N O N R E P R E S E N T A T I O N A L* A R T

    

Sonia Delaunay, Electrical Prisms, 1914, oil on canvas, 250 x 250 cm (MNAM Centre Pompidou), Image Source.

    Although nonrepresentational art may be difficult to interpret, it allows the viewer an insight to the artist's own subjective experiences, provides the viewer an idea of others perspective of the world and it is a way for artists to express their own life experiences creatively. Nonrepresentational art is known non-objective art. Nonrepresentational art may be depicted through various shapes, lines, colors, and rarely incorporates subjects that are easily recognizable in the real world and it does not intend to reference reality. Whereas abstract art may depict something in the real world using various colors, shapes, and forms. Sometimes this form of art may express more complex ideas such as emotions or feelings. Since this art style is considered non-objective that means that there are no set standards or rules that guide the artist or the viewer on what ought to be the correct way of creating and interpreting this type of art. However, throughout the history and development of art there are have been artists and art critics who insist that there is an objective standard that art ought to follow and how art ought to be judged or viewed. Thus, non-representational art may be seen as a controversial form of art for some artists who prefer the traditional elements and principles of design.  

    The purpose of nonrepresentational art can be used as a way for artists to communicate their subjective experiences in a creative fashion and it can also be a way express one's on spirituality. For example, Delaunay's Electrical Prisms depicts her own subjective experience of the electric streetlights located on a Paris boulevard. She depicts this experience with vivid colors and disc shapes that are meant to represent the streetlights. Delaunay also incorporates solid forms within the radiating discs, which are meant to form shadowy figures and a kiosk of books. With out the description of Delaunay's composition, it may be difficult to come to the conclusion that a Paris boulevard of streetlights is being shown. One might view this piece and see only the shapes and colors and may come to their own interpretation of the subject matter. Thus, the meaning of nonrepresentational art is subjective and is based on the artist's own perspective, which means that the viewer may have their own subjective experience when viewing a nonrepresentational art piece. Unless the artists clearly states their intentions in creating nonrepresentational art, the viewer is left to figure it out on their own what the artist was trying to illustrate. As mentioned before, some artists found meaning in nonrepresentational art on a spiritual level. Wassily Kandinsky was one of those artists. Kandinsky is considered to be an important painter of the modern abstract era. Kandinsky believed that pure visual abstraction can help express one's own true spirituality. He often compared abstract art to music and that the vibrations from the music inspires an individual's pure spirituality. Thus, he coined the idea of color vibrations stating that certain uses of color can achieve the same effect of expressing pure spirituality. Kandinsky often incorporated religious elements within his compositions, which meant he sometimes used objects that were in relation to religion and subconsciously recognizable to the viewer; however, he was also able to abstract the imagery of these objects so that the viewer may focus on the abstract forms and interpretations of the subject matter rather than the objective materialistic features within his compositions. For example, Kandinsky's Small Pleasures incorporates objects that are meant to represent the desire for materialistic objects. However, by simplifying the objects by including less detail, viewers are led to not focus on the objects in the composition, but are led to focus on aspects like lines, colors, and shapes. When viewing the city on the hill, it is formed by simple lines and shapes. However, the eye is then drawn to the vivid colors and shapes behind the city. Thus, attracting the eye to more vivid and abstract features of the composition. 

Vasily Kandinsky, Small Pleasures, 1913, oil on canvas, 110.2 x 119.4 cm (Solomon R. Guggenheim Museum, New York, Image Source. 

    The idea that artwork composed of simple shapes and colors is universally understandable is fascinating and complex. It is fascinating because it seems that most people are able to find some meaning in certain colors, shapes, or lines, even if it is a subjective experience or interpretation.  Artwork that is subjective may be difficult to interpret and may cause a disconnect between the artist and the viewer. Being that this art form is subjective, the artist may have intended for the composition to represent a certain idea or emotion, but may fail to successfully depict that through their artwork.  However, if the artist is able to express their emotions, thoughts, or subjective experiences in a way that others may find meaningful, it might suggest a deeper connection amongst human beings in general and may give insight to what ideas, thoughts, or emotions are commonly shared amongst everyone. Nonetheless, nonrepresentational art does not aim to express an objective idea or experience. Rather it aims to express a subjective experience or idea, which may suggest that this art form is a way for artist to freely express themselves without the criticism from themselves or others, and may help others find meaning and connectedness in subject matters that have no relation to reality. Also, various cultures interpret and depict art through various forms of medias and mediums, which provides insight to how art is subjective across cultures and artists. Certain cultures might have different standards of what art ought to be and what art ought to look like. Thus, art made of simple shapes and colors may not be classified as being universally understandable as art is a subjective form of expression.

