Edgar Degas: The Little Dancer of Fourteen Years

When one thinks of Edgar Degas what automatically comes to mind are his infamous amount of paintings depicting ballerinas and stills from Swan Lake. However, what many do not know is that the painter occasionally dabbled in sculpture as well. The most notorious of his three dimensional work is The Little Dancer of Fourteen Years (La Petite Danseuse de Quartorze Ans). Sculpted circa 1881, the piece depicts Marie van Goethem, a young student of the Paris Opera Ballet dance school. It is two-thirds life size and was originally made of was, an unusual medium for the time. Degas dressed the dancer in a real bodice, tutu and ballet slippers, along with a wig of real hair. The entire piece is covered in wax, excluding the hair ribbon and tutu. After his death, Degas' wife chose to have the sculpture replicated in twenty-eight iterations, all in bronze with varying tutus across the museum. 

Regarding his style, Degas is especially identified with the theme of dance and termed as one of the founders of Impressionism. His work accurately depicts his mastery of capturing movement, even with the moment frozen in time on the canvas. Additionally, his portraits are notable for their psychological complexity and portrayal of human isolation. 




Contrast to this,The Little Dancer of Fourteen Years possesses slightly different qualities. During the piece's first showing, its critical acclaim was mixed across the spectrum. Some were appalled by the piece and equated it to a monkey. Others believed the dancer was exhibiting pain due to the twisted and unnatural poses her limbs were positioned in. Still, other critics believed she was purely ugly, anything but angelic and innocent, and somewhat gawky. 

Although the piece is viewed as controversial, especially for its time, Degas surpassed all boundaries and sought to link graphic art and oil painting. Similarly, he valued sculpture and drawing equally. In other words: "Drawing is a way of thinking, modeling another." 

Present in the sculpture are the subtle themes of life for adolescents during the late 1800s and the hidden oppression the working class experienced. As aforementioned, Degas modeled his subject on Marie van Goethem. Contrary to what some might believe, Marie was actually an "opera rat" or a lower stature dancing student of the Paris Opera Ballet dance school. The piece was met with such criticism during the time due to its challenge on the French bourgeoisie society and academic tradition. In essence, Degas was compelling viewers to perceive the seamy side of ballet, or the dominant presence the cultural institution placed upon metropolitan life. At the same time, many of the "rats" came from the lower class and were mostly popularly viewed as vulnerable to the moral corruption enforced by aristocratic suitors. The artist also attempted to illustrate the effects of poverty and link with vice by flattening the model's facial features, exaggerating her forehead, and making the jaw protrude. From this, he was exhibiting the connection between physiognomy and degeneracy as well. Moreover, just by using unconventional materials for the sculptures lends to that fact that Degas wanted to portray realism/naturalism rather than modern ideals. 

Despite what many believed to be an insult to society, The Little Dancer of Fourteen Years is one of the most thought provoking and eye catching sculptures of all time. It provides a realist approach and glimpse into the social ideals placed upon the different classes of the times, especially between the working class and French bourgeoisie. Likewise, with her shoulders arched back and head held high, the sculpture's posture is dignified and emphasizes a poignant ballet in training. One cannot forget the dancer's facial expression in that it displays a sense of determination and pride in her posture too. Furthermore, although the color and wax are more dull, Degas purposely draws attention to the less luxurious life opera rats endured on a daily basis. The tutu and shoes are also worn and tinted with age, almost replicating the working class's struggle to survive and attain a decent life. Seeing this piece in person, or just a simple photograph, allows the viewer to empathize with the dancer yet still recognize the cruel beauty imposed by society. Along with this, such a realistic sculpture captures the controversial standards humanity possesses and effectively depicted in a work so minimalistic. 

Antonio Vivaldi: The Four Seasons

Antonio Lucio Vivaldi was born in 1678 in Venice and is recognized as one of the greatest Italian composers of his time. Known as an Italian Baroque (composer from 1600-1750 following the Renaissance), teacher, and cleric, Vivaldi is highly regarded for his musical talent as a virtuoso violinist. Much of his music was comprised of mostly instrumental concerti for violin and would lead to his pivotal work Le quattro stagioni (The Four Seasons) and the more titular of the four "La primavera" (Spring). In regards to his style, Vivaldi channeled innovative techniques such as incorporating harmonic contrasts, melodies, and themes. As a result, many of his pieces are outstandingly flamboyant and exuberant. 

Composed approximately between 1720 and 1723, The Four Seasons were inspired by landscape paintings by Italian artist Marco Ricci. The final composition was released in 1725 as part of a set of twelve concerti entitled Il cimento dell'armornia e dell'inventione (The Test of Harmony and Invention). Each season contains three movements with tempos that occur in the following order: fast-slow-fast. Additionally specific moods and scenes are depicted and tandem to the environment and time of year. Furthermore, to emphasize the individuality of the seasons, Vivaldi published accompanying poems to detail what the pieces were intended to portray and evoke. According to music terminology, this technique is said to be program music, or setting a musical narrative to any form of writing. 

