Farhan HussainJ00124230

ARS 101-802Dr. Elizabeth Richards

June 13th, 2011Assignment No.1

Section 1: Formal Analysis

Just like Claude Monet’s Fisherman’s Cottage on the Cliffs at Varengeville encountered in the second chapter, Autumn effect at Argenteuil is another true outdoor masterpiece that can be liked and appreciated by anyone whether related to the field of art or not. Once again the subject matter of the scene is easy to understand and pleasing to the eye. While looking at it, one can most definitely take refuge in its serenity from the modern busy life. As can be clearly understood from its name, the painting reflects an afternoon of autumn season as seen through the eyes of Monet rowing a boat into the Seine River flowing by the town of Argenteuil in Paris. One can also imagine himself on a vacation enjoying this beautiful scenery sitting on the boat with Monet himself. There is a natural rhythmic flow in this painting to follow the painting from left to right likely because of the overwhelmingly large orange/golden tree on the left which takes most of the space on the canvas. Its golden/orange color makes it warm whereas the green color of the comparatively smaller tree on the right as well as the blue color of water waves gives it a refreshingly cool feeling, pleasant to the eye. The scene vividly depicts the beauty of nature in the forms of trees, water, clouds and the sky but perhaps light is also an important factor. Even though the sun is not visible in this painting but there is enough sunlight in the scene as evident by the tint and brightness of colors to make the assumption that it portrays the day time. Thick white clouds in the air make it hard to see the blue color of sky which is visible in segments. Far away in the picture, the village of Argenteuil can be seen as Monet continues to move his boat to approach it. The huge tree on the left with bright golden leaves also has some green leaves in the middle suggesting that the autumn has not totally taken over the tree yet. The bright golden/orange color of the autumn tree is reflected on the water. On the right side of the picture is a little greenish-golden tree also suggesting that autumn has yet to affect its leaves. It can also be clearly noticed that Monet has used complimentary colors. As studied in the color theory section of chapter 4, orange and blue are complimentary colors meaning that they are exact opposite to each other on the color-wheel. Complimentary colors placed near each other make the hues more intense. The big golden/orange tree on the left sitting on the blue water under a blue sky creates a complimentary harmony which contributes to the warmness and the overall intensity of the scene. Apart from natural beauty there can also be a message hidden in the painting. The tree on the left is suffering the effects of autumn as most of its leaves have turned orange. However, the tree on the other side of water is mostly green and is yet to fully get affected by autumn thereby symbolizing the cycle of life. Autumn, a symbol of sadness is followed by spring which is a symbol of happiness. Similarly in our daily lives happiness and sorrow go hand in hand in a circle. We suffer and get hurt in life but eventually that period gets overcome by the happiness we find along the way in bits and pieces. This way the cycle of our life goes on forever until we die.

Claude Monet. Autumn effect at Argenteuil

Apart from colors, linear perspective has also been used with by Monet with great mastery. The left and right sides of the painting diagonally converge to a vanishing point that is not clearly visible in the picture because it lies behind the buildings where sky eventually meets the land. Monet belonged to the group of painters known as “impressionists” who took the canvas outdoors. It is due to great painters like him that today we are able to get a glimpse of the past and enjoy the breathtaking scenery and natural beauty of our planet as depicted in this painting.

Section 2:

What is the primary symbolism of a vanitas painting? Discuss at least two artists from different centuries (other than those examples in Chapter 1) who have created such works and indicate the reasons for the recurrence of the vanitas theme in the art of various areas.

Symbolism of vanitas painting:

The term vanitas is Latin, meaning “emptiness” or “vanity” broadly referring to the fragility and meaningless of earthly life. Referred commonly with the biblical book of Ecclesiastes, vanitas theme in art was made popular by the Dutch artists of the 17th century. It symbolizes the transient nature of human life and the inevitability of death. Primary symbols used in vanitas paintings are skulls, coins, candles, hourglasses and timepieces, flowers and fruits, tarot and playing cards, maps, globes, musical instruments, bubbles, mirrors, calendars, jewels etc. They symbolize different things such as skull symbolizes death, jewels and coins symbolize riches and wealth, candle, hourglasses and timepieces symbolizes the continuous passage of time, tarot and playing cards symbolize the role of chance and fate in our lives, books symbolize knowledge, bubbles symbolize the fragility of this temporary life which is ultimately going to end one day despite the wealth, riches, beauty and knowledge.

Reason behind its recurrence:

The following are two vanitas artists from different centuries. The first one Pieter Claesz is from the 17th century whereas the second one is a modern vanitas-artist named Masaki Yada from our time. It can be seen from these two paintings that even after hundreds of years, the vanitas-theme in art still continues to inspire artists and recur. This is primarily because the main theme and message behind the vanitas theme is an undeniable universal fact that applies to everybody in this world regardless of race, culture, time etc. It reminds us that life is drifting away. All the materialistic and worldly things that we struggle for during our life ranging from knowledge to power, wealth to beauty are utterly meaningless and useless. Neither wealth nor power will be of any use to us. The only inevitable truth is death in the end as symbolized by the huge skull in nearly every vanitas painting. This universally applied fact behind vanitas-theme is so powerful and strong that even after hundreds of years artists still continue to get inspired by its message and create art based on this theme.

Two vanitas-artists from different centuries:

1) Pieter Claesz (1597-1660) from Berchem, near Antwerp. (Classic Artist)

2) Masaki Yada (born 1979) from Tokyo, Japan. (Modern Artist)

Title: Vanitas Still Life with the Spinario

Artist: Pieter Claesz

Year: 1628

Technique: Oil on panel

Dimensions: 70.5 x 80.5 cm

Source: http://www.rijksmuseum.nl

Title: Modern Vanitas Op.1

Artist: Masaki Yada

Year: 2008

Medium: Acrylic and Oil on Board

Original Dimensions: 60 cm x 50 cm

Source: http://www.artslant.com/ny/works/show/128158