''Penachos de mar, litófitos y conchas'', de Anne Vallayer-Coster (1769) / ''Still life with tuft of marine plants, shells and corals'' (1769)

Anne Vallayer-Coster fue una pintora rococó que vivió en París entre 1744 y 1818. La joven realizó esta obra, una de las más conocidas que posee, a la edad de 25 años. Hija de pintores, podría decirse que buena parte de su talento lo adquirió ya desde niña. Ingresa en la Real Academia de Pintura y Escultura en 1770. Unánimemente fue admitida por los académicos, y a partir de ahí su carrera se colma de éxito durante toda su vida. En 1785 sufre una desgarrada crítica a su pintura de retrato, por lo que se volcará en las naturalezas muertas; aquellas que la hicieron tan famosa. En su vida resultó trascendental el amparo que recibió por parte de la Reina María Antonieta de Austria, esposa de Luis XVI. La introdujo como pintora oficial de la Corte, hecho que propició con otras mujeres de la misma categoría. Pero cuando la Reina es ejecutada en 1793, las turbulencias llegan a la trayectoria de la artista, aunque pudo seguir pintando hasta producirse su muerte natural en 1818.

Anne Vallayer-Coster was a rococo painter who lived in Paris between 1744 and 1818. The young realize esta work, one of the most known it has, to the age of 25 years. Daughter of painters, arguably much of his talent took her young life. Member of the Royal Academy of Painting and Sculpture in 1770 was unanimously accepted by scholars, and since then his career is filled with success during his entire life. In 1785 suffers torn a critique of his portrait painting, here's why dump in still lifes; those who made famous the the tan. In his life he turned transcendental amparo received by Queen Marie Antoinette, wife of Louis XVI. The introduced as official painter of the Court, a fact that led to other women in the same category. But when the Queen is executed in 1793, turbulence arrive at the trajectory of the artist, although he could continue painting until natural death occur in 1818.

Este bodegón en concreto, al que se le da como título ''Penachos de mar, litófitos y conchas'', es una pintura cuya temática se centra en la representación naturalista idealizada de productos venidos del océano. Las naturalezas muertas de esta clase se hicieron particularmente recurrentes a partir del siglo XVII; momento que equivale al creciente interés por la malacología (ciencia que estudia los moluscos).

This still life in particular, to which it is given the title ''Still life with tuft of marine plants, shells and corals'' is a painting whose theme centers on the idealized naturalistic representation of products coming from the ocean. The still lifes of this class became particularly recurrent in the seventeenth century; time equivalent to growing interest malacology (science that studies mollusks).

Vallayer-Coster plantea la recogida de estos penachos y conchas como una composición vertical cuyo eje son las gorgonias de color ocre. El fondo negro resalta la tonalidad de los moluscos, los cuales transmiten una poderosa luminosidad y viveza. Son especialmente llamativos los que figuran en primer plano. Aquí la variedad de especies queda patente con la representación de murex, mejillones, ostras, nautilus, esponjas, nácares, etc.

Vallayer-Coster posed by the collection of these plumes and shells as a vertical composition whose axis are gorgonians ocher. The black background highlights the key of molluscs, which transmit a powerful brightness and vividness. They are especially striking those in the foreground. Here the variety of species is reflected by the representation of murex, mussels, oysters, nautilus, sponges, pearlescent agents...

De todos ellos, el que más llama la atención es el caracol de pala. Debido a los tonos rosáceos, la cavidad estrecha y alargada, así como a la apariencia húmeda de la concha, tiempo después se la quiso vincular a la imagen sexual de la vulva.

Of these, the most striking is the queen conch. Because pinkish tones, the narrow and elongated cavity, as well as the wet appearance of the shell, then the time would link the sexual image of the vulva.

Pese a esta hipótesis, la intención de Vallayer-Coster fue dejar presente la riqueza de los mares, y también la belleza y curiosa forma de cada uno de sus insólitos elementos.

Despite this hypothesis, intended to leave Vallayer-Coster was present wealth of the seas, and also the beauty and unusual form of each of its unusual elements.

"Madame Récamier", de (by) Jacques-Louis David (1800)

"Madame Récamier", de Jacques-Louis David (1800). 

