How to Look at Art: The Art, The Muse, The Artist

HOW TO LOOK AT ART

the art, the muse, the artist Should artworks be appreciated or criticized as an object separate from their makers, their subjects, and issues surrounding them?

Pablo Picasso, Study for Les Demoiselles D’Avignon, 1907, oil on canvas, 18.5 x 20.3 cm (irregular) (The Museum of Modern Art, New York) © Estate of Pablo Picasso

Art, in its diverse manifestations, stands as a universal language, enabling communication beyond the confines of language. To be regarded as art, there must always be two requisites: (1) the signifier and (2) the signified. Whether conveyed through the visual arts, literature, or music, it serves as a dynamic exchange between creators and audiences, demanding a nuanced analysis for a comprehensive understanding of its depth.

This analysis explores the intricate relationship between art, muse, and artist, with a primary focus on the pivotal question: should artworks be appreciated independently of their creators?

At its essence, art transcends being a mere object; it is a discourse that necessitates active engagement. Analyzing art involves delving into multifaceted elements that contribute to its meaning. Factors such as subject matter, the artist's background, and the meticulous use of various elements and techniques collectively shape the narrative and visual impact of the artwork. Art appreciation thus mandates moving beyond passive observation, urging individuals to decipher the layers comprising the artistic expression.

At its essence, art transcends being a mere object; it is a discourse that necessitates active engagement.

Pablo Picasso. Fernande Olivier with a black mantilla. 1905-1906. Oil on canvas. 100 x 81 cm.

Salomon R. Guggenheim Museum, New York Thannhauser Collection. Donated by Hilde Thannhauser, 1991. 91.3914

The crux of the matter lies in the perception of art. Should artworks be divorced from the personal lives and controversies of their creators?

The inquiry attains depth when considering instances such as Juan Luna's murder of his wife due to his accusation that her wife is involved in adultery, paradoxically depicted in his painting "Hymen, oh Hyménée!" or Picasso's portrayal of women is perceived as "sex objects." These instances prompt contemplation on the separation of the artist from their art. Furthermore, this unbolts another facet on whether or not an artist may acquire higher acceptance regardless of his or her involved issues due to the reception of their work, considering factors such as nationality and identity. These open-ended questions form the core of this exploration into the nuanced relationship between art, the artist, and the audience. Importantly, this study refrains from simplifying the discourse through the lens of “cancel culture," emphasizing the need for thoughtful consideration.

In modern discourse, art is not definitively defined by standards that establish its significance. It is still an individual space where interpretation is liberal. This study intends to encourage reflection rather than impose inferences. It is important to consider whether removing artworks from their creators improves or decreases our comprehension of their profound messages, as this study explores the complexities of art appreciation. This academic excursion explores the fine line that exists between valuing an artwork for its intrinsic worth and acknowledging the artist's influence. This process helps to create a more nuanced and richer conversation about the dynamic realm of artistic expression.

Juan Luna, A lithograph of Hymen O Hymenee, 1889, 20.3 x 31.7 cm

Case 1: Pablo Picasso & The Young Women of Avignon

Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas, 243.9 x 233.7 cm, (The Museum of Modern Art, New York) © Estate of Pablo Picasso

Pablo Picasso was one of the most influential artists of the 20th century. He was born on October 25, 1881, and is considered to be the creator of Cubism. He pioneered the Cubism movement from 1907–1917, and through this kind of revolutionary style, he challenged conventional, realistic forms. He was fascinated with the processes of construction and deconstruction, which were evident in his works.

Picasso would simplify objects into geometric components and planes that may or may not be in addition to the whole object as it would appear in the natural world. Different kinds of distorted figures and forms are created, and different points of view on one plane are depicted.

One of Picasso’s famous oil paintings is called Les Demoiselles d'Avignon. This painting was created in 1907 at the Bateau Lavoir. Picasso was 25 years old when he painted this, and during this time, he was a Spanish immigrant to France. He was working in a cramped warren of studios on the Parisian hill of Montmartre. It took him six months to prepare and finalize this work.

Les Demoiselles d'Avignon translates to “The Young Women of Avignon,” which refers to Avignon Street in Barcelona, which was famously lined with prostitutes. Picasso originally wanted to name his work Le Bordel d’Avignon (The Brothel of Avignon); however, to avoid censorship of his work, Picasso changed the name to Les Demoiselles d’Avignon.

The artwork shows five naked women, created with flat, jagged planes. The faces of the women were inspired by Iberian sculpture and African masks. This became a pioneer in the style that became known as Cubism and is often considered the first Cubist painting.

