St. Louis Art Museum Analysis
Over Thanksgiving break I attended The St. Louis Art Museum, or SLAM, as it is affectionately known by the locals. I focused on the Later European Art, especially from the Netherlands, because I find it captivating and unique. The first painting I studied was called Peasants Dancing in a Tavern by Adriaen van Ostade. The artwork was done in 1659 in the Netherlands as a genre scene. It shows a tavern scene in which peasants are dancing, drinking, singing and playing cards. It is a unique example of light and shadowing—there is a circle of light in the center which highlights several intoxicated people reveling over drinks and cards. It also displays slight foreshortening. At its heart, the painting shows simple everyday life, although some say that it is also a warning against the vices of sloth, gluttony, and greed,
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since many paintings of the era had moral messages hidden inside.
The second painting I looked at was a still life entitled Peasant Interior with Woman at a Well, and it was done from 1642-43. Pictured is a large interior well with two people toward the back and several metal and ceramic tubs and plates lying around. Perhaps the most interesting thing about the painting is the large pile of fresh vegetables on the floor in front of the well. Willem Kalf, a Dutch artist, painted these with incredible detail, down to the sheen of the gourd. The picture shows excellent use of light and shadowing as well as foreshortening; Kalf used mainly muted, neutral colors with some gold tones as well. The work is filled with various contrasting colors—from the dirt floor to the bright metal tub and the leaves of the vegetables to the fuzzy cat in the corner. The painting could possibly represent a plentiful harvest or simple prosperity.
The third painting at which I looked was also Dutch, mainly because I favor the simplicity and honestly that is portrayed in many pieces of Northern European artwork.
It was entitled The Account Keeper, and it was done in 1656 by Nicolaes Maes. The painting shows an older women bent over a pile of books with her head resting on her left hand as if she is fighting sleep. There are ceramic bowls, ink bottles, baskets, key chains lying around on shelves and desks; the detail and thought that was put into this painting was quite impressive to me. There are obvious, structured parallel lines throughout the painting and the colors are mainly muted. A shaft of light is angled across the painting as if it is coming through a window, highlighting the woman and her work but casting the corners into shadow. Perhaps the most interesting aspect of the work is the large map on the wall. Cartographers often study maps in old paintings such as this one to understand the 17th century’s idea of how world looked. It is often easier to find maps in artwork than actual maps because maps were not necessarily considered valuable or worth preserving at the
time.
Another painting I studied was called Banquet Scene with a Lute Player, and it was done in 1625 by Nick Tournier, a French artist. The scene shows three men, one of whom is playing a lute, and one woman sitting around a table with a servant in the corner. There are several interesting themes in this painting. First of all, the table corner juts toward the viewer, which follows along with the 17th desire to involve the onlooker and bring them into the picture. The fact that one of the men is looking straight at us also goes along with this idea. The painting also has very dramatic highlights and shadows—but, interestingly, the background is lost completely to darkness. The light falls most brilliantly on the bare skin of the dinner guests and the white tablecloth. Everywhere else is pretty much cast into shadow. The presence of music may convey erotic themes; added to this is the presence of a single woman who may be a courtesan. Another theme of this work could be gluttony or indulgence as exemplified by the man who is draining his wine glass.
Probably my favorite painting that I studied was entitled Apollo and Marsyas. This painting is based on a Greek myth that warns against challenging the gods, and it was done from 1616-20 by Bartolomeo Manfredi, an Italian artist. In the story, the satyr Marsyas learned to play the flute so well that he challenged Apollo, the god of music, archery and the sun, to a contest. Apollo would play his instrument of choice, the lute, and Marsyas would play his new-found flute. The satyr lost only when Apollo demanded that they play their instruments upside-down—and as the flute is impossible to play in this manner, he lost to the god. Apollo then punished him gruesomely by hanging him from a tree and flaying him alive. The painting shows Apollo coolly slicing open the skin of the desperate Marsyas as the satyr is perhaps realizing just how bad his idea to challenge a god was. Apollo’s face and powerful shoulder is highlighted—the god’s face is completely devoid of sympathy. It is almost frozen, with no emotion to speak of. The satyr’s face, on the other hand, although it is cloaked in shadow, displays pure shock and agony. The stark contrast of emotions is a very captivating aspect of this painting. Other interesting aspects include the texture and the detail in the purple robe of the god and the fur pelt of the satyr.
The last painting at which I looked at was The Conversion and Baptism of St. Augustine by St. Ambrose. This was done in 1673 by Juan de Valdes Leal, a Spanish painter. This painting is one out of a series of seven that portray the life of St. Augustine, bishop of Milan. In it, we see St. Ambrose converting St. Augustine; in the background, we then see his subsequent baptism. The painting features two Roman style arches and also Roman style sculptures and décor. The bright purple fabric is incredibly detailed—the folds look real. The brightness of the purple curtain and the red tablecloth also contrasts with the dark suits of the men and their rather monotonous faces.