 Dr. Asa Simon Mittman, "Naturalism, realism, abstraction and idealization," in Smarthistory, July 11, 2019, accessed April 5, 2021,https://smarthistory.org/naturalism/.

 Dr. Charles Cramer and Dr. Kim Grant, "Sonia Delaunay," in Smarthistory, April 7, 2020, accessed April 5, 2021,https://smarthistory.org/simultanism-sonia-delaunay/.

Dr. Charles Cramer and Dr. Kim Grant, "Kandinsky, Apocalypse, Abstraction," in Smarthistory, April 11, 2020, accessed April 5, 2021, https://smarthistory.org/kandinsky-apocalypse-abstraction/.

A Z T E C * H E A D D R E S S

 

Aztec feathered headdress, reproduction. Original: early 16th century, 

quetzal, cotinga, roseate spoonbill, piaya feathers, wood, fibers, amate paper, cotton, gold, and gilded brass, Image Source.  

    Penacho of Moctezuma II is a feathered headdress that was recovered by an Austrian geologist named Ferdinand von Hochstetter (Ferdinand II von Tyrol) in 1878. Being that von Hochstetter was appointed the new director of the Austria's first Museum of Natural History, located in Vienna, von Hochstetter needed artifacts to display, which resulted in him exploring and finding this headdress.  It is believed that this headdress was sent from Mesoamerica by the Aztecs. There is speculation that it belonged to Moctezuma II, an Aztec emperor that ruled from 1502-1520. However, it is unknown if Moctezuma II wore the headdress himself. Although the headdress provides a connection between the history of Aztecs and the people of Mexico today, the fragility and difficulty in transporting this artifact might suggest that the headdress should remain in Austria in order to preserve an important and beautiful artifact. 

    The original headdress, amongst other artifacts from China and Indonesia, was discovered by von Hochstetter at the Ambras Castle located in Innsbruck, Austria. However, experts concluded later on that it was likely the headdress belonged to Count Ulrich of Montfort, an envoy to the court in Spain, and that the headdress came to the Ambras Castle after his death. There is speculation that the headdress was passed down as a present, or gift from Moctezuma II to the Spanish conqueror Hernan Cortes. Von Hochstetter was unsure what he discovered and referred to it as a "Moorish Hat", or as an "Indian Apron." He even considered the item to a be a sort of flag that would accompany the Emperor during battle. However, it was not until American anthropologist Zelia Nuttal made it clear that it was a headdress. She based her findings on comparing images and descriptions of other Aztec codices. Some of her colleagues disagreed with her, which resulted in her creating her own replica of the headdress, which she wore at the International Congress of Americanists in Paris. Her purpose was to demonstrate to her colleagues that the artifact von Hochstetter discovered was in fact a headdress. With that being said, some of the sources we can use to learn about this headdress can mirror how Nuttal studied the object, through images and depictions of Aztec codices. 

    Royal feather workers called amantecas worked in  the Totcalli, or "House of Birds." It was located in the emperor's palace where they made feather garments, fans and shields. Birds of many kinds were also kept there where they were fed and cared for by the amantecas. The headdress itself consists of 500 tail plumes from the quetzal and other birds. There is also four different kinds of gold ornaments that are sewed to the feathers and placed in a row on the outside. The backside of the headdress shows each of the feathers tied with maguey thread against a meshed fabric on a wicker frame. The tail feathers that were used in this headdress came from a male quetzal. The quetzal bird is typically found in Central America. The Aztecs often traded long-distance and acquired many different objects such as feathers, textiles, cacao, and shells. Some of these objects were obtained through conquests and tributes. The quetzal bird is an important symbol in Aztec culture as it can be associated with deity Quetzalcoatl. Aztecs referred to the feathers and feather work as "the Shadows of the Sacred Ones." The Aztecs believed that warriors would return in the afterlife as birds and that they dwelled in the realm of "the Place of the Flowering Tree." Thus, bright colors, such as the emerald green, or turquoise of the feathers, was an insight of a higher plane of reality and in essence a message from another world. Thus, the purpose of this headdress was more spiritual rather than acting as a decoration or a piece of a costume. It is believed that the headdress was worn by priests during rituals, performances, or offerings rather than worn by the Emperor. Aztec emperors usually wore a diadem, or crown, rather than a feathered headdress. 