Obra datada en el 1800, la cual retrata a Juliette, esposa de un poderoso banquero procedente de Lyon. La joven siempre presumió de ser casta, no pudiendo tomar su flor, según la tradición, ni siquiera su marido. Su pose es seductora e invita al espectador a sentir una fuerte lujuria, incluso mediante detalles aparentemente inocentes, como sus pies descalzos, los que además la divinizan al modo de los emperadores romanos. El deseo sexual, sin embargo, se frena a través de los ropajes de corte clásico, los cuales, cubren el cuerpo de la doncella. Su peinado y el mobiliario estilo Imperio recalcan no sólo el neoclasicismo del pintor, sino los ideales de la Ilustración, la calma y el raciocinio, siempre en un ambiente coetáneo. La sobriedad del cromatismo se rompe con la luz que incide en el vestido blanco; capta la mirada del sujeto, mientras que el color en sí mismo tiene un valor simbólico al sugerir virginidad, pureza y recato. 

The artwork dating from 1800, which portrays Juliette, wife of a powerful banker from Lyon. She always boasted of being chaste, not being able to take your flower, according to tradition, not even her husband. His pose is seductive and invites the viewer to feel a strong lust, even by seemingly innocent detail, as her bare feet, also deify the way the Roman emperors. Sexual desire , however, is braked by the garb of classic cut, which, covering the body of the girl. His hair and Empire style furniture emphasize not only the neoclassicism of the painter, but the ideals of the Enlightenment, calm and reasoning, always in a contemporary environment. Chromatic sobriety breaks the light striking white dress; She catches the eye of the subject, while the color itself has a symbolic value by suggesting virginity, purity and modesty.

Henri Fantin-Latour: Análisis de ''Naturaleza muerta con pensamientos (1874) / Analysis of ''Still life with pansies'' (1874 ) .

Henri Fantin-Latour (1836-1904) realizó esta obra en 1874, cuando tanto él como su mujer formaban parte de la élite artística parisina de inicios de la segunda mitad de siglo. 

Los bodegones son uno de los géneros clave en este pintor. Normalmente, aparecen acompañados de flores, o bien estas son las protagonistas. En este caso, se trata de una naturaleza muerta realizada el otoño, pues si bien el haz de manzanas es propio de dicha estación, los pensamientos seguramente hayan sido cultivados en un invernadero. 

Debido a su característica pintura, Fantin-Latour no se encuadra en un movimiento artístico concreto. aunque simpatizaba con sus ''colegas'' del Café Guerbois, hasta tal punto de vincularse con el impresionismo pero nunca trabajar en él.

Henri Fantin-Latour (1836-1904) painted this work in 1874 when he and his wife were part of the Parisian artistic elite of the beginning of the second half of the century.

The still lifes are a key artist in this genre. Usually they are accompanied by flowers, or these are the protagonists. In this case, it is a still life on autumn, because although the beam blocks is typical of this season, probably thinking they were cultivated in a greenhouse.

Due to its characteristic painting, Fantin-Latour does not fit into a particular artistic movement. although sympathetic to their 'colleagues' Coffee Guerbois, so much to bond with impressionism but never work on it.

Comenzando ya con el análisis de la obra, se observa una composición tripartita, conformada por las dos macetas y la rama de manzanas, cuyo centro (ligeramente desplazado hacia la derecha) lo ocupa un pensamiento amarillo. Debido a su considerable tamaño, además de la uniformidad cromática y armonía en cada uno de sus pétalos, es el primero que capta la atención del espectador.  Si se observan las pinceladas, resultan largas, como las empleadas para colorear las manzanas y a diferencia de las del resto de violas. 

And starting with the analysis of the work, a tripartite composition, comprising the two pots and apple branch, whose center (slightly shifted to the right) is occupied by a yellow pansy is observed. Because of its considerable size, plus color consistency and harmony in each of its petals, is the first that captures the viewer's attention. If the strokes are observed, they are long, like those used to color the apples and unlike the rest of violas.

El manojo de manzanas proporciona una pista sobre la época en la que fue pintado el lienzo. También nos aporta datos sobre el autor, quien habitualmente recogía frutos nacidos de su jardín. Las manzanas mezclan amarillos y verdes armoniosamente aunados para contrastarlos con la cara rojiza de las frutas. La luz que incide sobre ellas les da un toque de jugosidad e invita a probar aquello que es comestible dentro de este bodegón. 

The bunch of apples provides a clue to the time when the canvas was painted. We also provide data on the author, who usually picked fruits born from her garden. The yellow and green apples mixed harmoniously coupled to contrast with the red face of the fruit. The light falling on them gives them a touch of juiciness and invites you to try what is edible in this still life.

