amlxa asked: What do you plan to do with an art history major? I'm asking this because I'm also thinking about majoring in art, or graphic design .. or maybe both. lol but I'm still unsure.
I get this question a lot when I tell people that I’m an art history major. Ideally, I’m going to continue on to get a Ph.D while teaching and then try to work in a museum or as an art history professor. Competition in the field is steep, but I’m not going to let that hold me back, I’ll just try to be realistic.
Art or graphic design are both wonderful majors, and contrary to popular belief, there’s a lot that can be done with those. Design possibly even more than art. If you want to have those as your majors, then definitely go for it!! Good luck :)
11:00 am • 26 November 2011
I have to take a day off to write an ACTUAL Art History paper. But I’ll be back tomorrow! Any suggestions?
11:58 am • 25 November 2011 • 3 notes
Gian Lorenzo Bernini, St. Peter’s Baldachin, 1623-1634
This humongous bronze structure is featured smack-dab in the middle of St. Peter’s church, above the actual tomb of St. Peter’s. It demonstrates that Bernini was not only insanely gifted at sculpture, but could also create magical, trippy, fabulous structures. IT is colossal in size, with each column measuring 66 feet. The heaviness of the bronze canopy is supported by massive, twisting supports.
Commissioned by Urban VII, the original Bernini fan, it’s covered in tiny bees, his family symbol. The amount of detail covering the intricate work is amazing, considering the size of the work. The stunning visual effect embodies the Baroque style of decorating and interior architecture.
3:29 pm • 24 November 2011 • 58 notes
creepinggrapevines asked: Love all the Bernini, and I appreciate that you include commentary and articles. Great stuff!! :)
Ahaha, no problem! I love Bernini too! Hope you find my writing to your liking :)
3:22 pm • 24 November 2011
Gian Lorenzo Bernini, detail of The Rape of Proserpina, 1621
This stunning detail comes from Bernini’s life-sized sculpture of the rape of Proserpina. Read about this sexy, sexy statue in my other article on it.
2:44 pm • 24 November 2011 • 50 notes
Gian Lorenzo Bernini, Blessed Ludovica Albertoni, 1674
This sculpture is part of a funerary monument for the nun Ludovica Albertoni, who died in 1553. Bernini oversaw the whole project. This sculpture obviously draws on his earlier work, The Ecstasy of St. Theresa, in the posing, expression and similar narratives. She is experiencing a moment of moral and physical elation, while also feeling mortal pain. The way Bernini displays her emotions is, as always with Bernini, orgasm-inducing to the viewer. His delicate and exquisite handling of marble is flawlessly executed, and she seems to come alive, writhing on her stone tablet.
2:40 pm • 24 November 2011 • 26 notes
Gian Lorenzo Bernini, detail of The Ecstasy of Saint Theresa, 1652
Here is a detail of Theresa’s face. Read about the statue in my article here.
2:40 pm • 24 November 2011 • 30 notes
Gian Lorenzo Bernini, The Ecstasy of Saint Theresa, 1647-1652
Probably Bernini’s best-known work, this is a truly shocking, stunning piece. I saw it in person, and I honestly stood immobile before it for a good twenty minutes. It seriously drips sensuality.
Commissioned by Cardinal Cornaro, for his family chapel, it shows the mystical Carmelite nun, St. Theresa. She often had visions and described them in her journals. When she would speak of these visions, they seemed almost like seal experiences, and that is carried over to this sculpture. It’s impossible not to notice that the nun in this statue seems to be having an intense orgasm. Her head is thrown back, limbs dangling and eyes closed. An angelic figure points an arrow towards her crotch. You’d have to be blind to not realize that she’s clearly undergoing a physical experience as well as a mental one. This is, in my own humble opinion, the sexiest slab of marble I’ve ever seen.
Placed in the middle of the altar, golden rays illuminated by sunlight provide the ethereal background for this piece, and reliefs of the Cornaro family one either side look on and react to the scene. This sculpture os often hailed as the greatest Baroque sculpture.
2:37 pm • 24 November 2011 • 39 notes
Gian Lorenzo Bernini, Sant’Andrea al Quirinale, 1670
In addition to being a frickin genius sculptor, Bernini was also a brilliant architect, which is definitely obvious in this work. Bernini himself considered it to be one of his best. The façade curves and flows, with a gorgeous protruding front porch that seems to invite in the common worshipper. Indeed, some have referred to Bernini’s style of architecture as “theatrical,” because the design is based off of that of a theater.