   Some of the current arguments about its return to Mexico and its remaining in Austria usually come down to a few reasons. Mexico believes that having possession of the headdress can bridge the relationship between current day people of Mexico with the history of the Aztecs and that it can strengthen the indigenous identity of Mexico. However, Austria worries that the return of the headdress may lead to the headdress becoming damaged. In order to get the headdress safely returned to Mexico, a special designed case is needed to encase the headdress in order to protect it from the vibrations caused by flight, assuming that the headdress would be delivered by air travel. Furthermore, a special plane would also be needed to ensure the safety and authenticity of the headdress. There was a study done by the Austrian government that stated transporting the headdress would require a plane that is 984 ft. long and 164 ft. high to prevent the vibrations from ruining the headdress. Since no plane as such exists, it is unlikely the headdress will find its way back to Mexico anytime soon. However, there is still hope that Austria and Mexico could compromise about the return of the headdress because Mexico has something Austria is interested in as well. Mexico is in possession of gilded carriage that was used by Emperor Maximilian who was a member of Austria's royal family and who reigned over Mexico from 1863-1867 due to the French invasion. Another argument made by Austria is that the piece was found long before Mexico was established as a nation. Thus suggesting that because Mexico did not exist at the time the headdress was discovered, Mexico does not have any claim to the headdress.

    Although there is debate about whether Austria or Mexico should possess the headdress, the headdress itself played an important role in the history of the Aztecs and the relationship they had with the Spanish conquistadors, specifically with Hernan Cortes. In order to preserve its beauty and its natural state, it should remain in Austria where it is safe and being showcased in a respectful manner. However, if Austria and Mexico can come to an agreement about exchanging artifacts that are significant to both cultures, it would open the door for other cultures in similar circumstances to make exchanges between artifacts, which will strengthen the cultural legacy for various cultures.

Dr. Lauren Kilroy-Ewbank and Dr. Beth Harris, "Aztec feathered headdress," in Smarthistory, August 10, 2015, accessed March 22, 2021, https://smarthistory.org/feathered-headdress-aztec/.

"Return of Aztec Artifact may be Model Deal.", accessed Mar 22, 2021, https://www.iol.co.za/news/return-of-aztec-artifact-may-be-model-deal-1014011.

Mikanowski, Jacob. "The Fight to Bring Home the Headdress of an Aztec Emperor." Atlas Obscura., last modified 2017-09-26 16:24:00 -0400, accessed Mar 22, 2021, http://www.atlasobscura.com/articles/moctezuma-headdress-mexico-austria.

P O W E R - F I G U R E

Power Figure (Nkisi N’Kondi: Mangaaka), mid to late nineteenth century, wood, paint, metal, resin, ceramic, 46 7/16″ / 118 cm high, Democratic Republic of Congo (The Metropolitan Museum of Art), Image Source.

The Kongo Peoples (Democratic Republic of Congo) have many beliefs when it comes to sacred medicines and protection. Some of these traditions of the Kongo people are still used in today's society. The Kongo believe that the first sacred nkisi was brought to them by a god they refer to as Ne Kongo. Nkisi,is similar to the concept of a "spirit" and is usually represented through a type of container such as pottery or vessels. Inside the pottery or vessels are sacred substances such as medicinal herbs which are thought to help cure physical or social illnesses. There are other forms of minkisi (plural for Nkisi), such as bundles, shells and wooden figures. Although some of these objects were referred to as evidence of sorcery and "fetish" objects by the Europeans in the 15th century, power figures were important objects used to keep oaths and to uphold contracts made between the Kongo people.

