Ceramic Souls: The Anthropocene in Art

Adrian Arleo (U.S., b. 1960)

Lead (Woman with Two Horseheads), 2002

Ceramic

Gift of Mark Landrum, 2013

Fred Jones Jr. Museum of Art, The University of Oklahoma

Adrian Arleo’s sculpture Lead (Woman with Two Horseheads) effectively uses lines and curves to draw the viewer’s eyes across the whole painting, starting from any of the three heads and moving to the others. I found that my gaze sometimes started at the woman’s head, drawn to its priority as the highest head, and then moved along her frame to those of the horses and sometimes moved in the other direction, drawn first to the horses’ shiny eyes. This phenomenon seems to put the woman and the horses on the same level, giving both equal primacy in the sculpture. The woman and the horses were also sculpted with the same striations and with no structural division in between, uniting them as one entity. However, the woman is finished with a brown glaze while the horses are finished with a blue one, which creates a division between the two species.

The work brings to mind for me the false dichotomy we create between ourselves and nature, and shows the oneness between us and other animals, as illustrated by the caress the woman seems to be bringing the horses into. However, it also speaks to the subordinate position we put animals in and the way we use them. This is depicted through the horses’ position as the woman’s legs, which calls to mind the way we use animals for transportation (the phrase ‘horsepower’ is conjured for me). The sculpture uses a natural-seeming medium, ceramic, combined with unnatural colors, such as blue horses, and combines natural forms in unnatural ways to bring to our awareness the ways in which we conceive of what is and isn’t natural, and in which we draw lines between ourselves and other animals that might not exist if we were to take a closer look at the world.

Demolished Light House

Julian E. Levi

U.S. 1900-1982

Demolished Light House

n.d.

Oil on canvas

WPA Collection 1942

Fred Jones Jr. Museum of Art, University of Oklahoma

The first thing to grab my attention when I looked upon this painting with fresh eyes was the dilapidated old light house. From there, my eyes were draw to the tallest of the two gnarled and twisted trees. At this point it became clear that my gaze was being drawn in clock-wise circular direction starting with the light house and ending on the debris in the bottom left forefront of the painting. This circular path is reinforced by the texture of the artist’s brushstrokes, particularly in the area surrounding the anchor. To my eyes, this circular rhythm gives the painting a certain symmetrical appeal. At first it seemed as if the red coloring of the light house contrasted sharply with the rest of the tones in the piece. However, upon closer inspection, I noticed that the red coloring of the light house was referenced subtly in the debris in the left forefront and in the earth surrounding the sunken anchor.

To me it seems that the forms within this painting combine to give the piece a general impression of loss. I find it telling that although the artist chose for the focal point of the piece to be a light house, the only visible piece of the ocean is inauspiciously peeking above a sand-dune on the right hand side of the painting. The destroyed light house, the sunken anchor, and the gnarled windswept trees give the impression that the surrounding area had witnessed some sort of biblical calamity. This piece was painted shortly after the Great Depression, and to me it is apparent that the artist bore the mental scars of that turbulent period. He presents a representation of the Earth that seems bleached and sun-scorched almost to the point of no recovery. I believe that this in some way represents a resigned and mistrustful view of the natural world. If I was forced to summarize in one sentence what the author was trying to say in this piece about the changing relationship between the Earth and humanity, it would read something like this: “We bit the Earth, and the Earth bit back”.

 

 

“Entrance to the Grand Canal”

Thomas Moran

England 1837-1926

“Entrance to the Grand Canal, Venice” c. 1905

Oil on Canvas

Fred Jones Jr. Museum of Art. University of Oklahoma. Norman, OK.