Through the painting, Picasso contradicted what has been understood correctly in Western painting. He smashed idealized notions of beauty, did away with conventions of perspective, and was inspired by Iberian and African art styles.

Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas, 243.9 x 233.7 cm, (The Museum of Modern Art, New York) © Estate of Pablo Picasso

In 1907, he went to the Musée d'Ethnographie du Trocadéro in Paris, an anthropological museum. While observing different kinds of African and Oceanic art and artifacts, in particular the tribal masks, he experienced a sort of epiphany during that moment. Having an impact on Picasso, this experience became a source of anti-naturalism and the defying of memetic norms in Les Demoiselles d’Avignon.

Picasso was also influenced by Gauguin and his artworks created in Tahiti. It was also said that the painting reflected the lusts and anxieties wrapped up in his multiplex relationships with different women.

Critics argue that this painting was done because of Picasso’s intense desire to replace Henri Matisse’s place as the painter at the center of modern art. Matisse exhibited Bonheur de Vivre at the 1907 Cézanne rétrospective, which was pointed out as one of the masterpieces of modern art.

He wished he would inspire even more controversy than Bonheur de Vivre.

As the painting had five figures, they were depicted as the prostitutes of this “red-light district” in Barcelona, boldly staring back at the viewer from the painting itself. He painted each woman or figure differently; the faces of the two figures on the right are collected in sharp geometric shapes and are the most Cubist among all the figures. Next, the faces of the other three figures are painted in the Iberian style. The influence of Iberian sculpture became an inspiration for Picasso.

The pinkish-peach-colored bodies of the five women covered the whole painting, which was eight feet high by just over seven feet wide, appearing larger than the average human scale. Angular lines and flat geometric planes depicted the limbs, hips, and shoulders of the figures. Cubic shapes, like half circles, form their breasts. The faces of the women are radically simplified in such a way that they are sharp-edged, especially as seen in those of the two figures at the right.

They were modeled directly after African masks.

Pablo Picasso, Study for Les Demoiselles D’Avignon, 1907, oil on canvas, 18.5 x 20.3 cm (irregular) (The Museum of Modern Art, New York) © Estate of Pablo Picasso

Based on preparatory studies, he initially wanted to put a male medical student as a figure in the left part of the painting, in the act of entering the home of the prostitutes.

He transformed this into a fifth prostitute instead, so that his initial idea would not interfere with the work’s visual impact. The painting shows the emergence of women from blue, white, and brown curtains that have a glimpse of shattered glass, their bodies thrust forward by the viewer's lack of profundity. The almond-shaped eyes of each figure are inspired by the African and Iberian carvings, which are fixed on the audience.

Les Demoiselles d’Avignon became an expression of misogyny, which shows a lot of controversies regarding Picasso.

Fernande Olivier (born Amélie Lang) was the first love and even the first muse of Pablo Picasso. In real life, he treated her poorly and locked her up in their shared studio apartment so she would not model for other artists. Using Fernande’s likeness, he created history in modern art.

Rose-Maria Gropp, an art journalist, mentioned that the work was an expression of his contempt for women. Picasso violated pictorial convention in his paintings by idealizing the human form, deploying a mixture of visual idioms, and the disuse of illusionistic space. Picasso's contemporaries fingered him as the offender who “attacked” his female figures as prostitution victims.

Art historian Carol Duncan provided some truth regarding the painting, which exhibits sexist attitudes. Misogynistic anger is also in Picasso’s depiction of the Avignon prostitutes. The artwork is uniquely intense and dramatic, reflecting the mutual antagonism and alienation involved in the institution of prostitution. With this, we can see that Picasso’s artwork has had its controversies even up until now.

Fernande Olivier (1881-1966)

Case 2: Juan Luna & Hymen, oh Hyménée!

Juan Luna, Hymen, oh Hyménée!, 1886-87, oil on canvas, 125 s 250.5 cm, Ayala Museum

Juan Luna was a symbol of exceptional Filipino talent during the Propaganda Movement. Born on October 24, 1857, in Badoc, Ilocos Norte. He was the child of Joaquin Luna de San Pedro and Laureana Novicio. He studied at the Escuela Nautica and obtained a certification as a third-class high-seas pilot. While awaiting a ship assignment, Luna studied at the Academia de Dibujo y Pintura under Lorenzo Guerrero. His talent was recognized, leading his teacher to encourage Luna's parents to further nurture his artistic abilities.

Juan Luna's art style evolved, reflecting various influences and experiences. In his early years as an artist, he was exposed to academic and historical painting, which is evident in his renowned work, "Spoliarium."

