Monday, April 6, 2020

Bingeworthy Series for Quarantine & Chill

Frontier
I have started a list of historical dramas by year however it’s incomplete so I thought I’d share some of my favorites in various categories...

CONTEMPORARY DRAMA
Unorthodox (Netflix)
The Chi (Showtime)
Insecure (HBO)
Ray Donovan (Netflix)
Sneaky Pete (Prime)
Survivors Remorse (Starz)
High Fidelity (HULU)
Queen Sugar (HBO)
She’s Gotta Have It (Netflix)
Ozark (Netflix)
Little Fires Everywhere (HULU)
Luther (BBC) starring ❤️ Idris Elba
The Widow (Prime)
Euphoria (HBO)
Big Little Lies (HBO)
Big Love (HBO)
Vida (STARZ)
Sweet Bitter (STARZ)
Shameless (SHO)
The Affair (SHO)
House of Lies (SHO)
Hand of God (Prime)
Big Sky (HULU)
No Mans Land (HULU)

QUIRKY FOREIGN DRAMA-COMEDY
Sex Education (Netflix)
Working Moms (Netflix)
Fleabag (Prime)
Offspring (Netflix)
Four Weddings and a Funeral (HULU)
Catastrophe (Prime)
Feel Good (Netflix)

HISTORIC DRAMA
The Good Lord Bird (HULU)
Mrs. Maisel (Prime) 
Poldark (Prime)
Frontier (Netflix) starring ❤️ Jason Mamoa
Jamestown (Prime)
Blacks Sails (Starz) 
The Last Kingdom (Netflix)
Copper (BBC)
Boardwalk Empire (HBO)
The Crown (Netflix)
Victoria (Prime)
Reign (Netflix)
Elizabeth (Netflix)
The Tudors (HBO/Netflix)
Beecham House (Prime)
Sandition (Prime)
Call the Midwife (Netflix)
Durrells in Corfu (Prime)
Mr. Selfridge (Prime)
Gentlemen Jack (HBO)
Davinci’s Demons (STARZ)

DOCUMENTARY/DOCU-DRAMA
Tiger King (Netflix)
Broken (Netflix)
When They See Us (Netflix)
Madame CJ Walker (Netflix)

SCI-FI/FANTASY/COMIC
The Rook (STARZ)
Hunters (Prime) 
Outlander (STARZ)
Game of Thrones (HBO)
Carnival Row (Prime)
The Boys (Prime)
The Leftovers (HBO)
Luke Cage (Netflix)
Jessica Jones (Netflix)
Sense8 (Netflix)
Years and Years (HBO)

CRIME
Hunters
Outer Banks
Marcella
Law & Order SVU

COMEDY 
Black AF (Netflix)
Schitt’s Creek
Emily in Paris
Dead to Me
Girlfriends Guide to Divorce

FILMS
Kindred
Happiest Season
Alias Grace

Sunday, March 29, 2020

Short Story: Imogen

Flaming June

Imogen slept sprawled on the benches that ran along the West portico. Flowers and fig trees offered only minimal relief from the sun. Her mother hovered at the curtain in anxious adoration, not wishing to wake her sleeping daughter. It had been a busy morning and the evening would be even more demanding of her time and energy. A rest before the festivities was certainly in order. 



The humidity was heavy in the air making her chemise cling to the silhouette of her blossoming figure. She was a woman now and soon to be a married woman. The match was made long ago and neither bride nor groom had offered any resistance to it. A June wedding was not ideal with its unforgiving heat but neither family wished to delay. Tears sliding down the mother’s cheek, she dreaded the days, weeks, months ahead without a daughter's company, warm laughter and incessant questions. 



The sun was lower now and the orange silk chemise played off the reflection from the water creating a red glow at the crown of her head. That head would soon be adorned with fresh flowers and ribbons held up by intricately woven braids and the chemise swapped for a stunning embroidered gown. Her cheeks were flushed and the mother wondered what her daughter dreamt of. Were they the innocent dreams of a child or the anticipation of a nymph well aware of what lay ahead in the days and nights to follow? 

A dragonfly buzzed by loudly, briefly landing on her shoulder. Eyes still closed, she reached to shoo it away. It was too late, the vibration from its’ fluttering wings disturbed the magic in her dream and startled the mother from her tearful reverie. She blew a farewell kiss to her stretching daughter, maids surrounding her, and headed toward the gallery to see about the banquet.

