Skip to main content

Anton Losenko, 'Farewell of Hector and Andromache', 1773

 


After the introduction of Classical training through teaching at Russia's Academy of Arts opening in 1764, works such as Losenko's Farewell of Hector and Andromache began to be produced, imitating Western modes. The eye is instantly aware of the Classical lighting with which the artist has imbued this piece, a heroic glow illuminating the contrapposto stance of Hector who flings his outstretched arm upwards towards darkening clouds. Dressed in neoclassical attire, even one who is less familiar with the story can grasp the military connotations of the event, as Hector prepares for battle. Clearly, the storm brewing is a threatening symbol, implying his resulting death after the events depicted in this scene. Hector's tilted face is one of anguish and torment, his brow furrowed, his expression pained and confused. Beside him his wife, clutching their infant son, is slightly more contained in her emotions. Perhaps Losenko has relegated the emotional strength of the piece solely to the male hero. But including Andromache in the glorious lighting shows Losenko has not completely neglected her importance in the story. Similarly to Hector's rippling cloak, Andromache's heavy draperies present an opportunity for the artist to show off his technical skill, whilst also using her maternal embrace of her son to add sentimental weight to the narrative. 

Losenko was heralded as the 'new Raphael' in Russia, and pioneering history painting in this otherwise backwards community of native artists. Without any form of artistic training, the professional artist did not exist in Russia as it did in Europe, and 'artists' were icon painters if nothing else. Heavy reliance on foreign artists produced royal portraiture, until Catherine the Great in the mid eighteenth century saw the need to create a native, national style for the Russian Empire. Thus, the Academy was born, and artist such as Losenko rose to prominence through their skill in emulating the West and antiquity. The subject chosen was already popular in Europe and would continue to be, represented by the works of Antonio Zucchi and David. Training at Russia's Academy of Arts followed French models, for instance drawing from live models. The stance of Hector could easily have been posed by a life model in the training studios of Russia's Academy. 

Striking in the piece is Losenko's capacity for detail. The Doric columns with, according to Vitrivius,  connotations of masculine strength, are topped by triptychs, metopes and relief work featuring heraldic, military imagery. This circular stage set behind the figures serves to push them forward towards the viewer's space, however Losenko is careful to leave enough room at the front of the composition so as not to overwhelm the viewer's eye. Compositionally therefore, this piece is one of harmony and balance. This would become an issue for subsequent Russian paintings also depicting narrative and biblical scenes, such as the overblown Romanticism of Karl Briullov and Fydor Bruni. The secondary figures relegated to the shadows in Losenko's work echo the curve of the classical architecture, again enticing the viewer to analyse the painting more closely. Each time you look, there's another detail to be discovered, from the rearing horse in the background to the figure struggling under the weight of Hector's shield close to the edge of the picture plane. It is a painting that merits close analysis and highlights how Losenko was emulating the best of what European painting had to offer. 

Comments

Post a Comment

Popular posts from this blog

John Everett Millais, 'Peace Concluded', 1856

  My eye is drawn to the copy of The Times clutched in the hands of the officer. The white of the figurine on the man's knee and the white of his wife's sleeves all serve to make the white paper stand out even more on the canvas. As the title of the painting suggests, this is about the end of the Crimean War, seemingly depicting a soldier who has just returned home, surrounded by his family, but the mood is perhaps less euphoric than you might expect. The soldier seems somber and weary, and his wife has a look of concern. Although on the surface it seems to be quite a harmonious composition representing a close knit and traditional family, the positioning of the man is odd. It is his wife who takes her place at the apex of the triangular composition, the soldier is reduced to an emasculated role, perhaps an invalid, as suggested by the blanket over his legs. Her face is passive, but not exactly positive. With her arms draped around her husband, she looks posed, dutiful but not...
Post a Comment
Read more

Ernst Barlach, 'The Avenger', 1914

  On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror an...
Post a Comment
Read more

Mark Rothko, 'Light Red over Black', 1957

  My eye is not drawn to the painting itself but the title of the painting, 'Light Red Over Black'. We would automatically think that the black is on top of a red background, but Rothko has flipped this around, subverting the title just like he subverting the meaning of what it was to be an artist and what Art actually was. During this time, art was going through rapid changes, with abstract expressionism coming into full force (Rothko, Pollock). But Rothko showed that all this change was for the good, even if for him, it was short lived.  The colour red in this painting is searing and the black struggles to fully cover this velvety border, especially at the bottom of the canvas. Unlike the black squares which have a hazy quality to their edges, the red is clear and impregnable. It is hard to figure out what this represents - the Tate has suggested a window perhaps, but if it is a window then what are we looking out into? Perhaps it is night, or perhaps the viewer is catching ...
Post a Comment
Read more