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The Melee Between Man and Nature - Research Paper | ARTH 110, Papers of Art

Material Type: Paper; Professor: Malagon; Class: Survey of Western Art II; Subject: Art History; University: Savannah College of Art and Design; Term: Spring 2008;

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Uploaded on 08/04/2009

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Jazzmyn Howington
ARTH 110 Survey of Western Art II
Professor Jassin
May 22, 2008
The Mêlée between Man and Nature [1600-1785]
Man’s relationship with nature during the French Baroque Period [1600-1715] could be
described as manipulation (no pun intended). The French Baroque artists, along with the
monarchy, believed that nature and landscapes should be manmade, clean and cultivated.
However, after decades of tight rule from the “sun king” and the rigid canon of painting set by
the Royal Academy, the artists and people of the Rococo Period [1715-1785] felt that nature
should take its own course. The rules and formality were taken out of both politics and art.
Therefore, the art of each period directly reflects the artistic tradition and political control of the
time, and is best monitored through the power struggle between man and nature.
The French Baroque Period was characterized and influenced by two major things, one of
them being the French Monarch. The other was classicism and antiquity. Both the French
monarch, the ancient Roman and the Italian Renaissance (classical influences) had an aptitude
for control; whether it is the gardens of Versailles to the idealized figures of Rome. This is why,
during the French Baroque period, the power is in the hands of man over nature.
Nicolas Poussin was a French painter but spent much of his life in Rome. This is where
he got classical inspiration from artists such as Raphael and Annibale Carracci. He took liking to
the Roman and Florentine principle of Designo. Like Raphael, he becomes intrigued with
placing figures in a landscape, and uses the Venetian landscape called Arcadia (paradise) as his
backdrop. However, his piece, Et in Arcadia, does not celebrate the landscape being Arcadia.
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Jazzmyn Howington ARTH 110 Survey of Western Art II Professor Jassin May 22, 2008 The Mêlée between Man and Nature [1600-1785] Man’s relationship with nature during the French Baroque Period [1600-1715] could be described as manipulation (no pun intended). The French Baroque artists, along with the monarchy, believed that nature and landscapes should be manmade, clean and cultivated. However, after decades of tight rule from the “sun king” and the rigid canon of painting set by the Royal Academy, the artists and people of the Rococo Period [1715-1785] felt that nature should take its own course. The rules and formality were taken out of both politics and art. Therefore, the art of each period directly reflects the artistic tradition and political control of the time, and is best monitored through the power struggle between man and nature. The French Baroque Period was characterized and influenced by two major things, one of them being the French Monarch. The other was classicism and antiquity. Both the French monarch, the ancient Roman and the Italian Renaissance (classical influences) had an aptitude for control; whether it is the gardens of Versailles to the idealized figures of Rome. This is why, during the French Baroque period, the power is in the hands of man over nature. Nicolas Poussin was a French painter but spent much of his life in Rome. This is where he got classical inspiration from artists such as Raphael and Annibale Carracci. He took liking to the Roman and Florentine principle of Designo. Like Raphael, he becomes intrigued with placing figures in a landscape, and uses the Venetian landscape called Arcadia (paradise) as his backdrop. However, his piece, Et in Arcadia, does not celebrate the landscape being Arcadia.

At first glance it appears that nature is the way it should be; wild, untamed and undomesticated. However, Poussin was merely imitating the Arcadian landscape. In actuality, this painting is not anything like a Venetian Arcadian landscape. There are harsh horizontals and severe verticals dominating the picture plane (very unnatural). The space is shallow and set like a stage for the people in the picture to be the most dominant part of the painting. The figures themselves are posed, idealized and classical, making them appear very muscular in attire that is classical and not of the time. By being placed in the foreground, they automatically become the most important part of the image (man in front of nature = man is more important than nature). Even the light suggests that the humans are the emphasis, like a spotlight on a stage. If that is not convincing, the inscription on the tomb means “Even in Arcadia, I [am present].” This is a metaphor that indicates even in paradise, (or Arcadia) death exists. He is commenting on the death of Arcadia, the death of Colore , and the death of genre (decorative) painting. For as in the Renaissance, intellect was highly important and should be evident in the construction of a piece of art. Poussin believed that form was the most important element to art and that colors in painting are allurements for persuading the eyes, and seemingly insignificant. The death of Arcadia meant the death of over grown wilderness paradise and the rebirth of the manmade landscape (such as Versailles). The Rococo Period, however, was a direct reaction from the French Baroque both politically and artistically. The French aristocrats were free from Versailles and the Rule of King Louis XIV. At the beginning of the Rococo Period the artists at the Royal Academy were split into two groups; Rubenistes and Poussinistes. Obviously, the Poussinistes would strive for form, strong and intellectual design, classical treatment of figure and classical subject matter. The

Antoine Watteau brings back soft painterly edges and a warm color palette. It is ironic how the only strict vertical part of the picture is a statue of Venus off to the side. It is ironic because she is a metaphor that represents classicism and the French Baroque; and she is being covered by over growing plants and flowers. In other words, nature has the power over man and the Rococo style is taking over the French Baroque. Both Poussin and Watteau define painting for their respective stylistic periods. While Poussin represents man controlling nature, Watteau represents nature controlling man. Their painting reflects what was happening at the time. Each artist’s subject matter emphasized the relationship between nature and man; essentially the death of the Venetian tradition of Arcadia and the birth of a new landscape, the Fete Gallante. The artistic tradition reflected each artist’s view; Colore for Watteau and Designo for Poussin. The composition, treatment of figure, treatment of space, line, color and light were all depicted according to the artistic tradition. Obviously Designo highlighted man having control over nature and Colore highlighted Nature taking control over man. Each landscape essentially exhibits man’s relationship with nature and reflects the political events of the time.