An example of a nkisi is in power figures, such as nkisi nkondi. Power figures of Central Africa were created by Kongo sculptors and ritual spiritualists. A power figure is a charm that is carved to resemble a human being, The purpose of a power figure is to hold and let go spiritual forces that can have a negative or positive impact upon the Kongo people who are near that power figure. Power figures such as nkisi nkondi can be used to handle disputes, to seek revenge, and to deal with evil spirits. This specific mkisi nkondi above is a Mangaaka power figure, which might have been used to deal with disputes or lawsuits. The role of materials and rituals correlates to how a power figure serve its' function. Although it might seem strange to place pegs, nails, and glass on certain parts of  the power figure, each placement and material used symbolically represent something more meaningful. The spiritualist, or nganga, will place these insertions into the power figure. The severity of the lawsuit or dispute, will determine the materials being used. Deeply inserted nails are used to represent issues that are much more serious. Before the nails are inserted, the parties of the lawsuit, or dispute lick the nails. Their saliva is what solidifies the function of the power figure, which can be considered  a type of contract or oath. Thus, this would mean that this particular power figure must have been used for a lawsuit or dispute that dealt with a very serious issue or evil. If the oath was broken between either party, the power figure would be activated by chants or prayers, which would then either carry out its task in protection or destruction. 

To the Kongo. the form and power of the figure was important to depict. For example, this particular power figure is meant to represent an individual who is of great importance and hold greats power. The headdress that is carved on the power figure was often worn by priests or chiefs, which suggest that the power figure represents either of the two. The leaning posture of the figure and the placement of the hands on the hips is suppose to represent the aggressive attitude of the person. The nails are also placed along the jawline, which is meant to represent a beard, a symbol for seniority. This power figure represented an individual who possessed a lot of power and who was a witness and enforcer of the contract made when creating this power figure. Thus, the form of the power figure, the materials used, and the person being represented are all significant components when it comes to depicting power. However, because these objects were confiscated by the European missionaries in the 15th century, their value and power have been depleted and referred to as being a form of heathenism. Nonetheless, these traditions have survived and made its way through the Americas and the Caribbean. Despite the stigma and superstition behind power figures that was encouraged by racist outsiders, power figures have served the Kongo people as a functioning charm, or even contract.

Dr. Shawnya L. Harris and Dr. Peri Klemm, "Power Figure (Nkisi Nkondi), Kongo peoples," in Smarthistory, August 9, 2015, accessed February 28, 2021, https://smarthistory.org/nkisi-nkondi-kongo-people/.

"Power Figure (Nkisi N'Kondi: Mangaaka) | Kongo Peoples, Yombe Group." The Metropolitan Museum of Art., accessed Feb 28, 2021, https://www.metmuseum.org/art/collection/search/320053.

L A N D S C A P E S

 

detail, Huang Gongwang, Dwelling in the Fuchun Mountains,
1350, handscroll, ink on paper,  Image Source

Attributed to Tosa Mistunobu, Bamboo in the Four Seasons, 

late 15th to early 16th century, ink, color and gold leaf on paper,  Image Source

   One painting tells a story of survival and perspective, while the other painting tells a story of passage of life through the seasons. "Dwelling in the Fuchun Mountains"  is a well-thought out piece that took many years to complete. "Bamboo in the Four Seasons" uses both Chinese and Japanese art style and literature to depict an illusion of time using the transformation of bamboo through the seasons. While both artworks are different and similar respectively, there are more differences between the two artworks that contribute to the success of these compositions such as the usage of lines, perspective, textures, and shapes.

