Steinfrau (Stone Woman) by Meret Oppenheim

The time is 1938 in Paris. Meret Oppenheim became one of the few female Surrealists of her time. Looking at Stone Woman in its muted, earthy tones calms one but it still delivers a dramatic statement. Giving a strong direction towards feminism and how Ms. Oppenheim viewed her world. Studying this painting with a critical eye, and exploring Ms. Oppenheim’s views between the dominant male society she lived and the effects it had on her art. There is a lot of contradiction in her art on the one hand and very independent narrative, on the other.

Ms. Oppenheim was born in Switzerland in 1913 and raised by her grandparents.  At the age of 18 she entered school at the Academie de la Grande Chaumiere in Paris. She had the privilege of modeling for Man Ray and befriended Alberto Giacometti and Hans Arp. This coming at a time when women were viewed as objects and muses, she felt that the modeling did not suit her, so she started to create art herself. (Bhattacharya-Stettler)  They all introduced her to the world of Surrealism. She took everyday objects and created art with fetishistic undertones and she also explored the woman’s role in sexuality and how man uses the woman as a sexual object. (Belton)  This is noted in Stone Woman in a noticeable manner.

Looking at Stone Woman, the painting contains distinct horizontal lines in the sea, and beach giving a stable background. Glimmering sands at the top of the piece and highlights on the sea lead way to signs of a sunny day. The body of Stone Woman cast diagonally across the picture adds the dramatic edge.  The large grey stone with the white striations, takes ones eye directly to that spot in the center of the painting. From that point you notice that the woman is wearing a fur skirt, which could represent numerous things. One that the woman could be nurturing and warm at heart, fertile, or something towards a sexual reference. The stones that lie upon the body might represent the world (man) suppressing the woman holding her back from attaining her goals. Could it be that the stones are made to actually be the man atop of the woman? The stone above the large grey one could represent a heart and the stone placed between the legs could lend to a sexual reference again. Maybe the stones represent that she is one with the Earth, Mother Nature’s creation.  Her legs are as though they are reaching into the sea for power or rejuvenation and strength to break through the stones to become herself.  One might think that the true concept is that the sea could be trying to take her back into its depths and the stones grounding her so she cannot leave this earth. I find this piece of art somewhat haunting that the image stays with you long after seeing it. To me the work is very thought provoking and I find the usage of an odd number of stones, seven pleasing to the eye and mind.

I am a huge fan of the Surrealists and to study one that I was not very familiar with was important. That she was a female in a male dominated art world was also very meaningful and inspiring. Meret Oppenheim had many contributions to the Surrealist world she inhabited. Many of her pieces are not as well-known as her Object (Le Déjeuner en fourrure), a fur covered tea cup. Like many of the artists of her time, she too struggled with her inner demons and destroyed much of the work she completed. She also abandoned the art world for almost two decades to possibly regroup for the next stage in her life in the 1950s. (Wikipedia)  In the late 1970s she had made herself noticeable in the art world once again and became admired among the younger European artists. I will leave you with a quote from her, "Nobody gives you freedom, you have to take it" (Wikipedia)  

Works Cited

Belton, Dr. Robert. “art, The World of Art, from Aboriginal to American Pop, Renaissance Masters to Postmodernism”. New York: Watson-Guptill Publications 2002. Print

Bhattacharya-Stettler, Dr. Therese. “Art as an Elixir of Life”. www.kunstmuseumbern.ch. 2006 June. Web

n.a. “Méret Elisabeth Oppenheim”. www.wikipedia.com. 2015 July. Web

 

 

 

Adam and Eve Driven From Paradise

 

The time is 1550, and we are in the early Safawi/Safafid period of Iran. The illustration is from a larger format manuscript, which is almost unheard of; it is about 24 inches by 31 inches. The manuscript is The Falnameh or “Book of Divination/Omens”. Scenes such as this Adam and Eve piece are placed side by side with calligraphic text forecasting the future of those that seek its knowledge. (Grabar) It is unknown who the artist is or what religious value that the illustration might hold for him or its viewers. There is some calligraphy under the dragon’s right foot but it is unknown if this is the actual artist signature. It could be that of the owner, library clerk or an imposter. (Binyon) The concept of the images could be from the artist’s imagination or maybe something that they had seen in their travels from another culture.