La Primavera
Vivaldi begins his masterpiece with the joyful sounds of rebirth and new life heard during the springtime. In the first movement, spring has finally arrived and birds are greeting the flowers with cheerful song. A brief decrescendo is present in the melody, evocative of thunder and lightning to herald the events. All is silent until the birds begin to sing again. Gradually the tempo increases and Vivaldi depicts in one's head a flowery meadow with leaves and plants swaying in the breeze. In the distance, a faithful dog and shepherd steer a herd of goats to a new field. Finally, the season reaches its peak and incorporates a festive melody with the invigorating tune of the string section. The music silences again and transforms into the sweltering months of summer. 

L'estate

Scorched by burning sun, man and animal slowly begin to decline and weaken. The sun is too powerful to defeat, and all around life calls for help. According to Vivaldi, the summer may be beautiful but a hidden deceiver as well. The west wind gently blows, but is met by its neighbor the north wind for a nonchalant contest. Eventually the tempo rises, and the percussion becomes prominent. In a field, a shepherd grows wary of his forthcoming fate of a threatening storm. Lightning, thunder, and swarms of insects enter his mind, and the tempo then falls. Just as suddenly the pace quickens and the sky darkens. Surrounding the shepherd hail pierces the sky and descends to the grain. 



L'autunno

Autumn immediately shifts the scene to a new subject and more awe-filled mood. By now, Vivaldi has made the center of attention a peasant celebrating the pleasure and wealth from a good harvest. Surrounding him are his peers rejoicing with lively dance and song, along with the scent of liquor granted by the god of harvest Dionysus. From an allegro tempo and frequent crescendos the piece transcends into the movement of adagio molto, or very slowly. The mild and pleasant air leads all to abandon their festivities and relax into the delights of tranquil sleep. As sweet sleep settles in for several minutes Vivaldi switches the pace once more to allegro. Hunters set forth with hounds chasing after a fleeing deer. Though the animal is quick, it eventually succumbs to fear and exhaustion, and falls prey to several gun wounds. The hunters move in, with the deer greeted by eternal slumber.


L'inverno
Winter begins with allegro non molto and a fierce snowstorm. Temperatures have dropped to below freezing with frightful winds to add to the intensity. The subject has become ambiguous and is running fearfully through the storm, trying to battle the frigid flakes and rapid teeth chattering. With time, the subject seeks refuge and warms by the fire. Vivaldi has set the tempo to largo and eminent of the long, contented days in warmth while rain patters outside, drenching victims by the hundreds. The subject has just left their days of tranquility behind and is now traveling on thin ice, each step more cautious then the other. The music gains speed, evocative of the fear of falling, slipping, spinning around, and again walking until the ice cracks. The four winds come together from all corners of the earth for one final battle before the piece ceases.


Vivaldi's Four Seasons are by far musical masterpieces in themselves, and unmistakable in any context. Each piece contains characteristics and qualities that are amplified just by even the smallest amount of instruments. The composer accurately captured the five senses of the many subjects in his works, along with the specific moods and emotions all seasons generate in the viewer/listener. However, one cannot simply visualize the beauty that the instrumentation solely depicts. The accompanying narratives provide further insight and symbolism into each piece, and, in a way, trace the sentiments one feels throughout the year. By creating such a musical wonder, Vivaldi essentially wants the listener to know that each season produces a unique and individual experience. His pieces might generate perspectives and 
imagery not specifically listed in the narratives. Additionally, the narratives are not always exclusive to their assigned season. As evident by the music itself, overlaps are common and simulate the winding minutes of the month and temperatures. If one were to listen to the concerto in its entirety, it is obvious that Vivaldi will have captured the true essence of nature and its powerful effect on humanity. 

Frank Gehry: Guggenheim Museum, Bilbao, Spain

With architectural design, the possibilities are virtually endless. Much time, inspiration, and creative thought are involved in making the clean lines we are so familiar with today. The style that accurately reflects this notion and is currently dominating the architectural scene is post-modernist. Said movement is reliant upon subtle glimpses into newer, more efficient methods of construction and delves from the conventional elements of art-deco and European avant-garde. 

Circa 1970, post-modernism arrived and changed the world's opinion on architecture. The primary objective of this appeal was to surprise and please viewers while simultaneously displaying shapes and details in unique ways. A majority of the movement revolved around a glance into future concepts: a collision of styles, vast ornamentation, a vulgar appearance and color juxtaposition between black and white. Currently its roots are traceable to renowned architect Frank Lloyd Wright and his rejection of rules through early modernism. 