Mientras que las frutas presentan una textura más bien lisa, especialmente vistas desde la lejanía, las hojas que las acompañan están constituidas por pinceladas irregulares que a veces dejan pequeños empastes, reafirmando la desigualdad y otorgando volumen y materia. Combinan una amplia gama de colores (verdes, amarillos, marrones, blancos, grises...) para proporcionar realismo. Los marrones se crean con el objetivo de demostrar que las hojas se están comenzado a pudrir.

While fruits have a rather smooth texture, especially seen from afar, accompanying sheets are constituted by irregular strokes that sometimes leave small fillings, reaffirming inequality and providing volume and matter. They combine a wide range of colors (green, yellow, brown, white, gray ...) to provide realism. Browns are created with the aim of demonstrating that the leaves are beginning to rot.

De todos modos, el haz del jardín presenta un mayor orden que las violas de las macetas. De cerca, las texturas de las hojas resultan un caos de pinceladas que albergan a los coloridos pensamientos, coloreados con rapidez.

Anyway, the beam has a larger garden violas order of the pots. Up close, the textures of the leaves are a chaos of brushstrokes that house the colorful pansies, colored rapidly.

Mismamente, estas dos flores son buen ejemplo, pues, aparte de la variedad tonal que presentan, los trazos no son totalmente regulares. Se trata de ''plantas temblorosas'', de pétalos suaves y flexibles que se ondulan, abren y cierran, y que por tanto no pueden aportar firmeza. La mayoría de pensamientos son morados y blancos. Su contorno se diferencia bien del fondo oscuro de la composición, pese a ser tan negruzco.

Esta imagen también es prueba de que Fantin-Latour individualiza cada flor como si de un rostro se tratara. La viola de la derecha presenta menos separación entre sus pétalos, y los estambres abiertos y descolocados, mientras que su melliza es todo lo contrario, por no hablar de que es tricolor al incluir amarillo en sus pétalos bajos, lo cual puede tratarse de un reaprovechamiento de la pintura del pensamiento central. 

These flowers are good example, because in addition to the tonal variety presented, the lines are not fully regular. It is' shaking plants' 'of soft and flexible petals undulate, open and close, and therefore can not contribute firmness. Most thoughts are purple and white. Its outline is rather unlike the dark background of the composition, despite being so black.

This image is also proof that Fantin-Latour individualize each flower as if it were a face. The violation of the right has less separation between its petals and stamens and misplaced open while its twin is the opposite, not to mention that it is yellow tricolor to include in its lower petals, which can be a reuse painting central thought.

Tanto es así que el pensamiento situado de lado sugiere un rostro que se niega a ser retratado, o bien que se ha despistado. 

En definitiva, las flores de Fantin-Latour cobran vida en una composición aparentemente sobria pero cargada de dinamismo por sus pinceladas variopintas y el juego de colores, contrastes y texturas. 

So much s, that the set aside thinking suggests a face that refuses to be photographed, or has been confused.

In short, Fantin-Latour flowers come to life in a seemingly sober composition but full of dynamism for their variegated strokes and play of colors, contrasts and textures.

In English: Analysis of drawings Villard de Honnecourt: Geometry of 1200

1. Drawings of Architecture.

In architecture only became interested in the great monuments, cathedrals generally, all Gothic style, although they all started in the Romanesque. The highlighted monuments are under construction: Meaux between 1170 and 1180, Lausanne in the late twelfth century, Vaucelles in 1190, in 1194 Chartres, Reims from 1210 ... etc. Villard was drawn during his trip to the big factories under construction, ignoring the constructions completed. And the absence of all the monuments of early Gothic art, including Paris, a must during your tour explains.

As an additional source we have the manual "L'album of Villard" which describes in general terms the different pictures in the book:

In Plate 18: Tower of the Cathedral of Laon. For its construction oxen were needed in addition to the hand of God, because faith is important when finalize the project successfully. Oxen cited appear really as sculptures of the tower.

 

In Plate 29: Clerestory Reims Cathedral and the Madonna and child. Due to the Gothic pointed arch is well noted. Two arches embraced by a larger one. The representation of the Virgin and Child, that subsequent comments in French describe as a '' sweet face expression, '' surely allude to the cathedrals are symbols of God and his mother.

 

In Plate 19: Types of paving, plant a pillar of Reims and Chartres rosette. They are models of flooring which include geometric elements, and even Cosmatesque fitomorfos. The pillar is cruciform, and the rose window of Chartres does not keep a complete similarity with the original. There are differences as the number of lobes in the smaller circular openings.

In Plate 32: Plant the head of the Church of Notre-Dame de Vaucelles. The plant consists of a nave and aisle on each side, leading to the ambulatory formed by their respective apses. Also they appear indicated the vaults and columns. Villard says the figure is located below the apse is "lying God" (probably in the Garden of Olives).