2:23 pm • 24 November 2011 • 19 notes
Gian Lorenzo Bernini, Fontana dei Quattro Fiumi, 1651
This massive fountain, the “Fountain of the Four Rivers,” in the Piazza Navona in Rome, may be Bernini’s crowning achievement, at least in the field of monumental sculpture. IT was designed for Pope Innocent X, who pretty much adored Bernini and had him do like everything for him.
The bottom of the fountain is representative of the “base of the world” and supports four figures, the four rivers through which papal authority was spread. The Nile represented Africa, the Daube was Europe, the Ganges represented Asia and the Plate represented the Americas. Above all this, an obelisk topped with the symbol of the Pamphili, (the family of Innocent X) the dove, rises victorious.
Fountains in Rome actually served the purpose of providing people with water as well as being a papal monument. A lot of people would have seen this every day and been reminded of the authority of the Catholic Church.
2:16 pm • 24 November 2011 • 16 notes
Gian Lorenzo Bernini, Apollo and Daphne, 1622-1625
This sculpture is based on a mythological tale of the god Apollo and the nymph Daphne. As the story goes, Apollo really, really, really, wanted to tap that, but she really didn’t want that to happen. He persues her, with the intention of satiating his desire, and in one last, desperate moment, she prays to the forest gods to save her, so they turn her into a tree. The sculpture shows the exact moment of the transformation, as her soft, delicate flesh hardens and cracks into a tree trunk, her grasping fingers already branching off into leaves and her legs becoming rooted to the ground.
It’s a pretty powerful piece, with Apollo reaching for her hip right as she becomes unavailable to him. Her frantic nature is clearly visible in the dramatic composition and you feel a sense of urgency even looking at her. My favorite part of this is seeing where her hair is rapidly welding to her back to form the tree’s bark. I’ve always asked myself, was it really worth it? To be turned into a tree to avoid a man? Couldn’t the gods have done something else to save her?
11:15 am • 24 November 2011 • 30 notes
Gian Lorenzo Bernini, David, 1624
Bernini is one of the most renowned sculptors of any era, due to his almost supernatural ability to handle cold hard stone and turn it into living flesh. One of the principal sculptors of the Baroque period in Italy, he was also the favorite of several popes and made an enormous amount of statues. Honestly, mention Bernini’s name to any Art Historian and they may spontaneously orgasm. His work is just that good.
This statue depicts the biblical character David, in the act of slaying the giant Goliath with his stone-laden sling. The movement shown here is evident in the diagonal composition, the strained musculature and the impending motion of his deadly sling. David’s face is screwed up in concentration and he is biting his lower lip. The rendering of the body is so realistic, it just kind of looks like a vey pale person in all-white clothing is standing in the middle of a gallery.
11:02 am • 24 November 2011 • 14 notes
Johannes Vermeer, Girl With a Pearl Earring, 1665
This is a very famous painting, perhaps Vermeer’s most famous painting, and with good reason. The striking image of a young girl gazing at the viewer with what seems like a hopeful, trusting expression conveys a sense of intimacy. Almost like the artist really knew the subject. The lack of background, and the fact that her hair is covered, add up to all the attention being focused on her eyes and the gleaming drop of pearl hanging from her ear.
It’s kind of funny the this is Vermeer’s most well-known painting, when most of his works are interiors and this features a woman. It is a testament to the arresting nature of this composition.
The movie with Scarlett Johansson based on the book about this painting is also fantastic, I definitely recommend it. It makes the painting come alive.
5:02 pm • 23 November 2011 • 8 notes
Johannes Vermeer, The Astronomer, 1668
Portrayals of science were common in 17th century Dutch art, in the “age of discovery.” You can tell the man in the painting is an astronomer, because of the celestial glob and the book on the table, Metius’s Institutiones Astronomicae Geographicae. It is this level of detail that makes the scene so intimate, as though we had stumble upon a man at work and are interrupting his studies.
4:55 pm • 23 November 2011 • 47 notes
Johannes Vermeer, The Girl With the Wine Glass, 1660
The woman just seems to be incredibly excited about having her painting done. A man stooped over her, attendant on her every need, a spread of food, a glass of wine, a rich setting.
4:27 pm • 23 November 2011 • 1 note