Imogen opened her eyes slowly, recoiling slightly at the touch of her maid Claire. She was still struggling to wake and hesitant to proceed with the task at hand. She leaned back as Claire tried to slip the chemise from her shoulder. She glared at the maids offering them a stern warning that she wasn't ready. In the heat of the afternoon, they did a slow dance of push and pull; eventually getting Imogen upright. Claire made eye contact with the younger maid, Amelie, signalling for her to go inside. 


Alone with Imogen now, she stepped in front of her just inches from her face, her hands placed firmly on the young bride’s hips, “Mademoiselle, we must get you ready now”. She lifted her chin up and Imogen looked up into Claire's familiar face, meeting her gaze. “You will be fine. This will be good, cherie”. She took each hand and kissed the backs of them in both a gesture pleading for compliance and of reassurance.  Then she gently but firmly grasped her hand and pulled her into the nearby room that had been prepared for her bathing and dressing. Imogen's mother had just left the fresh flowers she'd picked in her garden to scent the water and be woven into her hair. 



Amelie had prepared the cool bath scented with Lavender, Jasmine and Gardenia flowers. She looked up as Claire entered the room with Imogen being pulled like a rag doll behind her. The girl was afraid, Amelie could tell, but knew little of these things as she herself had not been matched. Claire guided her to the bath and slipped the chemise from her shoulders. The loose, silky fabric fluttered silently to the floor. As she gathered it up she lifted each of Imogen's legs up as if the task to difficult for her. 



She gasped as she stepped in, scrunching up her face as she lowered herself into the bath. The water was fresh from the well and unwarmed offering a reprieve from the heat and a rousing affect, the latter of which was not appreciated. Amelie began with her hair adding soap and oil to cleanse and perfume it for the pleasure of her husband. She worked with a large comb to remove any tangles, silently planning how she'd style it later. Claire began the more intimate task of scrubbing her body with a softened sea sponge, also applying soap and scented oils.

Imogen acquiesced to the bath, yet another last before the many firsts to come. A girl's last nap, last bath, is to be remembered after she becomes a woman and her body is no longer her own. Brows furrowed and crossing her hands across her breasts, she wondered would Jean-Luc be gentle with her. He was intense and even brooding at times. Often seeming impatient, she worried he would not take time with her, that he might hurt her. Her shoulders tensed and sensing her stress Amelie massaged her shoulders gently. She hummed a song she'd heard in the square and when Imogen's shoulders relaxed she began to sing the words quietly and close to her ear hoping it would soothe her. It was a song of young love and Amelie sang to inspire Imogen that she might one day grow to love him. 



Saturday, December 14, 2019

Final Reviews

2019 Books in Review


The majority of the books which I read all or part of throughout 2019 were assigned reading for various courses at Cosumnes River College. The one exception was an audible version of Untwine by Edwidge Danticat.