    The purpose of "Dwelling in the Fuchun Mountains" by Huang Gongwang was to depict a journey through visuals of landscapes that might represent the changes or various perspectives Gongwang experienced  in his life while completing this artwork. Gongwang took about three years to complete this piece because he only worked on it spontaneously or when he felt it was the right time. It was also a form of Gongwang's self-expression, spirit, temperament, and is meant for the viewer to follow Gongwang on this journey. This handscroll has found its way through many others hands within history and has created its own stories as it flowed through time. When handscrolls are viewed, they are meant to be opened and read in a specific manner. The method in which handscrolls are read are a vital component in how the story or journey ought to be depicted. "Dwelling in the Fuchun Mountains" was burned and separated into two parts, however it is intended to be viewed as one piece. Gongwang did not create this handscroll simply for aesthetic purposes, but rather Gongwang used landscape to show passage through time and space. Gongwang does this by showing different perspectives of the mountains such as looking from above or looking from eye-level. He incorporated trees, shrubs, and rivers. Gongwang also shows changes by utilizing a lot space one moment and very little space the next moment within the journey. Gongwang uses shading and bold lines to create depth within his imagery, which allows the viewers to gain a 3-D perspective of the landscape. He incorporated specific techniques to create the mountains, such as hemp-fiber textural strokes and alum-head textual strokes. These techniques can produce either long, thin, or angular strokes alongside the mountains and can help create boulder-like shapes. Even though this handscroll was a form of self-expression, Gongwang did pay tribute to earlier masters. Furthermore, there are many interpretations of what the handscroll is depicting. However, Gongwang might have intended it to be this way in order to allow the viewers to understand that the journey is different for everyone depending on how you view it.

     The purpose of "Bamboo in the Four Seasons" attributed to Tosa Mistunobo was to show the birth and maturation of bamboo through the four seasons, starting with Spring and ending in Winter. It is intended for the viewer to view the screen from right to left. The screen is a mixture of both Chinese and Japanese characteristics. Certain elements of the art itself is also a mixture of Chinese and Japanese characteristics. For example, bamboo is more familiar within the Chinese art style; however, the representation of the passage of time through the seasons is more familiar within Japanese art and literature. Starting from the right, Springtime, there are bamboo shoots, violets and shepherd's purse grouped together towards the bottom of the screen, which are meant to show the beginning of new life in the Springtime. These plants also represent elements of a renga poem, which is a type of Japanese poetry. It also relates to waka poetry, which is a type of love poem. The gold leaf that was incorporated in the background was used to form bands of clouds, or mist that help with the transition from season to season throughout the screen in order to create a well-flowing composition. The bamboo progresses through the Summer season, which is represented by the growing bamboo shoots and the young bamboo leaves that are beginning to flourish. Autumn is shown by the ivy growing from the bamboo branches and the disappearance of bamboo shoots. Lastly, Winter is depicted at the end of the screen, which shows full-grown bamboo trees covered in snow. The passage of time is shown through the seasons by the usage of space. For example, the bamboo leaves from each seasons are almost touching each other, which create a sense of closeness amongst the seasons. Meanwhile, the passage of time is also shown through the growth of bamboo throughout the seasons. It is a visual representation of the passing of time through the seasons. The bamboo starts out as bamboo shoots near the bottom of the screen, and progresses into young bamboo leaves in the middle of the screen and finally into full grown bamboo trees which touch the top of the screen. Thus, not only can the viewer see change horizontally throughout the screen, but vertically as well. While it may seem that painting is depicting the transition between seasons, there seems to be a more complex meaning within the composition that might represent the passage of life through time. The traditional qualities of Chinese and Japanese art and literature incorporated within this composition provide a visual representation and a written representation of the human experience and the cultural history behind it.  

    When comparing these two paintings, there are a few similarities and differences when it comes to the way the artists used their perspective, lines, shapes, and textures. In the Dwelling in the Fuchun Mountains, the artist used various perspectives amongst the mountains showing a front view, a aerial view, etc.,. In the Bamboo in the Four Seasons, the artist placed bamboo all in the front of the canvas. The artists showed a different perspective of the bamboo through the seasons. However, the artist never placed the bamboo out of the frontal view. Thus, the viewer only saw one side of the bamboo, rather than seeing what a bamboo tree might look like if one were to be looking from beneath. There is also a difference in the way the artists used lines and shapes. For example, in Dwelling in the Fuchun Mountains, there are many types of lines such as diagonal lines, vertical lines and horizontal lines, which provide a sense of variety and rhythm. The shapes that are used vary from the jagged edges of the mountains to the roundness of the boulders. However, in Bamboo in the Four Seasons, there is a common usage of horizontal lines and not a variety usage of lines. Some of the shapes that seen are from the shape of the leaves. Although Bamboo in the Four Seasons does not have as much variety as Dwelling in the Fuchun Mountains, there is a great use of texture that is present in this composition. For example, the texture in the leaves and and plant life are well detailed. The usage of color in the bamboo and ivy also create texture within the composition. Both compositions have their own strengths and weaknesses when it comes to lines and other elements. Even though both compositions pertain to the passage of time, they are very different when it comes to certain characteristics and techniques. However, the elements and principles incorporated within both artworks contribute to the balance and rhythm of the compositions.