 

Thomas Moran’s “Entrance to the Grand Canal, Venice” is a visually stunning piece of artwork depicting the city of Venice. The city is seen from the perspective of the water (most likely one of the many channels that crisscross the city) and focuses the viewers’ attention to the sunset near the center of the painting. Moran uses the technique of linear perspective to create depth while the boats in the foreground help create the perception of height of the buildings. The large, dark, basilica in the very back of the painting helps the viewer to comprehend how much of the city is encompassed by the painting. The focal point is obviously the sunset which is created with bright, vibrant colors contrasting with the cooler blues of the water. Though Moran meant to represent Venice as a “…sinking, dying city (Fred Jones Jr. Museum of Art)…,” I think he accomplishes the opposite. The painting, with its bright colors, shows a Venice that is full of life and activity.

While I doubt that Moran knew anything of the Anthropocene, he captures the essence of the term perfectly. This painting is the perfect example the relationship between humanity and nature. The city, connected by numerous waterways and bridges, illustrates humanity’s ability to adapt to their environment. The Venetians were able to build a thriving metropolis, even in the midst of a lagoon.

Humans, Our Environment, and Expression

Martha Walter

U.S. 1875-1976

The Blue Umbrella

Fred Jones Jr. Museum of Art

n.d. Oil on canvas

  As with all human experience, humans’ relationship with the environment has been documented in a wide variety of art forms. This work, painted by Martha Walter in the early 20^th century, explicates a narrative about our idealistic expectations of nature.

  Like many other impressionist works, most of the story is told with color. Only a subtle change of hue distinguishes the sand of the beach from the dismal overcast sky. Even the bright tones of the women’s and children’s clothing are muted behind a haze of gray.

  The figures in the scene huddle under a blue-made-black umbrella, which stands hopefully over the company waiting for any ray of sun to fulfill its purpose. But the ray does not come. Instead, a chilly breeze off the sea forces children into their mothers’ laps, and mothers into a tight circle. Though some try to make the best of the trip by idly sculpting sand, this day on the beach is irreversibly gloomy.

  Here Walter testifies to the discrepancy between humans’ expectations of nature and its actual character. When we plan our week around a trip to the beach, we expect sun, waves, and a warm breeze.  But the natural world doesn’t care about my schedule or yours. In the place of the woman in the sun hat at the focus of the painting, I might call the day a wash and gather up the children to retreat home out of this gray hellscape. But instead the party resolutely huddles under their useless parasol, because “if we’re going to go to the beach, we’re going to get the beach experience.”

  People see the world as their oyster: ready to have the pearls plucked from it, and if there are no pearls to be plucked, the oyster isn’t doing its job. The world may be an oyster, but that doesn’t entitle us to its pearls. We should appreciate the world for what it has to offer but realize that it is not a manicured, romantic garden, but an unpredictable, precious home.

The Grand Canal

England 1837-1926

“Entrance to the Grand Canal, Venice” c. 1905

Oil on Canvas

Fred Jones Jr. Museum of Art. University of Oklahoma. Norman, OK.

 

The “Entrance to the Grand Canal, Venice” by Thomas Moran (1905) is a glorious view of Venice at sunset. A vibrant, bright sky meets calm, welcoming water, as they pull boats and viewers alike into the setting sun and out to sea. From use of a linear perspective to the symmetrical balance of paint and color, both top/bottom and left/right, or even the lack of objects placed in the water along the central channel of the painting; literally everything in the painting is arranged to reinforce this effect. This is done by Moran in order to “[allude] to the notion … that Venice was a sinking, dying city” (Fred Jones Jr. Museum).  A victim of its own location, Venice, as in the time of Moran, is still a sinking city. A relationship that defines the lives of Venetians daily. The citizens of Venice first began to notice dramatic shifts when installing artesian wells beneath the city, tapping the aquifer beneath it. The lack of fluids resulted in the city’s foundation occupying the newly available space. Today, many older buildings with ground floors sporting canal access are now flooded, making the floor useless. (Wikipedia) Perhaps it was Moran’s intention to bring the attention of Venetians to the inevitable problems they were facing while reminding them of the glory of Venice that doesn’t have to be compromised in solving them. Yet without the man here, the intention is in the eye of the beholder.