Beaumarchais, Pierre Augustin Caron de, et al. The Marriage of Figaro. Oberon Books, 2003.
  • This book was assigned for Modern Humanities (HUM 310) course and though I started the book I was unable to finish it.  
Cunningham, Lawrence and John Reich, eds. Culture and Values: A Survey of the Humanities. Vol 2. Wadsworth, 2005.
  • There were several Chapters from this book assigned in various modules of the Modern Humanities (HUM 310) course that this annotated bibliography is being composed for. The assigned chapters 12-16 were well written and organized with accompanying art, architecture, literature and music examples  presented within various periods of modern European history. 
Cover Art by Sara Wood 
Danticat, Edwidge. Untwine: A Novel. Scholastic Press. 2015.
  • I first “read” this book on Audible. I had seen something online about the book and since she is one of my favorite authors I was excited to read it. I enjoyed the Audible so much that I purchased a hardcopy for my permanent book collection. I do however recommend the Audible version as it’s wonderfully narrated. Untwine
Huber, Walt and Arlette Lyons. California Real Estate Practice. Educational Textbook Company. 8th Edition. 2015. 
  • This was the assigned text for the class Real Estate Practice ( RE 120) at CRC. The book was well written and organized however not well utilized within the course. I intend to save the book as a resource. 
Jurmain, Robert and Lynn Kilgore and Wenda Trevathan. Essentials of Physical Anthropology. Cengage Learning. 2012.
  • This was the assigned textbook for Physical Anthropology (ANTH 300) at CRC. It is wonderfully illustrated, well researched and written. It was a great source for the course which was based on this textbook. 
Kittler, Pamela Goyan, et al. Food and Culture. Wadsworth/Cengage Learning, 2012.
  • This was the assigned text for Cultural Foods of the World (NUTRI 310) at CRC. This is an amazing book with a wealth of information on cultural foods around the world. It is very detailed and specific not only to countries but various regions, communities, tribes and religions within. Definitely worth purchasing and keeping for future reference and research for any foodie and/or nutritionist.  
Machiavelli, Niccolò, and Tim Parks. The Prince. Penguin Classics, 2014.
  • Pages 60-71 in Chapters 15-18 of this book were assigned for Modern Humanities (HUM 310) course. The reading selections certainly captured the pertinent points of this book as they relate to the High renaissance module being reviewed in the course. Machiavellian theory has lasting inference throughout modern times and into current politics. 
Taylor, John. William Shakespeare.
National Portrait Gallery.
London, UK. (Chandon Portrait)
Miller, Dr. Katherine and Dr. Joshua Barbour. Organizational Communication, Approaches and Process. Cengage Learning. 2014. 
  • This was the assigned textbook for Organizational Communication (COMM 341) course at CRC. Unfortunately the textbook is as dry and uninteresting as was the course. 
Shakespeare, William. Hamlet. Amazon Classics, 2017.
  • This book was assigned for Modern Humanities (HUM 310) course. This was my second exposure to this great work of literature with much more in-depth interpretation available through the course. The old English language is difficult to distill without supporting explanations and videos of the adapted plays. 





Modern Humanities (HUM 310) Course Review


When I first enrolled in this course I must admit I wasn’t clear about what the class curriculum would be. Once I read the syllabus I was very excited as the class could cover many periods in history I am very interested in as well as focusing on art literature and music. I didn’t have many expectations because I didn’t really know what to expect. The only goal I really had was to appreciate and enjoy the course work since it’s in a subject area that I do love. A class combining art, history and politics is quite a treat for me. 

Now that the semester is almost over I learned there are certain types of assignments that I prefer over others. My favorite type is blogging about various artwork and artists. I enjoyed both doing the research, writing and laying out the blog. I did enjoy some of the discussion prep assignments however I was not a fan of the compare and contrast ones. I also much preferred focusing on the architecture, paintings and artwork to literature and music. Most of what I learned in the class was how to research artists and contrast their work with historical and political events of the time. I was already familiar with many of the political events and some of the artists and fashion of the various periods. However, this class was a deeper look into the periods. Without a doubt this is the favorite class I’ve taken at CRC and would recommend it to anyone interested in history art and the time periods covered in this class.

Friday, December 13, 2019

Lady Mary

Holbein the Younger, Hans.
Portrait of Mary Boleyn. c. Unknown.
Hever Castle Ltd, Kent, UK.
Mary Boleyn aka “Lady Mary” was born in 1499 and died in 1543 at the age of 43. Lady Mary was the older sister of King Henry VIII’s second wife, Ann Boleyn, whom he later beheaded. Lady Mary was the “Royal Mistress” to both King Henry VII and reportedly his rival France’s King Francis I. She entered his court as a lady-in-waiting to then Queen Catherine of Aragon. 

There is a video called “
The Other Boleyn Girl” which can be viewed for free on IMDB.com which is quite good. You can Also read more about Lady Boleyn on The Crown Chronicles “The Forgotten Boleyn Sister - Mary Boleyn”, where I learned that Anne Boleyn banished Lady Mary from court in 1533 for secretly marrying William Stafford. 

She is mentioned briefly in the module video however I was mostly intrigued by her portrayal in Wolf Hall, which is why I selected her. I’m also fascinated by sister dynamics and this certainly was an odd one. Lady Mary is rumored to have born King Henry VII two children while his mistress and newly married to William Carey, though he didn’t claim either. She bore a total of four children. 


Tuesday, December 3, 2019

Painting of a Painter Painting

Roslin, Alexander. Portrait of Anne Vallayer-Coster. 1783.
Crocker Art Museum. Sacramento, CA.
I visited the Crocker Art Museum on Wednesday, November 27, just before Thanksgiving. I thought parking was going to be impossible until my daughter spotted the separate Handicapped lot with a prime spot available. The museum was pretty empty except for a group of mothers with their young children. They were coughing and not even trying to cover their mouths which did trigger my OCD a bit. We paid and headed inside the long empty room with windows on one side reaching two stories high. My daughter accompanied me up to the third floor but then went off to explore on her own. 