Out of all his competition during the early years of post-modernism, arguably Frank Gehry surpassed them all. At first glance one might never call his work "art." However art is a medium of expression and presented in a variety of forms. No style is exclusive to a specific medium, composition, or subject. In regards to the architect, his buildings live up to the demands of the post-modernist movement: each work possesses an outlandish, but unique and visually appealing aesthetic. Among Ghery's futuristic designs the Solomon R. Guggenheim Museum in Bilbao, Spain is the most highly regarded. Said structure shifted perspectives of conventional museum layout and opened in 1997 as part of an economic revival. Despite the risky move, its unorthodox design was a success and met with critical acclaim from international critics, tourists, and architects alike.

In essence, the building itself is timeless. There is such a striking juxtaposition amongst the smooth curves, ripples, and general structure. Every artist knows that lines and color cannot be fixated haphazardly. Creative genius requires time, patience, and meticulous planning. Moreover, the overall composition matters. In Gehry's design, each curve is stylized to capture the sunlight while at the same time seamlessly blend into the urban environment. When viewed from a distance it evokes a sense on contentment and utter awe. Likewise, one is compelled to feel disbelief that such a limitless and historical building was ever constructed. With the Guggenheim Museum all limits are defied. The curve linear appearance draws eyes along the infamous shape. Although many visit for the artwork inside, the Guggenheim is the real masterpiece on public display. 

Leonid Afremov: Collected Works

"True art is alive and inspired by humanity. I believe that art helps us to be free from aggression and depression." -Leonid Afremov

Born in Viebsk, Belarus in 1955 Leonid Afremov did not discover his true passion until the age of seven. Throughout his early years and onward, he spent much time performing menial labor and further developing his talent of beautiful and articulate paintings. He graduated from college with a degree in art education and had been directed to focus more on teaching rather than free lancing and leisure painting. During his early twenties he began to design theatrical sets and propaganda posters. By 1990 the artist left Belarus and moved to Israel where his talent would reach his peak. In 1995 Afremov asserts that he finally mastered his craft and credits the sweltering sun as the source of inspiration for much of his work. In essence, if one were to gaze at Afremov's work the hot weather can be translated in the warm ,vibrant hues while also evoking emotions of joy and exuberance. 

As a self-described optimist, Afremov firmly believes his work allows viewers to experience emotions of intense positivity, immediate relaxation, and utter awe. "In my art, I am looking to express my inner self and create a moving illusion in a painting. I like making my art so that [one] can feel and see the action in the painting in motion." Looking at Afremov's paintings it is evident that he achieves just that and much more. The artist is known for delving beyond conventional means of painting by using oil and a palette knife to carve each stroke. Although traditionally used for cleaning old paint from canvas, artists seldom use the technique to create their work. However, with time Afremov has done the impossible and produced over 4,000 paintings since 1995. Furthermore, his style is virtually unique and beyond difficult to imitate. 


Each color is carefully chosen with meticulous brush strokes that form blurred lines, yet defined shapes as well. One of the outstanding themes present in his work are the obvious color juxtapositions between warm and cool shades. With such an emphasis on warm hues, Afremov frequently includes light sources that serve as the focal point and sense of direction in each painting. Also present throughput are exaggerated highlights and combinations of harsh to soft strokes. The artist's paintings are without a doubt mesmerizing to look at, especially when one considers the tools used to create such a marvel.The cityscapes, jazz musician portraits, flowers, landmarks, and seashores he paints all provide new perspectives into view from their usual everyday color. Moreover, the beautiful transitions and subtle inclusion of the color spectrum provide an infinite amount of color intensities and sense of contentment.

Hayao Miyazaki: Spirited Away

Termed as an "enchanting and gorgeously drawn fairy tale" by many alike, Japanese animated film is a masterpiece in itself that will not disappoint. Directed by critically acclaimed animation studio Studio Ghibli and Hayao Miyazaki, Spirited Away tells the story of a young ten year old girl (Chihiro) who must work for a bathhouse in order to save her parents from the spirit world. Filled with beautiful animation and subtle themes, the film is one that is appropriate for all ages and must be seen. According to the director, inspiration was drawn from the life of family friends and includes a young heroine to serve as a role model for girls. Furthermore, culture influence is especially visible in regards to regional Japanese and Pseudo-Western architecture.


Although the film is primarily directed towards a younger audience, Miyazaki has included much thematic elements representative of the real world and Japanese culture. For example, the essential setting of the plot follows Chihiro as she transcends from the human world into the spirit/supernatural realm. Additionally, she leaves behind her innocence and must assume adulthood during the climatic event of her both name being seized by the bathhouse proprietor Yubaba. Similarly, an allusion to capitalism is exhibited amongst the characters: Chihiro's parents are transformed into pigs due to their consumerist ideals and the temptation brought upon them at the border between both worlds. At the same time, the presence of western influence upon Japanese culture and Chihiro's parents are further causes for their peril. 

