Contextual Studies

A man? An idea? A revolution! The reasons for such controversy and admiration over one man has fascinated musicians, philosophers and members of the public alike. When Bowie came into the eye of the public in 1969 the shock of his performance gave the whole idea of Rock and Roll a “much needed blood transfusion”. He was unique, not only in the sense that no one had seen anyone or anything like him before, but in the way he performed. Bowie created characters, not only to attract people to his music, but to create a performance. It is said Bowie “blurred the lines of theatre, film and music”. As David Bowie stated in 1969 “I am an actor. My whole professional life is an act. I slip form one guise to another very easy…and the extreme comments force it to another direction.”

Bowie ‘directly mirrored’ the lives of the ordinary youngsters in the 1970s and was living proof of the ambiguity of the human being. Bowie proved to the world that our changing personalities are in “constant flux” and “constantly being remade, not fixed in stone by age, class or gender.” Through the persona Bowie had created for himself as a “pop star”, and through his music, he offered many young people a sense of freedom that was not provided to them by society or the communities they live in at the time. Therefore the image of Ziggy Stardust, Starman, Aladdin Sane, The Thin White Duke and the Hero, Bowie became the face of so many idols that became God-like figures of the 1970s.

What was the fuel that drove Bowie’s enthusiasm and unique sense of life? This is a question asked by many over the years and through a recent visit to the Victoria and Albert Museum in London, I and over 20 000 others discovered the answers. Through the “pleasantly bewildering” exhibition the mind and world of bowie was brought to life through his sketches, costumes and video installations the exhibition showed the world bowies inspiration. Bowie originated from a family with a history of mental disease. Intrigued by the works of philosophers and great physiological novels such as ‘A Clockwork Orange’ by Anthony Brugess, Bowie sought refuge and answers from them and was determined not to end up insane like previous members of his family. From the theories of great philosophers Bowie turned his madness into a musical art form.

The 60s and 70s held many new and exciting discoveries. From the obsession of space travel and Doctor who, to the sexual revolution and gender battles, with new fashions and new trends this period of time was filled with exotic and unique revelations. However, it is thought that David Bowie was the most exciting thing to happen at that time in history. He was the ‘talent from another world’ and the ‘most influential rock star, of his generation. His story is one of learning and evolving with amazing creativity to question the very world around him.

Exploring the effects of context through the works of Johannes Vermeer and Peter Lely

The 17^th century was a time of change, change of fashion, change of attitude and religion. I have chosen to look at two paintings from this time period, one a Dutch painting the other a British painting. I find both paintings channel the attitudes of the society they originate from very accurately. Johannes Vermeer, a Dutch painter who was situated in the Netherlands for all of his career painted for money and wealth. He had a remarkable technique and skill for capturing light and even though his skill was so remarkable and is the reason he is remembered and celebrated today, four hundred years ago Vermeer was not at all celebrated to any degree that he is today. Sir Peter Lely on the other hand painted for the British court and was admired greatly for his powerful and marvellous paintings. Unlike Vermeer, Sir Peter Lely was greatly celebrated in his time. However today Lely’s paintings are remembered because of the paintings subject and their history, and not for the paintings great use of light, colour or realistic texture of fabric.

Johannes Vermeer, during his lifetime, was not considered to be a great artist. Situated in the Nederland’s Vermeer was well known for his simple middle class lifestyle paintings, which were always set in either of two rooms in his house. However Vermeer was also know for his exquisite use of light in his paintings and this is a reason he is acclaimed as one of the greatest painters of the Dutch Golden Age.

I have chosen to analyse Vermeer’s painting ‘The Glass of Wine’. It is a painting that has been associated with the ’Baroque style’, characterised by its great drama, deep colour, intense light and dark shadows. The use of colour in this painting extremely effective as the setting is created using a mixture of royal blues, touches of red and gold to create a wealthy atmosphere. However, the girls striking red satin dress really stands out in a room of harsh coloured objects. This exotic colour of the dress in a room of dull blue walls and faded tiles stands out making the girl the object of attention in this scene, not only to the viewer but also to the man stood in the painting.

Many Baroque style paintings are scenes of angles flying or gods running out of heaven or of Christ being carried to his tomb. Vermeer’s painting simply shows a perfectly normal encounter of two young people who may or may not have intimate relations. The girl holds here glass in a courteous way and the gold brocade on the dress both implies that the girl is of respectable family and hoping to make a good impression on the man. Music sheets and guitars lay almost hidden on the bright blue chairs, to distract the viewer’s attention that this man may be courting this girl. However, what really makes this very normal scene so memorable and marvellous it Vermeer’s use of light to make colours brighter, hide objects and make characters and other objects stand out. It is this dark shadow and beautiful daylight streaming through the brightly coloured stain glass window that creates a dramatic and mysterious atmosphere. The use of light also brings the attention to how realistically the silk of the girls garment is painted and the creases of the man’s cloak.

