The imagery of four works of art that are depicted on pages 357, 411, 433, and 572 of the book Art: A Brief History will be examined in this essay. Based on where they came from and the circumstances of their use, all four have allegorical and historical significance. I'll compare and contrast the pieces of art in the second section, making any connections that stand out. The ways in which each piece of art is used will also show off its distinctive designs. Adam and Eve, a German etching, is the first piece. (Bartsch 1). It was created in 1504 and measures about 25.0 x 19.3 centimeters (image and sheet). It presents Adam and Eve based on the sculpture of Apollo Beldevere and Eve on the Medici Venus. In the composition, the ideal human form is presented. The relationship therein is the moment of evenness that occurred before expulsion from the Eden. Adam and Eve are the primary subjects in the engraving. The symbolic value in the animals engraved is the representation of the four humors said to govern human conduct after the fall: the bull (phlegmatic) rabbit (sanguine), elk (melancholic), cat (choleric) ("Albrecht Dürer | Adam and Eve | The Met", 2017). The parrot at the upper left represents wisdom, benevolence, and virgin birth. The goat on the cliff seems to represent unbelief. The cat and mouse show antagonism likely to follow Adam and Eve’s banishment.
The second work is The Founding of Tenochtitlan page from the Codex Mendoza, Aztec, 1545 CE from Mexico. At the middle of the graphic, there is an eagle on a prickly cactus growing on a stone. There is a war shield situated in the middle of the drawing a likely indication of a settlement that was not peaceful. There is a simple structure above the eagle most likely a symbol of a temple. To the right of the eagle is a simplified skull rack. In each quadrant are different plants like corn indicating fertility of the city.
The Hip Pendant Representing an Iyoba (“Queen Mother”) from Nigeria is the third work discussed. The image shows a mask carving from 1550 CE with dimensions of H. 9 3/8 x W. 5 x D. 3 1/4 in. (23.8 x 12.7 x 8.3 cm). The materials apparent preciousness and carving that is highly refined is indicative of the royal nature of the piece and value attached in Ivory as a commodity. The white color of the carving shows purity. It is framed by an elegant tiara-like coiffure and openwork collar indicates this to be a portrait of a senior female leader. There are miniature Portuguese motifs along the summit which suggests trade and wealth. There is a mudfish motif alternating with the Portuguese faces that is indicative of aggressiveness and ability to live on both land and water. There are modeled features showing inlaid metal and carved scarification marks on the forehead. Additionally, there are bands of coral below the chin.
The fourth work is the Tar Beach by Faith Ringgold created in 1988 using Acrylic on canvas, and pieced cloth. The dimensions of this piece are 74 5/8 x 68 1/2 inches (189.5 x 174 cm).The work is a scene that shows a domestic leisure set on a rooftop. There is a girl and her younger brother lying on a mattress and staring at the sky. At a nearby table are four adults seated chatting and playing cards. Newly washed clothes and linens can be seen on the line hung to dry. A variety of beverages and home made dishes can be seen spread out over a table cloth that is flowered. Under the table is a basket full of food and potted plants are scattered around the edge of the rooftop. The scene appears a reflection of a place of plenty in a crowded environment. The upper section appears to shows the girl flying through the air.
Part B
The functions of each of these works had similarities and varied in a number of ways. Certainly, however, they were significant for spiritual and/or political reasons. The engraving of Adam and Eve of 1504 by Albrecht Dürer casts similarity with the story of Adam and Eve in Eden as told in Genesis. The artist reveals the motifs of a dense dark forest in which the individuals appear nude and gazing at each other. The artificial contradiction in their poses, Eve picking an apple, the other animals in the artwork and the Latin sign create a curious mix. There seems to be a political angle in which the work seems to drive the story of the German Renaissance and of the author, ("Dürer, Adam and Eve", 2017). In this manner, the work sends out both personal and cultural concerns.