 

“Venice.” Wikipedia. Wikimedia Foundation, 04 June 2014. Web. 06 Apr. 2014.

Pueblo Buffalo Dancer

 

Allan Houser

U.S. 1914-1994

Pueblo Buffalo Dancer

Fred Jones Jr. Museum of Art

1991, charcoal

 

Allan Houser’s charcoal drawing, Pueblo Buffalo Dancer, caught my eye as a portrayal of a relationship between humans and the landscape, because it’s a simple, bold depiction of a Native American dancer adorning numerous ornaments obtained from nature. 

The subject of the artwork is clear since there is no background aside for light shading of swirls that empower the artwork’s tone of energy.  Also with the dancer being centered on the canvas and having extremely dark skin, made all the darker because of the charcoal, his dark torso and darker face drew my eye at first.  Although the facial features are fierce, the dancer has only basic ones with little detail given which led me to believe Houser intended for the dancer’s face to convey a strong, intense feeling while also letting it be known that the dancer’s identity is not the focus of the artwork.  Instead, far more detail is given to the dancer’s horned buffalo headdress, his shell pendant, his kilt with a depicted snake, and all other ornaments on him.  My gaze was directed to the person himself causing me to understand the tone of the art and then drawn to the surrounding details in wonder of their meaning.

I think that the contrast between the simplicity of the dancer himself and the detailed accessories on him is the key to understanding the meaning of this artwork.  In my opinion, the dancer’s ornaments were intentionally given much attention to show that the dance was an extremely symbolic act.  Native American dances are prominently known for their deep-rooted characteristics and symbolism, and wearing the ornaments must have intensified the significance.  The depiction of this dancer shows that back in the time of the Pueblo people, there was a relationship between humans and nature in which humans utilized and respected the aspects of nature.  

 

The Medicine Maker

Eanger Irving Couse

U.S. 1866-1936

The Medicine Maker n.d.

Fred Jones Jr. Museum of Art

Oil on canvas

Gift, The Priscilla C. and Joseph N. Tate Collection, 2004

For my picture I choose the Medicine Maker. The artist uses the leaves in the background to direct my sight towards the head of the man by making the leaves further to the edges more yellow and the background becomes progressively less yellow as you get to the man. The artist really wants us to focus on the foreground in the picture. The background consists only of branches and leaves which block anything else off. The colors used are very important. The colors of everything that the man is wearing is found in other parts of the picture. His hair piece matches the colors of the leaves. His shoes and the cloth he is wearing are similar to the colors of the water and the branches in the background. The brush work is very calm, similar to the man’s face. It is both careful and intense.

I have never been an expert on interpreting another person’s work, but from what I can tell the picture is showing how man uses nature. Everything the man wears blends in with his surroundings, showing how man makes use of nature. The whole premise of the picture, “The Medicine Maker,” tells us that he is out looking for a certain piece of nature to make his medicine. Whereas his clothes seem to be one at nature, he appears very distinct. The color for his figure and hair are distinct and separate him from the rest of the picture. Even in the background, it looks like the trees and leaves are morphing away from him, separating him as an entity entirely different from themselves. It displays the differences between man and nature. However, whereas the man is separate from nature and using it, he still seems very calm and careful. He is not trying to abuse his surroundings, but utilize them without doing more harm than he needs to. This is what I believe the painting shows as the relationship between man and nature. Man is an entirely different force than nature, but that does not mean he should take advantage over it. Instead he should be careful with it and utilize it when necessary, but try not to do any extra harm.

Art in the Anthropocene

Maurice de Vlaminck
France, 1876-1958
La Seine à Chatou (The Seine at Chatou), 1910

Fred Jones Jr. Museum of Art, University of Oklahoma

This piece of art is aesthetically pleasing and caught my eye during my observation of the museum. The first thing I noticed about the artwork is the vast array of blues used. This artwork is very soothing to the eye. This is a painting of dusk on a small town. The vantage point looks to me to be from the mountains or hills located close to the town.