These six paintings each display a similar yet very different style of art. From the simple everyday life of a peasant to emotionally charged religious art to historically significant events, each work of art is important in its own way. While not every piece will be appreciated by all, most of them at least have universal themes and contain imagery that can be understood by many. The pure talent that is displayed by these artists is perhaps what is most impressive. The cloth actually looks like cloth that you could simply reach out and touch. I personally enjoyed studying and analyzing these paintings and look forward to returning to the St. Louis Art Museum for more discoveries.
since many paintings of the era had moral messages hidden inside.
The second painting I looked at was a still life entitled Peasant Interior with Woman at a Well, and it was done from 1642-43. Pictured is a large interior well with two people toward the back and several metal and ceramic tubs and plates lying around. Perhaps the most interesting thing about the painting is the large pile of fresh vegetables on the floor in front of the well. Willem Kalf, a Dutch artist, painted these with incredible detail, down to the sheen of the gourd. The picture shows excellent use of light and shadowing as well as foreshortening; Kalf used mainly muted, neutral colors with some gold tones as well. The work is filled with various contrasting colors—from the dirt floor to the bright metal tub and the leaves of the vegetables to the fuzzy cat in the corner. The painting could possibly represent a plentiful harvest or simple prosperity.
The third painting at which I looked was also Dutch, mainly because I favor the simplicity and honestly that is portrayed in many pieces of Northern European artwork.
It was entitled The Account Keeper, and it was done in 1656 by Nicolaes Maes. The painting shows an older women bent over a pile of books with her head resting on her left hand as if she is fighting sleep. There are ceramic bowls, ink bottles, baskets, key chains lying around on shelves and desks; the detail and thought that was put into this painting was quite impressive to me. There are obvious, structured parallel lines throughout the painting and the colors are mainly muted. A shaft of light is angled across the painting as if it is coming through a window, highlighting the woman and her work but casting the corners into shadow. Perhaps the most interesting aspect of the work is the large map on the wall. Cartographers often study maps in old paintings such as this one to understand the 17th century’s idea of how world looked. It is often easier to find maps in artwork than actual maps because maps were not necessarily considered valuable or worth preserving at the
time.
Another painting I studied was called Banquet Scene with a Lute Player, and it was done in 1625 by Nick Tournier, a French artist. The scene shows three men, one of whom is playing a lute, and one woman sitting around a table with a servant in the corner. There are several interesting themes in this painting. First of all, the table corner juts toward the viewer, which follows along with the 17th desire to involve the onlooker and bring them into the picture. The fact that one of the men is looking straight at us also goes along with this idea. The painting also has very dramatic highlights and shadows—but, interestingly, the background is lost completely to darkness. The light falls most brilliantly on the bare skin of the dinner guests and the white tablecloth. Everywhere else is pretty much cast into shadow. The presence of music may convey erotic themes; added to this is the presence of a single woman who may be a courtesan. Another theme of this work could be gluttony or indulgence as exemplified by the man who is draining his wine glass.
Probably my favorite painting that I studied was entitled Apollo and Marsyas. This painting is based on a Greek myth that warns against challenging the gods, and it was done from 1616-20 by Bartolomeo Manfredi, an Italian artist. In the story, the satyr Marsyas learned to play the flute so well that he challenged Apollo, the god of music, archery and the sun, to a contest. Apollo would play his instrument of choice, the lute, and Marsyas would play his new-found flute. The satyr lost only when Apollo demanded that they play their instruments upside-down—and as the flute is impossible to play in this manner, he lost to the god. Apollo then punished him gruesomely by hanging him from a tree and flaying him alive. The painting shows Apollo coolly slicing open the skin of the desperate Marsyas as the satyr is perhaps realizing just how bad his idea to challenge a god was. Apollo’s face and powerful shoulder is highlighted—the god’s face is completely devoid of sympathy. It is almost frozen, with no emotion to speak of. The satyr’s face, on the other hand, although it is cloaked in shadow, displays pure shock and agony. The stark contrast of emotions is a very captivating aspect of this painting. Other interesting aspects include the texture and the detail in the purple robe of the god and the fur pelt of the satyr.
The last painting at which I looked at was The Conversion and Baptism of St. Augustine by St. Ambrose. This was done in 1673 by Juan de Valdes Leal, a Spanish painter. This painting is one out of a series of seven that portray the life of St. Augustine, bishop of Milan. In it, we see St. Ambrose converting St. Augustine; in the background, we then see his subsequent baptism. The painting features two Roman style arches and also Roman style sculptures and décor. The bright purple fabric is incredibly detailed—the folds look real. The brightness of the purple curtain and the red tablecloth also contrasts with the dark suits of the men and their rather monotonous faces.
These six paintings each display a similar yet very different style of art. From the simple everyday life of a peasant to emotionally charged religious art to historically significant events, each work of art is important in its own way. While not every piece will be appreciated by all, most of them at least have universal themes and contain imagery that can be understood by many. The pure talent that is displayed by these artists is perhaps what is most impressive. The cloth actually looks like cloth that you could simply reach out and touch. I personally enjoyed studying and analyzing these paintings and look forward to returning to the St. Louis Art Museum for more discoveries.