 

In Plate 60: Elevations of Reims Cathedral: both outside and inside draw forming different elevation levels as are the arcades, the triforium and clerestory. Drawn with a sharp detail, but sometimes the lines is as sketches. The photographs shown are for exterior and interior Reims.

2. Engineering Drawings about.

Moreover we have the engineering devices. Villard and his sketchbook has been compared to Leonardo da Vinci and his books, due to the large number of issues that have captured the interest of both. It is thanks to the comparison with Leonardo that can meet Honnecourt like "medieval Leonardo" and a few others. Some of them are:

Perpetual motion by Villard de Honnecourt

Perpetual motion by Leonardo da Vinci

In Plate 8: perpetual motion. This is a hypothetical machine easily drawn by Honnecourt in 1230 (approximately) would be able to continue running forever, after an initial impulse, without additional external power. Theoretically its existence would violate the second law of thermodynamics, which is considered an impossible object.

-Lámina 42: Sierra hidráulica. La primera mención medieval de una sierra hidráulica la encontramos en un documento normando de 1204, pero la primera representación es la de Villard. La sierra mecánica es la primera máquina automática de dos tiempos: al movimiento circular de las ruedas, que crea un movimiento alternativo capaz de serrar, hay que añadir el avance automático de la madera en la sierra. Este dibujo muestra que un arquitecto-ingeniero como Villard debía en ocasiones de recibir el encargo de construir puentes y resolver dificilísimos problemas de los cimientos. Villard muestra cómo se deben serrar los pilotes bajo el agua mediante una “sierra fijada horizontalmente a un armazón que sobresale del agua y que descansa en una plataforma, donde los obreros la deslizan imprimiéndole un movimiento de ida y vuelta. El contrapeso aplicado a una cuerda sujeta a la sierra sirve para que esta presione sobre el pilote a cortar, de manera que el tiro inicial se prolongue ininterrumpidamente. El nivel y el plomo, situados a los largo de un pilote, tienen por objeto asegurar su verticalidad.

 

In Plate 58: Catapult: model based on one of Vitruvian explaining that the two chains must do the same pinching sound to make sure they are tight. Villard takes this model and subsequently used Leonardo da Vinci too.

3. Drawings dedicated to the study of the figures through geometry.

Architectural knowledge of Villard are due in large part to their knowledge in the field of geometry. Thus, he used to solve geometric representation both architectural and figures linked to nature forms problems.

In Plate 35: Geometry applied to various elements (1)

Thus, I decomposed geometric figures living units. In this first case, the head of a man is shown segmented into three rectangles. Through the lines forming, Villard structure gets facial features, and also with this embodiment facilitates the drawing of symmetric between them.

In the second image, the artist used a triangle and an arrow to compose a staff with which to guide the traces of Christ appear. This geometric shape is more complex than before, and therefore more useful to define both the symmetry and the distance that must exist between facial features. The face that is achieved is much more detailed, but do not forget the relaxed nature of these drawings Villard.

The next drawing happens to represent a sheep. This is a whole body decomposed in three main ways that serve to draw after everything else. Thus, in the trunk uses a rectangle; for a right triangle neck and head a scalene triangle.

Finally, this part will discuss a final pattern formed by two flamingos. Used as a base to represent a semicircle made with a compass, and also this is confirmed because the center is marked.

In Plate 36: Geometry applied to various elements (2)

This film continues to reveal the use of geometric shapes to recreate living, but in this case the protagonists are human.

First, a muscular warrior appears in jars whose body is formed by a large inverted triangle that serves as the linchpin. The pair of lines that converge in one corner lengthen structuring, roughly, pelvis and legs. Finally, the knees are made by a pair of circles that shape them, and head cocked is done via the scheme of an isosceles triangle.

In the next drawing sheet, the body of this peasant reuses a triangular base, but this time does not appear inverted. It serves to then Villard can use it as a reference, for the long dress of women. But of course, what they are trying to teach these sketches are geometric figures by which we must start soon to make, as accurately as possible, more complex parts and details.

And on the other hand, in the following diagram shown a gentleman carrying a spear. This small drawing is the most dynamic of the manuscript, given its simplicity.

Scene of King John of England hunting (XIV century)

The horse that is raised dynamically takes an attitude conventional art although these centuries gallop, and similarities with the scene of King John of England Hunting, made a century later. By a period of eight lines born, Villard draws the horse's back (center lines), Figure rider structure and the head of the animal (upper lines) and the tip of the chest, in addition to both forelegs and posterior (lower lines).

