Posts Tagged ‘Post-Impressionism’
“The medieval principles led up to Raphael, and the modern principles lead down from him”*…
On the occasion of a major National Gallery show in London, Michael Glover on Raphael…
… he was born a mere man, a citizen of Urbino in the Marche, the son of a court painter, who was orphaned very young and raised by an uncle who also happened to be a priest. Perhaps the reverence is due to his talents, which were superabundant, and moved in so many directions at once. He was a painter, printmaker, architect, designer, sculptor, and much else. His industriousness, and the consistent quality of his output, were superhuman. That is undeniable.
Raphael painted relatively few portraits… during his short lifetime, and even fewer in which he could be said to have painted them in order to please himself, because he was always so much in demand by immensely rich and powerful male patrons for the kinds of things that they wanted him to do. They wanted him to beautify public (and private) spaces, all the greater to reflect their own power and importance — beneath the ever-watchful eye of the Christian God, their chief sponsor, in whose revered name they splashed all this cash.
Raphael was the very well remunerated servant of these rich masters, and this was entirely a matter of choice. He was boundlessly ambitious and intimidatingly energetic (he was already running a studio by the age of 17), charming, good-looking (though not to an excessive degree), diplomatic, and utterly opportunistic. Michelangelo loathed him because, though much younger, Raphael seemed to sweep all before him. What a break for the irascible, prickly Michelangelo that his young rival died, quite unexpectedly, of a fever, when he did, leaving him unchallenged for decades!
And Raphael, the name, the work, the style, has resonated and resonated across the centuries…
On the Renaissance painter described by Vasari, his first biographer, as the universal artist: “Raphael Between Heaven and Earth,” in @hyperallergic.
Raphael paints wisdom, Handel sings it, Phidias carves it, Shakespeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it.
Ralph Waldo Emerson
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As we appreciate art, we might recall that it was on this date in 1890 that Vincent Van Gogh shot himself in the chest with a revolver; he died two days later. A post-impressionist painter, he was not commercially successful in his lifetime and, struggling with severe depression and poverty, committed suicide at the age of 37. But he subsequently became, with Raphael, one of the most famous and influential figures in Western art history.
Bedroom Secrets…
One of the best-loved works in Vincent van Gogh’s oeuvre is The Bedroom. It was painted in October 1888, when the artist was living in the Yellow House in Arles. To give his brother Theo an impression of the painting he was working on, Van Gogh sent him a letter with a detailed sketch. A day later he also sent a sketch to his friend and fellow artist Paul Gauguin.
He put a great deal of thought into the composition and the colours, and we know from his letters that he was very pleased with the result. ‘But the colour has to do the job here,’ he wrote, ‘and through its being simplified by giving a grander style to things, to be suggestive here of rest or of sleep in general.’
Vincent van Gogh considered The bedroom an important painting. In early 1889, Van Gogh returned home from the hospital in Arles. He had been admitted there after his psychological crisis and the injury to his ear. As he wrote to Theo, ‘When I saw my canvases again after my illness, what seemed to me the best was The Bedroom.
From Amsterdam’s Van Gogh Museum, “Bedroom Secrets,” a blog chronicling the restoration of “The Bedroom.”
As we gingerly touch our ears, we might wish a brisk Happy Birthday to Frederick Winslow Taylor, an engineer and inventor (42 patents) who’s best remembered as the father of “Scientific Management,” the discipline rooted in efficiency studies and standardization. Quoth Peter Drucker:
Frederick W. Taylor was the first man in recorded history who deemed work deserving of systematic observation and study. On Taylor’s ‘scientific management’ rests, above all, the tremendous surge of affluence in the last seventy-five years which has lifted the working masses in the developed countries well above any level recorded before, even for the well-to-do. Taylor, though the Isaac Newton (or perhaps the Archimedes) of the science of work, laid only first foundations, however. Not much has been added to them since – even though he has been dead all of sixty years.
Taylor’s work encouraged many followers (e.g. Frank “Cheaper by the Dozen” Gilbreth) and effectively spawned the field of management consulting. But Taylor practiced what he preached, and found time to become a champion tennis player as well: he won the first doubles tournament (1881) in U.S. National Championships, the precursor of the U.S. Open (with partner Clarence Clark).
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