Sources

"Attributed to Tosa Mitsunobu | Bamboo in the Four Seasons | Japan | Muromachi Period (1392–1573)."The Metropolitan Museum of Art., accessed Feb 14, 2021,, https://www.metmuseum.org/art/collection/search/45258.

Dr. Sonia Coman and Dr. Steven Zucker, "Bamboo in the Four Seasons: painting and poetry in Japan," in Smarthistory, March 16, 2018, accessed February 14, 2021, https://smarthistory.org/tosa-mistunobu/.

Hung Sheng, "Huang Gongwang, Dwelling in the Fuchun Mountains," in Smarthistory, November 28, 2015, accessed February 14, 2021, https://smarthistory.org/huang-gongwang-dwelling-in-the-fuchun-mountains/.

P O R T R A I T S

                                                                                                             Diego Velasquez, Juan de Pareja, 

                                                                                                        c. 1650, oil on canvas, 

                                                                                                           32 x 27 1/2 in. / 81.3 x 69.9 cm

                                                                                                           (The Metropolitan Museum of Art)

                                                                                                           Image Source

                    Judith Leyster, Self-Portrait, 

                        c. 1633, oil on canvas, 

                   74.6 x 65.1 cm / 29-3/8 x 25-5/8″ 

            (National Gallery of Art, Washington D.C.)

                                 Image Source     

                                                                                                                                                                                                                                                                                                                                                                              

   The portraits are executed successfully as they contain certain elements of Baroque art that enables the viewer to appreciate the complexity and details within both compositions. Furthermore, both portraits have more similarities than differences because both compositions have details that depict complex emotions, whether that be joy or sadness, that capture the viewer's attention, which also leads viewers to further thought about the compositions. Both compositions have the subjects posed in an unconventional way that creates a sense of presence and a sense of drama. The tones, lighting, and brushstrokes help create details within the clothing, the hair, and the faces of both subjects that result in creating a sense of realism. 

    Looking at the self portrait of Judith Leyster, it is clear that she is portraying herself. Since it is a self portrait, that means she is the one who did the painting. Judith Leyster was a female Dutch artist who specialized in the Dutch Baroque style of art. During this time, the Netherlands separated themselves from Spanish control and established their own republic where the merchant class was the majority of those purchasing art.  This specific self-portrait is considered Baroque because of the style of the composition and because of the time period this portrait was done in. Professional female artists were not very common during this time period. However, Judith was one of them and she even was part of a guild, or an artisans association. The portrait emphasizes Judith as relaxed, confident and inviting, compared to traditional portraits of women, where they look more stiff and rigid. The portrait also emphasizes the intimacy between Judith and the viewer and produces a sense of closeness. An interesting factor about this self-portrait is that Judith is dressed up. It is likely that she would not dress up as she is in the portrait if she were painting; however, it was most likely intentional to show her position, or importance to the viewer. Judith also advertised herself within her own portrait by incorporating a painting of a musician, which would show potential buyers that she was a portrait artist and genre artist. Although Judith was talented, most of her artwork has gone unnoticed, which might correlate to the suppression of women during the 17th century. While Judith was successful during her time, most of her work was left out of books and exhibitions by art historians.

