2013

Holi Festival 2013

This weekend I took part in the Holi festival here in St. Andrews with some friends.

What is Holi?

Holi is a Hindu festival known as the festival of colors. The term comes from the story of the destruction of the demoness Holika, the sister of Hiranyakashipu, the king of demons. Hiranyakashipu had been given a blessing from Brahma, making it impossible for him to be killed. This power made Hiranyakashipu feel as though he were more important than the gods. His arrogance led him to not only attack the Heavens and the Earth but also made him believe that the people should stop worshiping the gods and praise him instead. Hiranyakashipu’s son, Prahlada, was a follower of Vishnu and so did not give into his father’s demands. As a result, Hiranyakashipu did everything he could (from poison to trampling by elephants) in order to kill his son. Prahlada continued to pray to Vishnu and at each murder attempt, he was saved. Hiranyakashipu eventually forced Prahlada to sit in a pyre on the lap of Holika, who also had been given a blessing that prevented her death from fire. At this moment, as Prahlada prayed to Vishnu, Holika was inexplicably burned to death while Prahlada was saved. The salvation of Prahlada at this moment, when Holika is destroyed is celebrated as Holi.

Why the colored powders?

The festival of Holi takes place in the springtime, when the weather begins to change. This weather change is believed to cause illness, and the throwing of colored powders was done for medical purposes. Traditionally the powders used to be made of Neem, Kumkum, Haldi, Bilva, and other medicinal herbs, which tinted the powders and helped prevent illness. Therefore, throwing the powder on someone during the festival was symbolic of wishing them good health.

Holi Today

In the US there are several types of 5k “color runs” which are based off the festival of Holi. The same type of powders are thrown on runners dressed in all white while they make their way through a 5k.

The Holi festival today is becoming widespread itself. Although the main purpose is to wish good health, my experience of it was more equitable to a snowball fight. The first few hits I took were directly in the face, pretty forcibly, blinding me for a couple of minutes before jumping back in. Once the initial attacks subdues, it was a great experience and an incredible amount of fun.

Photos of Holi 2013 – I may add more soon.

Powder in the air…

Holi 2013

Me and Iris

Me and Iris

Iris and June

June and Iris

Posted by: mkl325 | April 10, 2013

C.D. Dickerson and “Bernini: Sculpting in Clay”

I went to a talk tonight given by C.D. Dickerson, curator of European Art at the Kimbell Museum in Fort Worth, TX, discussing their current exhibit of Bernini‘s clay models. The talk was fascinating, discussing both Bernini’s love of the medium, as well as the importance of the physical imprint Bernini left on these models. For example, the fingerprints and nail marks that Bernini left in the clay.

As someone who has been to Kimbell, I was very excited for this talk. It is a wonderful museum, not what you expect in the middle of Fort Worth. It is nice to see the museum entrusted in the hands of people who obviously care a great deal about it and take the role of a museum like the Kimbell seriously.

The video above is Mr. Dickerson discussing Bernini’s “Model for the Fountain of the Moor“. This sculpture is owned by the Kimbell and is an impressive example of Bernini’s studies for his sculpted works.

Posted by: mkl325 | April 1, 2013

Bernini and Alternative Portraiture

Today I had to give a presentation on Gianlorenzo Bernini and Alternative Portraiture focusing on three articles, one by Michael Hill and two by Irving Lavin. Lavin is an author that we have read several articles from throughout the semester. I find his articles challenging, as there is not a lot of give and take within his arguments, although the information provided is extremely interesting. My difficulty comes from the tone of his work, as though he is the final word on all things Bernini. According to our professor, Lavin has in fact been the final word in the Bernini world for many years, therefore the tone is justified but it is this arrogance that sometimes overpowers the work. On the opposite side of the coin we have Michael Hill. Hill’s article references alternate arguments, outside of his own, forming a more complete understanding of Bernini’s work. While his article is short, Hill is able to show several points of view while keeping the flow of the argument sound and connected.

M. Hill, “Cardinal Dying: Bernini’s Bust of Scipione Borghese,” Australian Journal of Art 14, no. 1 (1998): 9-24

This is Bernini’s bust of Cardinal Scipione Borghese

Borghese

It was made in 1632, one year before the Cardinals death at age 57. Scipione was not only the nephew of the late Pope Paul V. He was referred to as “The Delight of Rome” for his jolly manner, he was basically a Santa Clause -type figure (except for the rumors of sexual misconduct that were covered up by his uncle). There has been a lot of discussion on why Bernini depicted Borghese the way that he did, in particular, the way he depicted Borghese’s mouth.