To end this film is interesting to note that the architect uses the geometry down to the most minute and simple drawings, such as a flower with five petals is structured by a small pentagon.

In Plate 37: Geometry applied to various elements (3)

Although the other interesting drawings presents this film, as Hammerers trisquel of men, we will focus on that, through a grid previously made, allows the creation of a face. Decomposing the white background having the quadrangular support various units allows the realization of more perfect symmetric and strokes, as these serve as DISTANCER square orientation between some elements and others. To achieve greater accuracy, use a diamond in the center of the composition. Axis serves as both the face and the hair. But Villard becomes even more complex when you divide the square into four triangles. With this achieves an impressive accuracy when drawing, for example, the eyes, which fit into these little triangles.

4. Drawings on anatomy.

Villard was very interested in the representation of nature, and this is evident in the films which represent animals, plants or humans currents or related to religion, as some of the examples that have been seen. However, his few films devoted to the study of anatomy, which are aimed to recreate as faithfully as possible, are exceptional.

In Plate 4: Christ crucified

The sheet 4, in fact, represents Christ crucified. The twisting of the body and pathetic gesture loaded dramatic composition.

 ''Christ'' by Pisano

This Christ is directly influenced by the Byzantine icons, and in fact is very similar to that of Giunta Pisano (1202-1258), Italian painter who was a contemporary Duecento cartoonist, who was also inspired by these icons.

Byzantine icon depicting the Crucifixion (Byzantine and Christian Museum of Athens)

''Christ'' by Marcovaldo

 ''Christ' by Cimabue

Other painters born in times of Honnecourt, as the Italian Coppo di Marcovaldo (1225-1276) and Giovanni Cimabue (1240-1302) also are characterized to represent Jesus in this picture. The typical Byzantine crucified Christ served them as a reference to all of them. Apparently, Villard used as a reference work of its kind for its creation, which means that either had contact with the Byzantine, or with those of Duecento from Italy.

Thus, the head, which no longer has the strength to sustain itself, falls askew on his chest, while his face reflects past anguish. This configuration of the head of Christ, with long strands of brown hair and gesture of suffering, as well as being crowned with the cross nimbus, is typical of those influences, but in this case we will especially highlight the pain.

Nevertheless, the most striking is the torso of Jesus, which is set for the first time the anatomy that the author knew. Thus, both Christ Cimabue Pisano as muscle out with great precision. But the skin of the Christ the rather smooth lines predominate. Taking advantage that it is a corpse, recreates an abdomen contracted by death. This allows you to highlight the arched lines forming the sack, and by five empty circles highlights the ribs located below the chest. Villard five ribs to exist in this part, and although some were hidden, not count twelve, as it is known today. Strained skin wrinkles show side Jesus thinness, and contours make suits skeletal figure, only covered by the skin. This anatomical representation is quite exaggerated, as Villard ignores the thick muscular layer; already in the next sheet to explain. However, this way of drawing anatomy conveys a high degree of pathos, bringing the viewer into the death and suffering. Christ taught dropping his weight on his arms nailed to the cross. This causes the body is forced to contract, and this is achieved contorted position. Even bones are defined within the arm, although not become detached from each other.

In Plate 42: Pair of men talking

This sheet can be seen two men are talking to each other. The significance of this is unknown. They think it may be a couple of carpenters because drawings palmate leaves located on the right, which would relate to works dedicated to wood. Although it is possible that simply have located the characters in the forest or leaves are drawings apart. Although no one knows anything for sure, it is true that one of the characters carries a staff and a robe, simbolizándose its supremacy over the other man, who sits on a chest. Not only do these attributes serve to highlight its power, but also the fact that you are standing, while raising the index finger of his hands in a gesture of authority itself. The power of this character forces him to take a serious attitude towards his subordinate, he explained more relaxed and more comfortable on the chest.

In any case, we must focus on the anatomy of the characters. This sheet are many similarities with the cadaver Christ, for example in the representation of the torso almost identical except the outgoing belly. Here we discover that the main objective anatomic studies Villard is not differentiate the body of a deceased and a living person. The torso branded ribs and side wrinkles, or the bones of the arms are again figurative. For it is the conventional way to draw a person, in particular a male. However, there is an important distinction, since both characters, but especially the one in charge, have a well-marked sinuous lines that seek to highlight the presence of muscles, lacking in Christ. This film allows the man of an idealized, almost advocating the Renaissance, and it becomes apparent vigor of the man before the lifeless body of Jesus shown above.