Shadowy Figures in Degas's Ballet Classes

In his excellent series The Impressionists, critic and art historian Waldemar Januszczak discusses at some length the stunning and innovative ballet studies of Edgar Degas.  But he left out a major aspect of his work, which is surprising given how thorough his research seems to have been overall.  Appearing in some of Degas's paintings are dark shadowy figures watching the "ballet rats" as the students were often referred to, with some interest.

These "patrons" were welcomed by the ballet schools as they were an important source of income.  But it is well documented that rooms were set aside at the rear of these schools for "extra curricular activities".  Many mothers sent their daughters along to these schools knowing this was happening and because it was happening, in the hope their daughters could bring home some cash that might keep the rest of the family alive.   This is the 19th Century and poverty was endemic in inner Paris.  

Jacob Van Ruisdael

"Bleaching Ground In A Hollow Near A Cottage"  Oil on Canvas   1645-1650

I've always admired the dark, brooding work of this artist.  He is able to invoke an intimate relationship with the landscape so that the viewer becomes a participant in the scene rather than a detached observer.  Direct observation of Van Ruisdael's scenes can lead to inward meditation and he achieves this by capturing a particular light or moment.  

More Than Observation

When an artist pays homage to something as mundane as a clump of turf it makes you think. Certainly this is more than a scientific or botanical study.  In the book Art As Therapy, the authors argue 16th Century artist Albrecht Durer was presenting an experience of nature that particularly moved him.  They believe Durer was hoping his work would encourage us to go outside and look with greater clarity at some aspect of the natural world, rather than take our surroundings for granted.

A Large Piece Of Turf                 1503                    Albrecht Durer

Down and Out In Paris

"What Is Called Vagrancy", 1855 (132 cm x 162 cm) by Alfred Stevens.  Three soldiers escort a beggarwoman and her 2 children off to prison whilst a passing woman appears to be making an offering, only to be warned off by one of the soldiers.

I've always admired the art of the 19th Century social realists as I like to refer to them as, depicting the lives of the anonymous poor as an urgently topical subject, to quote art historian Robert Rosenblum.  Whilst they had a powerful message to convey, they never forgot that they were artists, first and foremost.  Today the message seems to drown out the art in many instances, judging by what I encountered at art school and beyond.

The Importance of Down Time

Young Man At His Window,  1875 by Gustave Caillebotte.

In a world obsessed with productivity, this activity is increasingly frowned upon.  The Book Of Life tells us that if we do it right, staring out the window offers a way for us to listen out for the quieter suggestions and perspectives of our deeper selves.  We can explore the contents of our own mind which contains far more information than we are aware of at any one time.

The Apotheosis Of War (1871)

This Painting by Russian Artist Vassilii Vereshchagin could easily have been produced just last week, given the events in the Middle East and elsewhere.  Critic Robert Rosenblum  describes the work as symbolizing human barbarism at any time and any place.  It is the artist's grim memento of the Turkestan wars of that period.

Johan Christian Dahl

"Dresden By Moonlight" (1839).

There is a haunting beauty in this work by Dahl which is one of many moonlit scenes of Dresden he painted.  I love the moonlight reflecting off the water and the dimly lit buildings in the background which give this work an other worldliness.

Night Hawks

The guy who painted this picture, Venetian born Ippolito Caffi (1809-1866) is something of a mystery.  I only became aware of him through an image of one of his works appearing in a catalogue of a Turner exhibition.  I can find nothing of him at the State Library of Victoria which is very unusual.  He specialized in scenes of night festivals in his native city as well as unusual lighting effects and weathers.  His understanding of light is almost hypnotic which is why I admire him.