I selected a work of art located within the European exhibit painted by Alexander Roslin entitled “Portrait of painter Anne Vallayer-Coster”. My initial attraction to the painting was that it features a woman painter and that she was dressed in a lovely blue velvet gown. The colors are bright and appealing, drawing the eye up into her sweet face where a bit of mytery resides behind her dark eyes. The intimacy of her gaze suggests a relationship between the painter and his subject. One wonders what prompted the painting.


This painting was created in Paris and completed in 1783. Paris was soaked in the rococo style popularized by artists such as Watteau and Boucher. “Rococo style developed first in the decorative arts and interior design, and its influence later spread to architecture, sculpture, theater design, painting, and music. Rococo style is characterized by elaborate ornamentation, asymmetrical values, pastel color palette, and curved or serpentine lines.” I would add to this fashion, as rococo fashion has a distinctive style matched by the intricacy and whimsy of other artistic expressions. “After the reign of Louis XIV, the wealthy and aristocratic moved back to Paris from Versailles and began decorating their homes in the new Rococo style that was associated with King Louis XV.” Morning (https://courses.lumenlearning.com/boundless-arthistory/chapter/rococo/) 

The artist Alexander Roslin was Swedish born and trained and had completed what was referred to at the time as a “Grand Tour” across Europe before ending in Paris. Having traveled in Scania, Bayreuth, Paris, Italy, Warsaw and St. Petersburg, he became a popular and prolific portraitist known “combined insightful psychological portrayal with a skillful representation of fabrics and jewels.[1][2] His style combined Classicist tendencies with the lustrous, shimmering colours of Rococo, a jocular, elegant and ornate style.” He was married to an artist and his own double portrait of he and his wife, completed in 1767, is one of his better known paintings. Roslin and his wife were both members of the French Art Academie and in 1771 awarded a pension and free apartment in the Louvre. (https://en.wikipedia.org/wiki/Alexander_Roslin)

Roslin, Alexander. Self-Portrait with his wife
Marie-Suzanne. 1767. Nationalmuseum. Stockholm, Sweden. 
The subject of this painting, Anne Vallayer-Coster, was popular in the royal court as was Alexander Roslin and that’s likely where they crossed paths. Anne Vallayer-Coster had the patronage of Queen Marie Antoinette herself and painted the portrait of Madame Sophie, one of the “Grand Mesdames” or aunts to King Louis XVI. The Queen attended her wedding in 1781, signed her marriage contract at Versailles and later assisted her entry into the Louvre Academie, the first woman to achieve this prestigious appointment. It wasn’t unusual for the member of the Academie to patronize each other which may explain how the painting was initiated (Rembert, p. 47)



SELECTION OF NOTABLE PAINTINGS

Roslin, Alexander. Marquise de Pompadour and Marquis de Marigny (her brother).1754. 
Goteborgs konstmuseum, Goteborg Sweden.

Roslin, Alexander. Comtesse Egmont Pignatelli in Spanish Costume.1763.
Institute of Art. Minneapolis, MN.Minneapolis
Author's Note: I included the above painting as it is one of the artists better known works. Not only is it a brilliant example of his famous skill in illustrating fabrics and embellishments but because of the notable subject. The Comtesse was a popular figure in the French Court both beautiful and intelligent. Read more about her here http://www.gogmsite.net/grand-ladies-of-the-eightee/1763-comtesse-degmont-pigna.html

Vallayer-Coster, Anne. Still-Life with Tuft of Marine Plants, Shells and Corals. 1793.
Musee du Louvre. Paris, France.


Vallayer-Coster, Anne. Vase of Flowers and Conch Shell. 1780. 
The Met. New York, NY

Vallayer-Coster, Anne. Still-life with Peaches and Grapes. 1779.
National Museum of Canada. Ottawa, ON, Canada.

Vallayer-Coster, Anne. Bouquet of Flowers in a Blue Porcelain Vase.
1776. Dallas Museum of Art. Dallas, Texas.