 

The Adam and Eve piece is very exquisitely created with bright and vivid use of colors. Adam rides upon a large blue dragon and Eve is riding on a large bird, which could represent a peacock. Adam is pointing towards Eve, could this be perceived, as it was all her fault? As you view deeper into the piece you can see that paradise is lush and green. Assuming that prior to their departure from paradise they ate from the tree of knowledge and gained certain wisdom due to two things in the image. First they are wearing clothing made from leaves covering their nakedness and second, the flames coming from their heads. This to me represents that they have a learned knowledge that was forbidden to them from God. Along with the couple in paradise are a man driving them from the garden and another elder man, which could represent the devil himself. He has his forefinger to his mouth; this represents a gesture of surprise. (Garbar) The top and bottom of the illustration each have rows of angels watching as Adam and Eve are being driven out. Some of the Angels seem to be discussing the matter and others watch in amazement.  I am unsure if the background colors behind the angels have any influence over the illustration. The top rows of angels are surrounded in a golden color whereas the lower row is a pink/red tone. Could this represent heaven and hell? Everyone but Adam and Eve is wearing intricately designed clothing. Many of the female angels have pearls in their hair and their male counterparts have pearls coming down from their headdresses. This could represent the rewards of heaven.

 

Of course the two main characters draw your view straight to the center of the illustration for emphasis. With Adam and Eve being larger then the rest of the people making them the most important part of the piece. The creatures they ride appear fierce but are beautifully decorated. The two other figures in the center area take your eyes around in a backwards “S” shape and lastly you view the angels surrounding them. The use of primarily yellow/gold, blue and red is prominent. Then the addition of green for paradise, filled with simple floral motifs. There are several organic and some geometric patterns repeated throughout the piece. The repetition of shapes gives the illustration a lot of texture.   All the subjects appear very animated which gives the image action and excitement.

 

I am intrigued by the use of all of the excitement contained within, which is why I chose this illustration. The images have been the subject of hundreds of pieces of art throughout the centuries. The color usage, which is basically the primary color palette, lends to a cohesive piece of work.  My favorite part of the piece is the magical creatures that Adam and Eve ride upon. Next I love how the angels are portrayed. The expressions on their faces, their dress and the beauty of their wings brings me peace.

 

Adam and Eve Driven from Paradise is located at the Smithsonian Institution in Washington DC. Located in the Freer Gallery and the Arthur Sackler Gallery and was purchased from the Henri Vever collection. The illustration represents a popular devotion of the sixteenth century artist. The use of their imagination and talents gives the viewers of then and now great pleasure and admiration. I am positive that the text, which accompanies this illustration, lends an even more powerful presence in those who perceive it.

 

 close up of angels

 

 

 

Works Cited

 

Grabar, Oleg. “Masterpieces of Islamic Art, The Decorated Page from the 8^th to the 17^th Century”. New York: Prestel 2009. Print

 

Binyon, Laurence. Wilkinson, J.V.S. Gray, Basil. “Persian Miniature Painting”. New York: Dover Publications 1971. Print

 

Art and Architecture of The York Water Company

The time is 1929 and that is when the York Water company was built, located at 130 East Market Street York Pennsylvania. Architect William Billmeyer had designed it, Hess Brothers Company were the builders. (York Water Co.) This report will include the investigation of the architecture of the building. The styles and why the architect chose them. Next, I will examine the art within and the need to use specific symbols on the ceiling. I will also include some history with this report and in conclusion look at why this building has stood the test of time.

Street Side Views

Standing across the street gazing across at this grand building, one can really appreciate the thought process our forefathers had when they took on construction for the York Water Company building. The architect, Mr. Billmeyer, dedicated his design to the “Great gift of the Creator to mankind.” (York Water Co.) Many elements of the building are dedicated to God’s gift of water as noted throughout and in the photos. Its colonnade of four Corinthian columns standing tall and proud with a grand pediment on top of the façade which shows a relief of a bubbling fountain. Between the four columns are three huge Palladian windows (Ching) and below the middle window is the entrance with a brass doorway including a pediment containing an urn in the midpoint. The Corinthian style used in the Hellenistic’s times are the most ornate of the orders of columns. Atop the great columns is a pediment with a sculpture all in the fashion of the Greek builders. The building is also long and rectangular which mimics the Golden Ratio. (Fiero) In the rear of the building, you are met with a patina brass sign going across the width of the building and below a double door including stained glass panels made at Rudy Art Glass also located in York.

