Detail from Shield of Achilles (1821) by John Flaxman
Yeah, I'm still sick and tired. Feeling really awful today. . .
But it takes little effort to post a "Photo of the Day" and share a few words. ;-)
Anyways, I recently visited the Huntington Museum. I'm not a big fan of Neoclassicism, but I'm starting to develop a fondness. It still feels slightly inauthentic and pretentious, but the beauty wins me over. For instance, nothing can be more inflated in self-importance than Homeric pastiche, yet I can't help but appreciate this sculpture for its craftsmanship and lovely detail.
Hopefully, I'll get back to the Huntington sometime soon to snap a few more detailed images for you all. It's a real beauty, hidden away in the corner of one of the upper parlours.
My previous post about Barbara Hepworth got me thinking about beautiful sculpture and the ability to capture a mood and personality within the material, expressed through texture and form. And since I recently visited the Huntington Museum, I went looking for a few images that caught my eye.
You might remember that I have a love/disdain relationship with neoclassical, emulationist sculpture. However, I totally confess to finding the works of Daniel Chester French and Chauncey Bradley Ives very beautiful. Yeah, the mental stimulation of Hepworth's abstract work keeps me excited and engaged, but sometimes superficial "pretties" will do the job just fine. ;-)
Today marks the birth date of Jacques-Louis David, born in 1748. David came into prominence during the Revolutionary era of France and remained a vital artistic influence throughout the Napoleonic era. He painted in a Neoclassical style, with a sculptural severity that rejected the flowing elegance and opulence of the Rococo style of his predecessors.
I'm not a fan of his works. The style feels stiff and excessively dramatic with propagandist overtones. But they are powerful paintings with excellent technique and engaging narrative composition. Moreover, these works absolutely must be seen in person to be fully appreciated. Their sculptural design may look clunky in a picture book or webpage, but this illusionist use of perspective and modelling makes for a commanding and monumental pictorial space when viewed on site.
Self Portrait of the Artist (1794) by Jacques-Louis David
So, although I'm not an enthusiast, I certainly admire David's artworks.
Woo hoo!!! My favorite season is upon us! Summer, a time of warmth and long days. . .
Of course, here, in the Los Angeles South Bay area, the sky is dark and grey. The standard "June Gloom" casts a shadow upon the land. It's chilly at the beach and the clouds obscure the sun setting into the Pacific.
But soon the marine layer will lift. The sky will be bright and blue. The birdsongs will fill the morning air. The bright flowers will in full bloom. You all know how much I enjoy visiting the various local botanical gardens and nature preserves to look at the birds and flora. Well, this is the best time of year for such activities!
Memory by Daniel Chester French (Photo by Douglas Yeo)
Daniel Chest French was born on April 20, 1850. He was a classic American sculptor. His most famous work is of Abraham Lincoln at at Lincoln Memorial in Washington, DC.
I have mixed feelings about his work. On a technical level, it's manifestly exquisite. The forms are beautiful. The compositions are balanced with classical harmony and stability. The craftsmanship is without flaw. Yet, as gorgeous as these works are, they seem diminished their very Neoclassical style. By being so obviously dependant upon a derivative and emulationist image vocabulary, the end result is a stale aesthetic statement.
Let me offer an analogy to explain this criticism. Consider the sonnets of Shakespeare. There are literary masterpieces. Moreover, the literary form of the sonnet is a viable platform for poetic expression, even in the contemporary era. However, if a poet were to write a sonnet utilizing Shakespearean imagery and language, we would probably be dismissive of the result. That's not because we think Shakespearean poetry is irrelevant or "so four centuries ago" but rather because we don't consider emulationist techniques to be conducive to Authenticity. The stylistics and mannerisms of Shakespeare's poetry were authentic within his historical context. For the contemporary poet, they feel unoriginal and, inauthentic.
And so it is with the works of Daniel Chester French. They are wonderful sculptures embodying classical Beauty. However, by utilizing such a comprehensively emulationist style, his works feel inauthentic and superficial.
Here's a link to Daniel Chester French's Wikipedia page.
And check out Douglas Yeo's page dedicated to French's work. It has a wonderful collection of photographs showing various works from multiple vantage points and distances. Good stuff!!!