MEDIA
Alexander Roslin (1718-1793) A collection of paintings. 2018. YouTube URL: https://youtu.be/jWiGQbJT130

Anne Vallayer Coster paintings Mozart Quartet pour piano n° 2 en mi bémol majeur KV 493. 2017. YouTube URL: https://youtu.be/EHLEQSu9fs0

Rococo: Travel, Pleasure, Madness Trailer. 2015. YouTube URL: https://youtu.be/WiDAsehHhtU

CITATIONS
Rococo | Boundless Art History. 2019. Lumenlearning.com URL: https://courses.lumenlearning.com/boundless-arthistory/chapter/rococo/

Alexander Roslin. 2019. Wikipedia Publisher: Wikimedia Foundation URL: https://en.wikipedia.org/wiki/Alexander_Roslin 

Rembert, Virginia Pitts. Woman's Art Journal, vol. 24, no. 2, 2003, pp. 46–47. JSTOR, www.jstor.org/stable/1358791.

Tuesday, November 19, 2019

Ruben’s Cycle, Portraits of a Queen

Rubens, Peter Paul. The Journey of Marie de’ Medici
1622-1625. Musee d’ Louvre. Paris, France
Peter Paul Rubens was one of the preeminent painters of the Baroque period. He had a unique perspective on the female form preferring to highlight the sensuous curves in his nudes rather than a leaner version favored by his peers. It is for this he is best known and the phrase “Rubenesque” was coined to describe a curvier woman. However, he should be remembered also for his diplomatic and academic endeavors as well both notable for the time. A career diplomat, he travelled throughout Europe and was said to be “fluent in six modern languages and to have read Latin fluidly,” (Wadsworth 372). By any estimation Rubens was a true genius to have accomplished so much and deserving of his title as the most prominent Flemish painter of the Baroque period. 


Rubens, Peter Paul. Self-portrait. 1639. 
Kunsthistorisches Museum, Vienna, Austria


One of his best known works was actually a collection of paintings commissioned by Marie de’ Medici, wife and widow of Henry IV of France, mother to King Louis XIII, to document her life. Looking at the painting The Journey of Marie de’ Medici, one can see the influence of the Renaissance masters on Rubens work. Unlike some of the more rigid and stiff Baroque paintings of his peers, Rubens work is injected with life, color and action. He seamlessly integrates the real subject with the ethereal presence of mythological characters. 


This painting was one of 24 large scale paintings, this one measuring almost 15 feet tall and 9 and half feet wide, created to adorn the walls of Luxembourg palace in Paris. The paintings took 3 years to complete (1622-1625) and were likely painted in part by Rubens team of assistants. More details on the Marie de’ Medici Cycle are available here http://www.indigogeorge.com/arthistory/2015/3/31/the-marie-de-medici. This painting currently hangs in The Louvre and I can say from personal experience is breathtaking to behold. I have presented in large format to reinforce the large size and grandeur of this painting.

WORKS CITED

Cunningham, Lawrence and John Reich, eds. Culture and Values: A Survey of the Humanities. Vol 2. Wadsworth, 2005.


Tuesday, November 5, 2019

Hamlet, Death and Betrayal

Moreau, Gustavo. Hamlet slaying Claudius
Date/location unknown. 
This well-loved play The Tragedy of Hamlet, Prince of Denmark (often called simply Hamlet, was written by William Shakespeare. Though the exact year it was written is unknown, “The first recorded production of Hamlet was by the Chamberlain's Men in 1600 or 1601, so it is likely that Shakespeare composed the play in early 1600.” (Mabillard, August 20, 2000). It was performed in taverns and inns originally to common audience and possibly later for Shakespeare's patron, Queen Elizabeth I, and her court. Aside from its brief silencing, along with other dramas in the mid 17th century, Hamlet has remained one of the most performed and adapted tragedies of all time

Hamlet contains within it not only the 5 Act play structure that captures the reader or viewer, Hamlet possesses all the harbingers of a true tragedy such as death, family loyalty and revenge. Death and grief are unveiled within each Act and are a catalyst for the next, providing its tragic theme. The plays most dramatic scene is between Hamlet and his mother, the Queen, as he discloses the true source of his madness and the betrayal by King Claudius and she must come to grips with this revelation and her part in it. “O Hamlet, speak no more: Thou turn’st mine eyes into my very soul; And there I see such black and grained spots 100 As will not leave their tinct. HAMLET Nay, but to live In the rank sweat of an enseamed bed, Stew’d in corruption, honeying and making love Over the nasty sty,—QUEEN 105 O, speak to me no more; These words like daggers enter in mine ears; No more, sweet Hamlet.” (Shakespeare. Act 3, Scene 4, Lines 97-107). This is the one point throughout the play where Hamlet speaks his truth and is comforted by his Mother even as she cringes at her own part in the corruption of Claudius’ crime.


