Festival of June 30th

When comparing Monet’s The Rue Montorgueil, Festival of 30^th June 1878 to Manet’s The Rue Mosnier with Flag, it is easy to see that Monet’s depiction of the Festival of June 30^th is a much more celebratory, lively one as compared to Manet’s depiction of the event, which is quiet, hot, lonely and a little sad.

These contrasts reflect both artists very different view of the festival and the events that took place before it. While Monet was stepping forward into the future and celebrating reconstruction of France after wartime, Manet, who had served with the National Guard during the Prussian siege, was more reluctant to move on from the past.

            While both paintings represent the same festival and use similar color pallets, Monet’s work is much livelier. We can see that the street is filled with people and the French flag is shown to literally cover the buildings and any available surface. One solitary flag flutters “joyfully” in the wind and the center top of the painting adding to the lively nature of the work.

            Manet shows us a quiet nearly empty street. A crippled veteran is shown at the bottom left corner of the work, a reminder of a painful past in French history. Manet was not so quick to gloss over recent historical events and although the festival was in celebration of restoration, Manet is showing us what was sacrificed in the name of war and independence. He is showing us that celebration of France’s restoration is also celebrating the fact that so many soldiers were killed or left crippled like the man in the painting. It seems as though he feels reflection on recent war events are necessary and that this celebration is covering up what must be addressed.

            Aside from political contrasts, both works are Impressionist and work closely with light. Both are outdoor scenes of modern events and both seem to capture a moment in time.  But while this is the case, Monet’s work is so full of commotion that it’s difficult to understand what is going on in the work. It becomes confusing and all we’re left with is a jumble of red, white and blue. But maybe this is his intent. Festivals and parades can become somewhat overwhelming. However the case, the painting still gives us a sense of joy and celebration. Perhaps he was trying to represent the moment in which we become lost in celebration and become truly immersed in the “now”.

            Manet has toned things down quite a bit. While his brush strokes are still quick and “sketchy”, he clearly shows us an empty street. As the text says “The heat is there, too, in the light reflecting off the walls”.  I don’t think the heat of the scene is supposed to represent a good thing. A hot day would have made labor much more difficult for the workers depicted in the scene, another reminder of those who lost out behind the scenes of the celebration. The French flags are more of a background element. And although very present, they do not command the audiences’ attention like the flags in Monet’s work. Manet has toned down the importance of the celebration to draw our attention clearly to the crippled veteran. 

On the Bank of the Siene, Bennecourt

Claude Monet’s “On the Bank of the Seine, Bennecourt” is an image depicted in vibrant color and sunlight. The bold use bright blue, white and yellow hues makes me recall warm spring days or summer mornings. I think that the use of light, sunlight in particular, makes this painting and all of Monet’s work more susceptible to being linked to memory or dreams. To me, the style in which the work is done and the vibrancy of the lighting effects that are used makes me feel as though I’m trying to remember a dream or a memory. The edges are fuzzy but there is just enough information to put together the full picture. The image itself must be taken in as a whole or one will quickly become confused as to what it is. One cannot look at a single brush stroke or object in this composition to get the full effect of the work.
            However, the eye does tend to drift towards the reflective surface of the water due to its composition of bright bold blocks of color. The “rippled” effect of the brush strokes tends to pull the eye back into the landscape giving one the sense of movement on the water. This movement is continuous, like water itself, and allows one to easily “travel” through the painting without the sense of clutter. I think it is important to note that Monet’s work is intended to be a snapshot of current time. This movement that is created in Monet’s technique helps us see even further into the moment Monet was attempting to, and has, successfully captured.

Monet’s work in general tends to make me feel something emotionally. The reflective surfaces he depicts and the sunlight used in all of his work generates a sense of calm. It’s easy to imagine the warmth of the sunrays and the smell of the water or the coolness of the shade beneath the trees in “On the Bank of the Seine”. I believe he achieves this effect not through detailed subject matter or “plot”, but rather by taking advantage of the ways in which our minds store memories. The brightness or darkness of something is easily linked to memory even when we cannot recall specific detail.  Typically, we remember how something made us feel. It is a powerful way in which we make sense of the world. In this way, Monet is able to create a full image that we can understand simply by tricking our brains with its pre-existing knowledge and memory of light and the way it reacts with objects in comes in contact with.

The lack of detail in this work is an aspect that makes it very calming. The mind is so easily distracted by detail. Here, Monet has simplified an every day moment allowing us to take another look and appreciate ordinary things we take for granted such as sunlight or the beauty of the light on water.

The use of color also gives the viewer a sense of calm. Blues and neutrals, both of which a dominate in this work, are found scientifically to have calming effects of people. Mixed with an accurate depiction of the memory of light and the reflection on water, these elements are very soothing. The weight of the lights and darks in this work also gives the feeling of sitting beneath a shaded tree grove. Although it can be concluded that the woman in the painting is indeed sitting under a group of trees, the light and darks used within the composition helps us feel and recall what it feels like to sit under the cool shade of a tree on a warm day as if we ourselves are in this moment. This element also helps to balance out the image itself, giving us a nearly equal balance of bright contrasts (the water and buildings in the distance) and dark contrasts (the darkly shaded group of trees).

Although I do not think it was Monet’s intention to capture the way we may recall a dream or a memory, the fact that he was trying to capture a moment fits in very well with this concept. He has indeed captured to feeling of a sunny day, the coolness of shade, the reflection of water and the sense of calm these three offer. It is as though he has effectively captured a memory, as we would recall it in our minds. He has projected dreams onto canvas.

            

Forever Free

Edmonia Lewis’ marble sculpture “Forever Free” best fits Camille’s request for art that is depicting both social oppression and a vision of a future utopian society. The shackles on the man’s hand and foot tell us that he is a former slave while the title of the peace and joyful expressions of its subjects tell us that this is a man who has recently gained his freedom.

The woman in the piece is described as being “less racialized” and subordinate to the man so that it “would better reflect the concept of ideal womanhood” and “would be more appealing to white audiences”.  I don’t think this representation of subordination necessarily takes away from the idea of for equality  “Forever Free” is expressing. Although the woman is in a subordinate pose, the fact that a woman is represented at all in the piece, especially kneeling next to an African American man, is remarkable on its own. From my basic understanding of American History, an African American man could be arrested or even killed for just looking at a white woman in the wrong way. They are shown together, even touching. This shows unity and equality between the two and also supports the idea that Edmonia is trying to tell us that a white man is not different from and African American man and deserves equal treatment. Not only that, but the woman in the piece is able to decide on her own whether or not it is appropriate to be in the presence of an African American man.

The two figures seem to be praising God for this new freedom, something I’m sure Camille would have been very pleased with. She believed that art was made by artists through God to teach us and guide society. Lewis’ work gives support to this idea by suggesting that God ended slavery and called upon Lewis to depict this freedom that God has given.

The material in which the piece was carved (marble) and the style in which it was done (neoclassical) further reflects its religious tribute. It was done it a way that angels, saints, Christ and other religious figures have been depicted in the past. This immediately links “Forever Free” to these past works and gives us a sense that the piece is also religious. I believe Lewis wanted to represent God in the piece not only because of her own faith, but also to reach those audiences who may not agree with the idea of equality for African Americans or may not even agree with the end of slavery. As Christianity was and still is the predominate faith in the United States, this work can easily connect with the audience through a common belief. It is far easier to move people into looking at another point of view they may not have otherwise seen when it is done through emotional or ethical appeal which, in this case, has been based on faith or deeply routed beliefs and person may already have.