During the 17^TH century, the Netherland’s economy was thriving, poverty was low and many people had jobs in the shipping community. Socially there was little class divide and the Dutch accepted many different forms of religion. In the 17^th century many people in society saw paintings of religious purpose, of myths legends, angels and demons. It is not surprising that when Vermeer painted these simple homely scenes that many people ignored the skills and techniques this exquisite painter used, and simply took for granted the skills Vermeer is acclaimed for today.

Sir Peter Lely spent his entire career in England. He was well known for his religious and mythological paintings in the early 17^th century, and was considered, like Vermeer, to be a painter of the ‘Baroque style’ ~~variety~~. Soon his great painting skills led him to Hampton Court Palace where he painted many members of Charles II’s royal court, and is the great painter of the “Windsor Beauties” Charles II’s many Mistresses.

Louise De Kérouaille was Charles II’s muse, Mistress as well as celebrity and icon to many women all over the country. Due to his background in mythological paintings, Lely has achieved a sense of Louise being goddess like. For example his erotic painting of the naked Nell Gwyne. With the dark haunting use of shadows in the background Lely has focused the light directly onto Louise to show her beauty and create a whimsical atmosphere, by the reflection of light on her gown. The Grey gown looks like silver in the light and does not distract the attention from her beautiful features.

The provocative way in which Louise is sitting with her fingers in her long black hair and dress only just staying on, shows her status as a woman of noble blood and class. By the composition of these factors she appears as a goddess a woman of higher status and class with all her finery. The painting being so well painted and to such a grand scale shows the extent of her importance and status at court. A woman was important if she had a painting of herself on the walls of the palace ordered there by the king. Her direct and hypnotizing gaze at the viewer emphasizes this woman’s power and status in the royal court. Jþ

Through painting mythological and realistic works Lely was able to perceive these higher class courtiers with the royal hierarchy and god like praise that was expected of the lower classes. It made their power and wealth appears all the more glorious and regal. Lely’s paintings made the English people see the influence and power these women had over King Charles II, the court and Political situation in the country in the 17thcentury. Lely’s paintings of the “Windsor Beauties” led many people in England to idolise these women as fashion icons, political, powerful and sex icons. This new view of women changed many views of women during the 17thcentury. Many women were respected more, owned land and points of views were respected and heard.

Consequently, Lely manages to portray the brake from puritan strict rules, to the freedom of the 1660s in the angelic painting. The dress of Louise almost coming off shows the shocking break from the confined fashions of puritan dress and way of life. J

This period witnesses a tremendous shift in the tide of social, political, and artistic life in Great Britain and Ireland. At the end of the Elizabethan age, England is a major economic power, with London as its bustling cultural hub. Shortly after the accession of the first Stuart monarchs, the political and financial strength of the kingdom wavers. The Stuarts' rule by the Divine Right of Kings undermines the authority of subjects represented by Parliament, and their Catholic sympathies stir a new wave of religious unrest. These tensions culminate in the outbreak of civil war in 1642, the trial and execution of King Charles I (r. 1625–49), and a decade of Puritan rule. After the Puritan rule was over Charles II was restored to his rightful place at the throne, and restored England to a society of entertainment, good economy and in many ways freed the people of England from the shackles of the puritan rule. His joyful and merry rule was reflected by his many mistresses in his court.

Arguably Lely’s paintings allowed the public to look into the world of royal hierarchy; Lely’s paintings making the courtiers appear more like gods and goddesses than people. J Vermeer painted real life settings, he didn’t exaggerate the looks or features of his characters unlike Lely who exaggerated many features of courtiers to create a sense that they were magical and powerful beings. Both of these paintings were painted in the 17^th century. However, on one hand there was Lely, from Britain, who was given the task of creating history, recording the courtiers and noblemen of the century and maintaining the prestige of Royalty and patriarchal society in England. On the other hand, Vermeer painted what he saw. He painted for money, for a living, yet Vermeer’s paintings are much more memorable today for his techniques, use of colour and exquisite likeness in his creations. Both paintings share a Baroque style, however both from different countries both artists perceive this style in many different ways.

Bibliography

“The Glass of Wine” Johannes Vermeer

April 21, 2011

vermeer0708.wordpress.com/2011/04/21/the-glass-of-wine-johannes-vermeer/

A collaborative project by 4th year students of English Language, courses 2007/08 and 2008/09, from Universidad de Deusto, Bilbao (Spain)

Jonathan Janson – Essentail Vermeer

June 2001

www.essentialvermeer.com/catalogue/glass_of_wine.html

Author Unknown - Famous painters – Vermeer

Date Unknown

whatafy.com/famous-painters-vermeer.html

Author Unknown