Shakespeare's masterful tragedy does not end well for its namesake. The carnage from Hamlet’s folly increases as the play progresses and once the Queen dies, Hamlet has nothing to live for. One concludes that his seeking revenge for Claudius betrayal enabled more violence and death along the way. The final act of Hamlet is one had it been completed successfully when first attempted, could have prevented so much needless death. “Here, thou incestuous, murderous, damned Dane, Drink off this potion.—Is thy union here? 330 Follow my mother.” (Shakespeare. Act 5, Scene 2, Lines 328-330). 



Everett, Sir John. Ophelia. 1851-1852. Tate Britain, London, UK.


Sweet Ophelia
Ophelia was arguably the most innocent victim in Hamlet. From the beginning we see how she was controlled by her father and brother. In Act 1, Scene 3, Line 125 Polonius advises, “You must not take for fire. From this time Be something scanter of your maiden presence; Set your entreatments at a higher rate Than a command to parley. For Lord Hamlet, Believe so much in him, that he is young; 130 And with a larger tether may he walk Than may be given you: in few, Ophelia, Do not believe his vows; for they are brokers,—Not of that dye which their investments show, But mere implorators of unholy suits, 135 Breathing like sanctified and pious bawds, The better to beguile. This is for all,—I would not, in plain terms, from this time forth Have you so slander any moment leisure As to give words or talk with the Lord Hamlet. 140 Look to’t, I charge you; come your ways. OPHELIA I shall obey, my Lord.“ This dialogue shows how obedient she was which makes how Polonius used Ophelia to spy upon Hamlet such a betrayal of her trust. 

Ophelia was also betrayed by Hamlet, who was untruthful and misled her. Had she the strength to overcome the loss of Hamlet and the murder of her father, she might have emerged a tragic heroine. As fate would have it she spiraled into despair and eventually took her own life. In Act 5, Scene 7, Line 179 the Queen announces Ophelia’s fate, “QUEEN One woe doth tread upon another’s heel, 180 So fast they follow:—your sister’s drown’d, Laertes.” Her suicide, so quickly following her fathers Murder, speaks to her innocence and frailty. This act is one that nearly cost her a proper Christian burial.



WORKS CITED

Mabillard, Amanda. The Play History of Hamlet. Shakespeare Online. 20 Aug. 2000. http://www.shakespeare-online.com/playanalysis/hamletplayhistory.html

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Published by AmazonClassics, Seattle www.apub.com

Saturday, October 5, 2019

The Virgin Queen

Unknown continental artist (likely Flemish). Queen Elizabeth I, “The Darnley Portrait”. 1575National Portrait Gallery, London
Principal causes of the Reformation were a culmination of centuries long outrage over papal abuse and corruption. Additionally a lack of morality, excess and greed of the clergy was scandalous. As European countries developed stronger governments a new nationalism emerged which the Pope wanted to stifle in order to maintain power of over the Monarchies and their subjects. The intellectual influence of Humanism shifted thought among intellectuals to a more individual point of view which Protestantism supported. The work of Luther was influenced by his humanist contemporaries and his criticism of the papacy and Catholicism in turn appealed to them. (Wadsworth, 323)

England was mired in religious strife it’s disconnection from Italy was political, religious and geographical. King VIII was motivated to Reformation for his own selfish desire to secure a male heir and to rebuke the control of the papacy. There  were no celebrated Italian Renaissance painters at English court to influence local artists. Portraiture, especially of the monarchy was of foremost fashion and importance. However, there was an emergence of literary and dramatic arts spurred on by the intellectuals of the late Renaissance, most notably Shakespeare. The introduction of the printing press not only increased literacy and study of the Bible but also the consumption of secular books. 




Unknown English artist.

Queen Elizabeth I. 1588.