    Diego Velasquez's portrait is of Juan De Pareja, Velasquez's slave and assistant. Velasquez's portrait of Pareja received much attention because the way Velasquez captured Pareja. Pareja was depicted as being confident and proud. Pareja is well dressed and has posture that depicts feelings of pride. Yet, Velasquez was able to catch a complex facial expression that created a sense of intimacy between the viewers and Pareja's story. Pareja's posture and the light on Pareja's face provides a feeling of dignity and radiance that creates a sense of realism within the portrait. This portrait might have been considered controversial during the 17th century because Pareja was a slave, and he was represented in a way that says that he was someone important. It was not common to incorporate slaves as the main subject of a composition. Although Judith has more control over how she depicts herself to the viewer, Pareja did not have that control. Because of this lack of control, Velasquez is able to capture Pareja is vulnerable when it comes to how others depict him. The portrait reminds the viewers of the humanity in all people. Pareja was liberated by Velasquez in 1654 and became an independent painter after Velasquez's signed a contract of manumission.

    There are similarities and differences between both compositions. The similarities being that both paintings depict individuals who were controversial in their nature. Women were often victims of oppression and people of color were victims of oppression and slavery. As mentioned before, Judith was rare in her kind because she a professional female artist in male-dominated field. Also the way Judith depicts herself in her portrait as being confident and laid back was controversial in itself. This is because women were seen as being complacent and rigid. As for Juan de Pareja, he was depicted by Velasquez as confident and of importance, which was controversial because most slaves were not seen in that manner in which Pareja was painted. Technical similarities would be that both compositions represent  Baroque style. For example, Baroque style is known for depicting drama and emotions, which is seen in both the complexity of Diego de Pareja's face and Judith Leyster's face. There is also similarities between the brushstrokes, tones, and the fine details within the clothing and faces. For example, Velasquez uses a combination of grey tones and warm tones to create contrast. Judith's self-portrait also contains a lot of "loose" brushstrokes that create a sense of movement in the way she posed. The differences in these compositions are the overall feeling and essence each composition provides. When looking at Judith's piece, it is more lighthearted and welcoming. However, looking at Velasquez's piece, it is more humbling and creates a feeling of irony. Technical differences would be the lighting in which each artists paints. Judith's painting is well-balanced in lighting, whereas Velasquez focuses most of the lighting on Pareja's face, which creates a sense of drama or emotion. 

    While there some differences within both portraits, there are more similarities between the two. Both portraits are able to capture the essence of Baroque style by incorporating drama, emotion, fine brushwork, details, and tones. Both portraits also depict two individuals who have been treated less than equal within society. Nonetheless, each composition was able to succeed in producing compositions that represent Baroque style of art all the while portraying the stories behind both subjects. 

Dr. Beth Harris and Dr. Steven Zucker, "Judith Leyster, Self-Portrait," in Smarthistory, December 14, 2015, accessed January 31, 2021, https://smarthistory.org/judith-leyster-self-portrait/.

The Metropolitan Museum of Art, "Diego Velázquez, Juan de Pareja," in Smarthistory, October 8, 2016,  accessed January 31, 2021, https://smarthistory.org/velazquez-juan-de-pareja/

"Velázquez (Diego Rodríguez De Silva Y Velázquez) | Juan De Pareja (1606-1670)." The Metropolitan Museum of Art., accessed Jan 31, 2021, https://www.metmuseum.org/art/collection/search/437869

I n t r o d u c t i o n

    Hello my name is Maribel Ybarra. Maribel is what I prefer to be called. This is my first semester at CSU. I transferred from Pueblo Community College. Technically, I am starting out as a Junior here at CSU. I am majoring in Psychology and I am minoring in Art. I hope to pursue a career towards clinical psychology and/or marriage and family therapy. I hope to be able to incorporate art into my field of study which is why I chose it as my minor. I have a 5 year old son named Castiel, which means I have a pretty hectic schedule, but it is worth it! Some of my favorite hobbies or interests include spending time with my son, reading, painting, sketching, watching movies, playing video games, going to concerts, or trying out new recipes to cook at home. Otherwise, I am at home or visiting my friends and family. Another art class I have taken is Art Appreciation at Pueblo Community College. I enjoyed the class a lot and I was really surprised how much elements and principles are considered when creating and/or studying art. I do not think I have a favorite artist or a favorite artwork because I feel that I have a lot more to discover and learn about before I can choose just one or a few. Nonetheless, I do have certain styles that I admire such as French Baroque, Italian Renaissance, Art Nouveau, and Surrealism. I look forward to this class and cannot wait to learn more.