Rudolf Wittkower gave a talk on the sculpture Bernini did of Louis XIV, and said that Bernini shows his subjects as though in a snapshot, and in the case of Borghese, about to speak. This argument quickly became seen as a fact since that lecture. It is important to realize that Bernini uses the detail of an open mouth for several purposes. Hill decides to not only show Bernini’s use of the open mouth to show divine ecstasy (such as with his St. Teresa),

tumblr_lrcyc2waHc1qb2ww7

sensuality (as the case of his mistress, Constanza),

costanza

and moments of prayer (Gregory XV)

Gregory XV

and wonder(Gabriele Fonesca),

BerniniGabrieleFonseca1b web

as well as discuss the previous argument of Bernini depicting Borghese with an open mouth because in real life he was having difficulty breathing. At the time that Bernini was sketching for the portrait, Borghese was one year away from his death, dealing with gout, dropsy and gall stones. His weight and no-cares lifestyle was taking its toll on his body. The idea that Borghese was in failing health is not only seen in the letters of the Cardinal’s physician but in Bernini’s original sketch for the bust, where Borghese seems run-down and weak. Hill leaves the argument open-ended, allowing either the reader to decide for themselves what Bernini’s motives were or allowing for those motives to be unknown.

Cardinal-Scipione-Borghese

The two articles by Lavin discuss Bernini’s use of Social Satire and his depictions of the soul as an individual portrait. Although these are the longer articles –  I am going to cut out a lot of interesting information as there is just too much to discuss. I think that these are worth-while articles to read if you are interested in Bernini.

I. Lavin. “Bernini and the Art of Social Satire.” In Drawings by Gianlorenzo Bernini from the Museum Der Bildenden Künnste Leipzig, German Democratic Republic, ed. I. Lavin et al. (Princeton: 1981), 27-54

This article discusses the influences on Bernini as he developed his techniques for caricatures culminating in his caricature of Pope Innocent XI in 1676.

caricature_of_innocent_xi

According to Lavin Bernini took his influence from children’s drawings, graffiti, satirical prose (called a Pasquinade) and the study of physiognomics. The most interesting part of these influences is that of the Pasquinade (as the children’s drawings and graffiti are fairly self-explanatory). The Pasquinade is a tradition, begun in the early 16th century, of satire in verse or prose that is written on a piece of paper, in Latin or Italian, and attached to a fragmented ancient statue. These writings were meant to poke fun at the religious and civil leaders of Rome, for their personal foibles and the city’s ills attributed to their greed and ineptitude. As a result the writings are very bitter in tone. The sculptures are known as “talking statues”. The most famous is the sculpture known as the Pasquino, which Bernini once called his favorite ancient sculpture.

Pasquino

All the sculptures used in this tradition were ancient sculptures as the early Christians considered all Pagan sculptures as the work of the Devil, possessing demonic powers, such as speech.

The Caricature of Pope Innocent XI comes from the history before it, but it is different as it is a purely graphic image – as were all of Bernini’s caricatures – and it is the first satirical image that we have of someone so exalted as the Pope. Innocent XI and Bernini had a difficult relationship as the Pope not only had an open and notorious hostility towards the arts, but his prudish attitudes forced Bernini to alter some of his own work. There was certainly no love loss between the two, and as Bernini was 78 years old and at the end of his life, he was not willing to take the criticism. The caricature, therefore not only shows Innocent’s exaggerated features, but also emphasizes the well-known aspect of Innocent’s nature – that is his tendency towards seclusion and hypochondria – by showing him giving a blessing from his bed.

Here is an example of another caricature of Bernini’s – that of Cardinal Borghese, one of Bernini’s earliest patrons and a friend. There is a very distinct difference in the depiction. Although fascinating, Bernini’s caricatures were not meant to ever be published.

Cardinal Borghese

I. Lavin, “Bernini’s Portraits of No-Body,” In Past-Present: Essays on Historicism in Art from Donatello to Picasso, ed. I. Lavin (Berkeley: 1993), 101-25

This article focuses on the busts commissioned by Monsignor Pedro de Foix Montoya in 1619, with an unknown purpose, of the Anima Beata, the saved soul

XJL96876

 and the Anima Dannata, or damned soul.

509-Gian_Lorenzo_Bernini_-_Anima_dannata_Roma_Palazzo_dell_Ambasciata_di_Spagna_1619_

This article focuses on the expressions of the busts and discusses them as “soul portraits”. Firstly, they are reminiscent of the comedy and tragedy masks from classical theater.