Along with the aforementioned themes, the film also includes references to Japanese society: economic downfall, environmental pollution, and corruption. Greed and excess are emulated by the residents and employees of the bathhouse as well. Most notable in the character No Face who adopts the multifaceted identities of those in the bathhouse while also temptation them with gold and good fortune. 

To call this film a work of art would not be a stretch by any means. One cannot help but marvel at the beautiful; animation and visual effects that capture the mystical essence of spirits while also contrasting with that of the human world. Moreover, it provides glimpses into Japanese culture, beliefs, history, and society. The style and character design set it apart from traditional Japanese/contemporary animation as well. Not only is it filled with well rounded and relatable characters, but each frame consists of a rich, vivid and immensely detailed background. Likewise, every scene contains much depth and dimension with especially prominent shadows. Finally, Studio Ghibli never fails to disappoint with critically acclaimed releases annually and their expert animation/artistic style. 

Conrad Roset: The Muses

Conrad Roset, native to Terrassa, Barcelona, spent much of his life exploring the different mediums art has to offer. His early years of creativity were divided among acrylic paints, occasional sketches in moleskin notebooks, and vivid depictions of his surroundings through colored pencils. Now 29 he has devoted a majority of his time to a more personal collection, The Muses. Said collection depicts the different forms of the human body through a vast color pallet, smooth blending of shades, and subtle dimension. 

As a result of Roset's profound passion for drawing, he has gained the opportunity to share his work through many companies, such as Zara (his first client), Coca Cola, Adidas, and Nike. In fact, Roset attributes his unique talent for illustration to Zara, where he learnt about his trade and how to study the styles of other illustrators. A year later Roset launched himself as a freelance artist and has acquired more prestigious agencies and brands. At the same time, due to his expressive paintings, he has achieved recognition by exhibiting his work in galleries and museums: MOMA, Tipos Inframes (Madrid), and Spoke Art (San Francisco). If one were to search up Roset's work on the Internet, detailed and beautifully designed watercolor paintings would most likely appear. Along with freelance illustration, Roset is also a professor of illustration at the School of Design BAU.

Regarding Roset's more esteemed project The Muses, the artist explains "I search the beauty the body exudes, I like drawing the female figure." Said project is a four year culmination of work and relies on very little detail of the whole form. Instead it consists of thin, general contours and embedded vibrant hues. One might say that by varying the color scheme, pose, and overall composition of each piece Roset is stressing the unique shape everyone upholds. Essentially no two shapes (or "Muse") is exactly alike. Each piece possesses a different quality that another lacks. For example, in some paintings each brush stroke is placed at random, all to further emphasize the pops of color and accommodate the endless paths of melting lines. On the other hand, other strokes are more detailed and specifically painted to define shadows, highlights, and fine strands of hair. 

Furthermore, dull, muted colors are virtually nonexistent in Roset's illustrations. To include such a scheme would not only distract from the drawing itself, but hinder the expressive use of watercolor. In other words, watercolor includes saturated colors derived from the CMYK palette to allow better mixture and is tantamount to a visually appealing piece of work. Overall, Roset's style is more pedantic in terms of color use and the smooth transitions of one shade to another. In doing so, he is capable of achieving a more washed out and softer appearance versus the thick, harsh lines of acrylic or oil.

For any young artists seeking inspiration on the use of of color and subjects, Roset is by far one of the best contemporary examples. Not only does his work incorporate beautifully chosen pigments, but each shade is effortlessly blended. Additionally, because watercolor allows an artist to achieve a melted, dripping effect, some may find this aesthetically appealing, myself included. Although I have very limited experience with watercolor, I have been fortunate enough to accomplish such an advanced technique. Watercolor is more or less based upon trial and error and if one comes across a "mistake," covering it up is not as easy as acrylic. With watercolor, the paint flows at its own pace and has more independence.

 Regarding Roset, much of his work depicts this with washes drifting through the overall composition almost haphazardly. Furthermore, because his illustrations are reliant upon saturated pigments, black paint is used generously. Moreover, Roset's artistry reflects my specific style not only exclusive to watercolor but other mediums as well. A majority of my projects, whether it be personal or for a class, always include a grayscale color pallet with the occasional pops of color. I enjoy using black ink for general outlines then add however much color is needed to fully complete the piece. Likewise, just as Roset paints with a melted style, most of my paintings are watered down and have the dripping or splatter affect. Although some might believe otherwise, each illustration depicts the effort and time Roset invests. One might say color is just placed in a specific position because "it looks good." However, with his work, Roset colors an area to further dramaticize and highlight it. In comparison to a white background and black outline, the audience will more than likely notice that area first before appreciating the work as a whole. Additionally, Roset's paintings are not to be taken lightly. Each color is cleverly chosen and produces beautiful, mesmerizing works of art.