floracreativa

[floracreativa]

My latest artwork, cross stitch poppies on a crochet canvas

[floracreativa]

The Garden Of Death - Hugo Simburg

1896

Watercolor and gouache. Hugo Simburg, a Finnish symbolist artist, grew up in a rural area that allowed him to see the circle of life up close, as well as the fact that in Finland the theme of death was not taboo.

This piece subverts the narrative of Death personified being a scary, gloomy creature. Instead Simburg paints Death(s) as caring, tending carefully to the garden of life— even showing one personification of Death lovingly holding a flower close to its chest. Death isn't depicted with a large scythe, hiding in the corner to get you, it is a friendly being performing homely activities just like humans. Death isn't what has killed you, it's simply the being that gently guides you into the light, holding your hand.

[floracreativa]

Chasing Butterflies - Sarah Stilwell Weber

1914

Oil on board. Stilwell Weber was a founding member of a female art association group made to promote and exhibit visual art, The Plastic Club. This painting is a perfect example of victorian art and the Victorian language of flowers. In victorian times, Pansies and violets meant "thinking of you," and some lesbians gifted violets to their lovers, although there is no evidence Stilwell Weber was a lesbian or had any association to lesbians. One of the most well known flowers and its meanings are the red roses, symbolizing love and infatuation. Stilwell Weber utilized elements from Art Nouveau including symbolism, naturalism, and decorative ornamentation. Like many art nouveau artists, her art was often published in magazines and illustrated books.

[floracreativa]

Grief- Oskar zwintscher

1898

Painting by German artist Zwintscher during the Jugendstil movement in the late 19th century to early 20th century. The Jugendstil movement is considered the German counterpart to Frances' Art Nouveau movement. Oil on canvas.

[floracreativa]

Ophelia - John Everett Millais

1851-1852

Ophelia depicts a scene from the William Shakespeare play, Hamlet (ca 1599-1601). Painted by a founding member of the Pre Raphaelite Brotherhood in the mid 19th century, this is a painting often used as an example of Pre-Raphaelite art as it utilities it's classic traits—extreme attention to detail, vibrant colors, use of flowers for symbolism, and they often painted biblical scenes or medieval stories in a realistic manner.

Millais uses the Victorian language of flowers to fill this painting to the brim with important symbolism— among the flowers floating alongside Ophelia are red poppies, symbolizing deep slumber and loss. The purple and yellow pansies on her dress were often gifted during the Victorian era to mean 'thinking of you', used romantically and platonically. Blue forget-me-nots are along the edge of the water, meaning exactly what they are named. In the original play and in the painting, purple violets are used to symbolize new beginnings, fragility, and death happening to the youth. The weeping willow that hangs above Ophelia's floating body symbolizes childishness and ingratitude. The nettles growing in the foreground symbolize pain. The white daisies mean innocence and purity, usually used for young women.

[floracreativa]

Sumair - Amrita Sher-Gil

1936

Oil on canvas. Amrita Sher-Gil is known for her portraits of herself, friends and family. This portrait is of her cousin, Sumair.

Every little detail ties into Indian culture— the red bindi is a sign of marriage and the green saree symbolizes harmony and fertility. The flower seems to be a pink carnation, which symbolizes gratitude.

I am not indian so if anyone has more insight on indian culture and can educate me on anything I missed in this painting I would greatly appreciate it!

[floracreativa]

When you hear of the statue of David you are more likely to think of Michelangelo's David. When in fact there are four statues of David: one created by Michelangelo, one by Bernini, and two by Donatello— all depicting the same heroine of the classic biblical tale, David and Goliath.

David - Donatello, 1403-1409

The first statue was created by Donatello— an Italian early Renaissance artist— “David ca. 1408-1409”. David was commissioned by the Operai del Duomo. Made in marble, the statue stands at 75 inches tall.

David - Donatello, 1435-1440

The second statue, also made by Donatello, was created around 1435-1440, the date is still debated by art historians. This David was commissioned by the Medici family— a family from Italy with strong political ties and are known for commissioning many of the world's most famous artwork (such as “Botticelli's Birth of Venus ca. 1484-86” and “The Annunciation by Fra Angelico ca. 1443”)

Donatello's second David was created in bronze. A freestanding nude sculpture depicting David— a young boy victorious with Goliath's severed head at his feet. Many believe David to be portrayed as naked to show how he has bared himself before God, and to show his immaturity, unlike the David's later created by Michelangelo and Bernini. David resembles the classical Greek sculptures while maintaining the ideals of 15th century Florentine art.

David - Michaelangelo, 1501-1504

The third artwork created is by Michaelangelo— arguably one of the most famous sculptures in the world. Michaelangelo's David is a classic example of high Italian Renaissance and classical antiquity— carved out of marble and depicting biblical figures. Created between 1501-1504, this David depicts a grown man despite the original story being about a boy no older than 16 years old. No doubt Michaelangelo wanted to express masculinity and muscle, a trait of his artworks. This David is the only piece to completely omit any trace of the giant Goliath. In contrast to Donatello's David, standing victorious over Goliath's head, this David is before the battle has happened— he wears a wary face, anxious for the battle to come.

David - Bernini, 1623-1624

Fourth David was made by Bernini, over the course of 8 months from 1623-1624. Bernini was an early baroque artist known for his sculptures and architecture. The story of David and Goliath was a popular subject in the Italian Renaissance, yet the four popular sculptures are different in major ways we might not realize— Donatello's David depicted him victorious after battle, Michaelangelo's David anxious before battle, and Berninis’ in the act of throwing the pebble that takes down Goliath. Another big difference between Berninis' David compared to the older depictions of David is how Bernini sculpted David mid action— contorting his body to throw a pebble at his foe. Berninis David was created using the lost-wax method— a long process that takes building the sculpture out of wax first before creating the mold and casting— and casted in marble.

My favorite sculpture of David is the second by Donatello. Which is yours?

This was a relatively short run down of the famous David sculptures so I am sure there's plenty of details I have left out and I'm sure there are more than 4 sculptures of David but these are just the most well known. perhaps I'll go over them in a later post.

[floracreativa]

Der Sumpf - Alfred Kubin

1903-1905

Austrian artist and printmaker, Alfred Kubin, is known for his involvement in the symbolist and expressionist movement (early 20th century) and his illustrations for german translations of Edgar Allen Poe poems. Der Sumpf was made using pen and ink on cadastral paper. Kubin was heavily inspired by Francisco De Goya and Max Klinger, as evident by some of his dark, nightmarish pieces such as "Self Reflection, c 1901-1902"

Translated into English the title is "The Swamp"

[floracreativa]

The Raft Of Medusa - Théodore Géricault

1818-1819

Painted in oils, during the beginnings of the french romantic period and ending of the neoclassical period.

Based on true events— the wreck of a french naval ship, leaving about 147 people lost at sea. Most died at sea from dehydration and starvation, some succumbed to cannibalism and even murdered the weakest members on the raft. Many scholars have noted at least two black survivors on the raft; this was Géricault's way of supporting the abolitionist movement— a black man being the protagonist of his painting, being the person in the focal point that is waving down ships for help. The black man waving for help is African crew member, Jean Charles. In fact, Géricault made it a point to paint studies of a Haitian black man named Joseph in preparation for The Raft Of Medusa. Géricault and this painting specifically inspired many artists of the romantic era including Delacroix (a friend of Géricault and even modeled for this painting) and Turner, both of whom I am excited to talk about.

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The Kiss - Joseph Granié

1900