Roman_masks

In each case, there is a play of opposites. One half of the pair is male, with his face twisted and grimacing in a shout and the other is female, in the midst of  “transmitting some lofty and portentous truth”. Lavin claims that Bernini took this influence along with the Middle Ages tradition of depicting the “Last Four Things” (death, judgment, damnation and salvation) to create the Anima Beata and the Anima Dannata. The difference from earlier depictions of damned and saved souls is that Bernini reduces the souls to a single pair (instead of the traditional group) and takes them out of their narrative context. That is to say, he only shows the reaction of each soul to the realization of their forthcoming eternity, even creating a spacial element of the present life, the look upwards to heaven and downwards to hell. In this way, the busts are very theatric and interactive with the viewer.

Lavin also claims that Bernini took some inspiration from the works of Alexander Mair, who radically reinterpreted “The Last Four Things” in 1605 by making each stage an individual moment, rather than a group experience. Below are Mair’s Death and Damnation.

Mair 1605 Mair 1605

While there is probably some merit in this claim, Bernini still differs from Mair’s work through eliminating any narrative elements and changing the medium. Bernini’s most interested in the interplay between the psychological and moral implications given through facial expressions. The busts are reacting to their fate, leaving the viewer to imagine what that fate would look like. As with his other article, Lavin crams a lot of different genres into his argument, making it a little difficult to completely pull apart. There is obviously a lot more that could be said but I think that I would go on way too long.

I leave you with this image from this last article of Lavin’s, it is by Franz Messerschmidt, and 18th Century artist, and is titled The Yawner. Lavin uses it to show how the development of extreme facial depiction continues far past Bernini. I love it. I think it is wonderfully expressive and funny at the same time. Plus, it almost makes you want to yawn yourself when looking at it, like when yawning becomes contagious when around people. I dare you to stare at this picture and not yawn!

messerschmidt yawn

Posted by: mkl325 | March 28, 2013

The Origins of My Art History

 

In center of this picture is a man, with a glorious mustache, name James Connell Herbert. He is sitting amongst his students at a school he taught while living in Florida in the late 19th Century. He is also my great-grandfather. Image

 

James was born in 1864 in Scotland and moved with his family to the United States when he was around 8 years old. The family legend is that James’ parents, natives of Ireland, did not like that their children were starting to speak with a Scottish accent. He supported himself and his family as a painter in whatever context he could, taking commissions for train stations and schools, and teaching, but he was also able to complete some of his own work.

Such as this painting…Image

For as long as I can remember, this painting hung in our living room. It hung over the fireplace, and anytime there was a family gathering, or all the power went out due to an ice storm (not a completely uncommon event in D.C.) everyone would be gathered underneath it.  I used to spend time making up stories about the people in the painting or spend time searching for a signature that I was sure was hidden somewhere amongst the trees or the water. I developed a connection with James through his work, wondering if he was a violent painter that attacked the canvas or if he was more like Bob Ross, painting little “happy trees” and clouds. Most likely he was neither, just a man with a need to interpret life on a canvas and spent his life trying to marry his artistic ambitions and his obligations to his family. After his death, he was only 61, my great-grandmother, Anna, tore the painting to shreds. There are large marks, carefully hidden, from where Anna ripped the painting apart. My grandfather held onto the pieces, for decades, until his death when my Mom had the painting restored. I do not know a lot of personal information about my great-grandfather, as my grandfather died when I was very young, but I do know the impression his life and work has left on my family. One of his sons became an artist, another (my grandfather) encouraged a love of art in my mother. My mother, in turn, began taking us to museums when we were very young and taught us to treat them and revere them as though we were in a Church. My siblings and I all have artistic aspects to our lives, one of my sisters has a degree in photography, that have been encouraged since I can remember. 

I am now back in the country where James was born, studying the ins and outs of the discipline he committed his life to. In all the art I have seen, and all the artists that I love, my ideal of a perfect piece of art is still that torn painting that sat above the fireplace. 

 

« Newer Posts - Older Posts »

Categories

Calliope Bakery and Gardens

Raising Yeast and Seeds in New Orleans!

i heart the brazil

... and other misinterpretations in life, love, and law

art peruses

playing with writing styles

Morgan's Home Projects

a study of art, travels and insanity

Adam Chamy :: Art//Blog

Art Commentary:: Design Portfolio:: Blog :: More

an ocean and a rock

a study of art, travels and insanity

sarajimenezstudio.com

a study of art, travels and insanity

Kevin Casey

a study of art, travels and insanity

420Packaging.com: On Sale

a study of art, travels and insanity

TRAYZE

GO TO WWW.DJTRAYZE.COM FOR THE NEW WEBSITE!