The focal point of this painting seems to be the bare tree slightly left of the center. The wind edges have lines that begin to lead your eye to the left, but then they proceed to align parallel with the tree. I could see where maybe the town in the background could be the focal point for some. The weight of this artwork seems to be a symmetrical – heavier on the right side with darker deeper blues with lighter hues on the left. The brush strokes seem to suggest that it might be a windy night, and the strokes seem to push your attention off to the town on the left. With the use of dimensions of this painting, you definitely get a sense of three-dimensions. First, you have the bare tree on the hill then we have the lake or pond that proceeds to lead up to the town on the left with mountains receding into to sky.

Viaminick greatly admired the structure of Cezanne’s paintings, whose influence is felt in the present work. Cezanne did a lot of landscape paintings, and just like in those, Viaminick painted a tree that serves to define the space between the foreground and the background.

Margot Phillips Beutler by W. Herbert Dunton

When we were told that our class would be going to the Fred Jones Jr. Museum of Art at the University of Oklahoma for a unit focused on art, I must admit I was unsure of how art had much to do with the Anthropocene and its analysis. But after a lecture from Dr. Alan Atkinson, an art history professor at OU, and following my exploration of the museum, I soon discovered that art holds a wealth of information pertaining to human development and the changing relationship between humankind and our planet. It was remarkable to view artwork through this lens; I uncovered many details and nuances in pieces of art to which I previously had no regard.

On my quest for a single piece of artwork that I could analyze and interpret, I was particularly drawn to a painting entitled, Margo Phillips Beutler, by W. Herbert Dunton, seen below. I chose this painting because I see myself in Mrs. Beutler: a woman who considers herself interconnected with our earth and its species, but also maintains a certain level of distinction.

 

W. Herbert Dunton

U.S., 1878-1936

Margot Phillips Beutler, date unknown

Oil on board

Fred Jones Jr. Museum of Art

The first thing I am immediately drawn to is the woman’s face, who is the subject of the painting’s title. Her face is no doubt the point at which the most light is reflected by shades of yellow and pink. My gaze is then drawn to the eyes of the horse, followed by the faces of the dogs. There is a balance of light and color, relatively equivalent between the right and left sides. The light is primarily focused in the upper-middle portion of the painting, becoming progressively darker toward the lower portion.

There are elements found in the colors used that demonstrated the relationship between man and animal. First, all three creatures are predominantly painted in shades of brown, indicating their similarities and interconnectedness. The yellow scarf around Mrs. Beutler’s neck and her bright pink face distinguish her from the animals. But Dunton doesn’t allow this yellow to differentiate her completely, as he includes a few small, yellow blooms in the bottom left corner.

When one observes the brushstrokes of the painting, the landscape and animals take on a more rough and defined appearance. The brushstrokes used for Mrs. Beutler’s face are nearly undetectable; her skin resembles the smoothness of porcelain, and her dress is painted with more delicacy.

Another element that distinguishes her from the animals is that she remains on a path within the field, while the animals stand among the brush. We can tell that she is bound by this trail, but the dogs and horse meander about. Dunton also creates a separation between man and animal by including gloves over Mrs. Beutler’s hands, lest her delicate and feminine hands become weathered by nature’s harsh environment. Her hair is also pulled back, demonstrating the popular notions of feminine elegance.

Whether it was Dunton’s intention or not, a separation exists between our human subject and animal subjects. During the period in which this painting was created, and even today, women are required to maintain a certain level of femininity and distance from the environment of the “Wild West” depicted in the painting, but also be able to adapt and cooperate with it. While Mrs. Beutler has a certain friendship with her horse and dogs, she still remains separate and distinct from her animal counterparts. This can be viewed as a depiction of our continued distance from nature and belief that humankind is in some sense a part of the natural world, yet considerably separate from it as well.