National Portrait Gallery, London


Reformation in England, initiated by King Henry VIII proclaiming himself the Supreme Head of the Church of England, would eventually lead to the first two women ascending to the throne. Despite his attempts to designate Lady Jane Grey next Line, that only lasted 9 days before Mary 1, his only surviving child with Catherine of Aragon, a Catholic, ascended and married a short time later. After her death five years later, Elizabeth 1 ascended to the throne and ruled for nearly half a century what would later be known as the Elizabethan Period. During her reign she reinforced the Reformation but stayed away from the violent religious persecution favored by her Catholic predecessor. She also managed to rule without ever marrying and was called “The Virgin Queen”.

“During the course of her reign, Queen Elizabeth I became a public icon. Her likeness appeared on a large number of objects - from the coins in purses to large-scale painted portraits. These images were carefully designed and served as a tool to manipulate the public image of the queen” (The Queen’s Likeness: Portraits of Elizabeth I, 2019). One could argue that not only was she iconic for her representation of the Reformation but also as she was the singular subject for much of the art of this period. The irony is her fathers motive for Reformation ultimately enabled her reign but also the ended the House of Tudor since she never married or had a child. She remains one of the most fascinating political and religious figures of her time noteworthy both for her gender as well as her personal traits.




WORKS CITED 


Cunningham, Lawrence and John Reich, eds. Culture and Values: A Survey of the Humanities. Vol 2. Wadsworth, 2005.


“The Queen's Likeness: Portraits of Elizabeth I.” National Portrait Gallery, www.npg.org.uk/research/programmes/making-art-in-tudor-britain/case-studies/the-queens-likeness-portraits-of-elizabeth-i#darnleyportrait. 

Tuesday, September 24, 2019

Venus of Urbino, a dangerous beauty

Titian, Venus of Urbino. 1538. Galleria degli Uffizi. Florence, Italy.
Titian’s Venus of Urbino was painted in Florence, Italy in 1538, and was only later named this as it was commissioned by the Duke of Urbino, Guidobaldo II della Rovere. He ordered the painting “as a gift for his young wife and to celebrate his 1534 marriage.” (The Artist). The mid-16th century painting idealized the human feminine form as a tribute to Venus “done in homage to feminine beauty from a purely human perspective”, (Wadsworth, 312). The striking colors and sensual light is a style attributed to Titian and later widely studied and emulated by baroque painters among others. What drew me to this painting in addition to the sensuous pose and lush colors is the symmetry and dimension. The figure draws you into the room first with her eyes then with her body and offers a peek into the domestic activities in her private boudoir. 
Tintoretto, Jacopo. Portrait of a Lady. 1574. Worcester Art Museum. Worcester, MA.
The woman reminds me of historical figure Veronica Franco, the Florentine courtesan and poet, though she was born just after this was painted. She was the subject and model for many prominent men who were beguiled by her beauty and wit such as Mannerism artist Jacopo Tintoretto (The Last Supper. 1594). “By the 1570s, she belonged to one of the more prestigious literary circles in the city, participating in discussions and contributing to and editing anthologies of poetry.” ("Veronica Franco" 2019) and consorting not only with wealthy noblemen but scholars and painters. She was a humanist in every regard and committed to raising the status of women. 

We danced our youth in a dreamed of city, Venice, paradise, proud and pretty, We lived for love and lust and beauty, Pleasure then our only duty. Floating them twixt heaven and Earth And drank on plenties blessed mirth We thought ourselves eternal then, Our glory sealed by God’s own pen. But paradise, we found is always frail, Against man’s fear will always fail.— Veronica Franco


Tintoretto, Jacopo. Danaë. 1570.

Museum of Fine Arts of Lyon. Lyon, France.


The Venus of Urbino aptly reflects the central theme in Renaissance paintings, the female nude. Their expressions reflect the knowledge of the power their beauty held over men whether painter or patron, all were captivated. By veiling these portraits as a tribute to Venus they were able to avoid any scandal, yet they still possess a dangerous beauty. 



More on Veronica Franco...
















Citations


“Venus of Urbino.” The Artist - Art and Culture Blog, www.theartist.me/collection/oil-painting/venus-of-urbino/.



Cunningham, Lawrence and John Reich, eds. Culture and Values: A Survey of the Humanities. Vol 2. Wadsworth, 2005.


“Veronica Franco.” Wikipedia, Wikimedia Foundation, 17 May 2019, https://en.wikipedia.org/wiki/Veronica_Franco.




Bingeworthy Series for Quarantine & Chill

Frontier I have started a list of historical dramas by year however it’s incomplete so I thought I’d share some of my favorites in vari...