In The Founding of Tenochtitlan, there is an abundance of a political and religious message as well. The history of Aztec with regard to the capital's establishment tells of their deity Huitzilopochtli (Hummingbird Left) advising their ancestors to look for a place with an eagle atop a cactus. They did observe this sign in the middle of Lake Texcoco consequently establishing their headquarters on an island in the lake. The prickly pear cactus (nochtli) and stone (tetl) get paired to form te-noch and the resultant Tenochtitlan or ‘place of the prickly pear'. The political connotation today is seen in the Mexican flag that shows an eagle on a cactus growing in the middle of a lake. Further, the war shields portray a community that was politically ready to defend itself, ("Frontispiece of the Codex Mendoza", 2017). The religious implications arise from the temple like structure seen above the eagle and the priest. This work, therefore, is a historical record to document history.
The Queen Mother Pendant Mask: Iyoba stands out for its political message and spiritual message as well. It was a prestige object worn by the king on ceremonial occasions and also the portrait of a historical figure. Idia, an advisor and mother of Esigie, one of Benin’s greatest rulers is the face on the pendant. As a result of Idia's wise counsel, the Benin Court introduced the role of Queen Mother: Iyoba. This made the queen mother have authority equivalent to a senior chief. The spiritual aspect of the pendant can be explained by its hollowed back that suggests it was a receptacle as well. It likely was used by the king to hold medicines believed to protect the king from evil during ceremonies. Reinforcement for this is seen on the availability of suspension lugs above and below the ears that suggests it was worn either at the waist or suspended as a pectoral ("Queen Mother Pendant Mask: Iyoba | Edo peoples | The Met", 2017). The pendant in this case thus was used to fulfill the visual teaching of the concepts discussed.
The Tar Beach by Faith Ringgold carries a political message that seeks to embrace social change. This is seen in this artwork that undermines gender stereotype and presents a black female heroine. Her use of quilt is symbolic in that it is a traditional American craft associated with African culture. The fantasy of Cassie Louise Lightfoot who flies of the George Washington Bridge symbolizes the possibility of realizing freedom and self-possession. The bridge, a manly creation is what the girl in the quilt seeks to overcome as an obstacle that stands in her desire to truly be free, ("Tar Beach (Part I from the Woman on a Bridge series)", 2017). The visual image used in this art is therefore aimed to be used as a visual teaching of a concept.
In the 21st Century, symbols have continued to create meaning through their creation and interpretation. Advertising logos, emojis, birds, insects, flowers, climatic events among others are used to define and shape identity today. Like the four artworks discussed above, modern symbols illustrate unspoken feelings, forecast the future and set a tone for future works. A visual logo nowadays can help associate a brand with trust, reliability, patriotism, family, and faith. This explains why many churches, for instance, incorporate the cross in their logos. Graphic symbols like emojis have created their own digital language. In Japan, folded hands signify an apology or gratitude while in the US it represents pleading or prayer (Taei, 2017). In the context of this essay, therefore, artwork is not only symbolic but an expression of other things as well.
References
Albrecht Dürer | Adam and Eve | The Met. (2017). The Metropolitan Museum of Art, i.e. The Met Museum. Retrieved 15 September 2017, from http://www.metmuseum.org/art/collection/search/336222
Dürer, Adam and Eve. (2017). Khan Academy. Retrieved 15 September 2017, from https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/renaissance-art-europe-ap/a/drer-adam-and-eve
Frontispiece of the Codex Mendoza. (2017). Khan Academy. Retrieved 15 September 2017, from https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/colonial-americas/a/frontispiece-of-the-codex-mendoza
Stokstad, M., & Cothren, M. (2016). Art: A Brief History (6th ed.). Boston: Pearson.
Taei, P. (2017). 9 Visual Storytelling Symbols to Take Your Content From :-( to :-). The Content Standard by Skyword. Retrieved 15 September 2017, from https://www.skyword.com/contentstandard/storytelling/9-visual-storytelling-symbols-to-take-your-content-from-to/
Tar Beach (Part I from the Woman on a Bridge series). (2017). Guggenheim. Retrieved 15 September 2017, from https://www.guggenheim.org/artwork/3719