 

 

Entering the Large Hall

Upon entering the building, first you see the grand ceiling 25 feet above. The plafond ceiling is surrounded by a cove with vaulted arches over each Palladian window lining the room. (Ching) This stunning ceiling was painted by Gustav Ketterer. Through the center, there are three notable frescos, the first containing The Four Rivers that is a biblical interpretation of the life waters flowing from the throne of God. Representing the four gospels, the four ancient rivers were Gihon (St. Matthew), Tigris (St. Mark), Euphrates (St. Luke), and Pison (St John). Next is the Greek god Poseidon being drawn across the seas, and his Roman counterpart Neptune the controller of the waters, the clouds and earth’s fertility. The third is Roman god Psyche offering a cup of the water of life to the goddess Venus. Above each of the windows, surrounding the whole room are the signs of the zodiac, which pays homage to the rich agricultural history of York County. Between each of the windows are the Four Goddesses who represent the benefits conveyed through water: Ceres, the Goddess of Grain, Amphitrite, Goddess of the Waters, Pomona, the Goddess of Fruits, and Flora, the Goddess of Flowers. The White Rose of York is above the door in the rear of the room and if you look beyond the clock above the front door is the crest of the York County Courthouse. In all the painting covers about 3800 square feet. Unfortunately with years of coal soot, pollution and traffic dirt coming in from Market Street, by the late 1960s motivated the water company to cover it with a drop ceiling and fluorescent lighting. In 1995, the company removed the drop ceiling and restored the art: “With washing, gold leaf and repairing the holes and cracks, it just came back to life,” said Jeffrey Hines, water company president, stated. (York Water Co.) James Vallano, a conservator who had extensive experience including ceilings in the Capitol Building in Harrisburg, restored the great ceiling. (McClure) The walls are actually a trompe l’oeil of marble as are some of the door jams that had been damaged over the years from moving equipment. The other door jams and the counters are black marble with a deep white grain running through it. Upon the customers table where they could write out their checks or get their water company affairs in order stands the original ink well used in the twenties or until ballpoint pens were introduced. (Hines) In the rear of the building, you enter the office area containing two floors of office space. On the second floor, there is a wood paneled boardroom, which contains a clock built into the wall that works through the time tickers on Wall Street. It is handset with each time change throughout the year. (Hines)

 

Why York Water Company Started

The York Water Company actually was founded in 1816 by a group of local businessmen who were tired of watching their businesses burn down. They gathered at a local tavern and wrote up a charter, sent it off to the Pennsylvania legislature for approval. Its first pipes were actually made of wood logs with a hole drilled down the middle and buried underground. If a fire started, the fire brigade would go to the closest pipe punch a hole in it and either connected a hose or create a bucket brigade. They would plug it up when they were finished and this is where the term “fire plug” came from. (Hines) Being the industrial town York was, the businessmen in the twenties wanted to build a grand building that would stand the test of time so that is when they started construction on the current building. They built this structure in the Neo-classical style (Ching) in the twenties when the economy was stressful but they powered through. The structure cost over a million dollars to build at that time and now would be almost be impossible to recreate financially. (Hines) Today the magnificent building stands as a reminder of the value water is and how important it is for the community.

Works Cited

Ching, Francis D.K. A Visual Dictionary of Architecture. John Wiley & Sons, Inc. 1997. Print.

Fiero, Gloria. The Humanistic Tradition. 6^th Ed. Vol. 1 New York: McGraw-

Hill, 2011. Print

Mclure, James. The YorkTowne Blog. N.P. Web. 4 July 2015

The York Water Company, https://www.yorkwater.com. N.P. Web. 4 July 2015

Hines, Jeffery. York Company President. Interview. 22 June 2015