This masterpiece, created in 1884, showcases Luna's proficiency in classical techniques and his ability to depict intense and dramatic scenes. Consequently, he was sent to Spain and also traveled to Italy and France, where he was exposed to different art movements and styles.

Juan Luna, Hymen, oh Hyménée!, 1886-87, oil on canvas, 125 s 250.5 cm, Ayala Museum

Luna began working on a series of paintings during his honeymoon as he traveled from Rome to Venice when he married Maria de la Paz Pardo de Tavera y Gorricho (commonly known as Paz Pardo de Tavera). The most significant work to emerge from that series, most likely finished in 1886-87, was "Hymen, oh Hyménée!" (also known as Boda Romana).

Unfortunately, his family life was marred by tragedy. His wife and her mother lost their lives from Luna's own hands. Many speculated that the family had burned the artwork out of spite, while others believed it had been destroyed during the war. Despite conflicting theories, the painting could not be found, so the mythos around the painting emerged as the "Holy Grail of Philippine Art." It wasn't until 2014 that Jaime Ponce de Leon discovered the painting. He went through a book of nobility in Spain and France, reaching out to each individual listed. After receiving a call instructing him to be at a specific home in Spain at 10 AM, he traveled there. Upon entering the drawing room of the aristocratic residence, he finally stood before the long-lost Luna.

Jaime described in his speech at the Ayala Museum, “Paris was the ground zero of art.

Luna also won an award, but that was in Madrid [for the ‘Spoliarium’], and Madrid was the—you would call it provincial, or you know in simpler terms—Palarong Pambansa. And this painting [‘Hymen, oh Hyménée!’] won in Paris, which was like… the Olympics of art. So this puts him in the pantheon of the greatest artists of the world.”

Hymen, oh Hyménée! is intertwined with Luna’s tragic marriage life. The crime of passion that ended his wife’s life negates the visual representation of a calm and peaceful marriage in his work. The painting gives me chills, knowing that Luna had incorporated the image of a turtle to symbolize meekness as part of the virtues of a married woman and that many years later, Luna, in a jealous rage, kills his wife, Paz – the woman immortalized in this painting (Pichay, 2023).

Juan Luna, Ensueños de Amor, 1890s, oil on wood, 26.7 x 32.4 cm, Lopez Museum

Addressing the Dilemma:

Separating the art-and-theartist package.

Is it possible?

There’s a longstanding debate on the possibility of dissociating the artist from their work. Can we still appreciate the work of artists with immoral and questionable values?

Or should the artworks be crucified along with their makers that we deem problematic?

Artworks are historically informed objects that their identity and content are partly formed by the moral surroundings in which they are created. Hence, an artist’s moral character can affect the content of their art (Dixon, 2019). Artworks are vessels of sensibilities, ideas, and beliefs intertwined with an artist’s art practice. Whether they choose to expose or mystify them, artworks are not independent of the social and historical context from which they were created.

Reading an artwork is always affected by the information we have or don’t have about it (The Art Assignment, 2018). When we come across an artwork that speaks to us, or maybe because we find it beautiful, it’s easy to appreciate and like it at face value. But it’s difficult to see and appreciate these artworks in the same light when we dig deeper into the artist’s moral values.

John Berger, in Ways of Seeing, wrote, “The relation between what we see and what we know is never settled.” Take Pablo Picasso’s Les Demoiselles d’Avignon and Juan Luna’s Hymen, Oh Hyménée! as examples. Pablo Picasso’s Les Demoiselles d’Avignon is visually appealing, but he is a misogynist who thinks that ‘women are machines for suffering’ and that ‘for me, there are only two kinds of women: goddesses and doormats.’

Juan Luna’s ‘Hymen, Oh Hyménée!,’ gained the Holy Grail of Philippine Art status, only for us to find out that his temper and jealousy brought the demise of her wife – her muse. These are only two examples of the contrast between what we see and what we know: a conflicted artistic expression of an artist.

While ostracizing the art and the artist may seem like the answer to our moral dilemma, it can be counterproductive. Cancel Culture prevents us from demanding more accountability. It is also a form of censorship and takes away the room for interpretation. It brushes certain issues of society under the rug.

Hungerford wrote, “When you try to separate works of art from history, whether that’s the moment of creation or the moment of reception, you’re impoverishing the artwork itself to say that they don’t have a relation.”

This doesn’t mean that we have to remain oblivious to the issues involving the artist and their work.

These situations are often nuanced and offer no one-size-fits-all solutions. But as observers and consumers of art, we have the responsibility to draw the line and be more intentional about the kind of art we support.

We are called to scrutinize the artworks not just in terms of form and aesthetics, but also be aware of the good, the bad, and the ugly parts of the artwork in terms of their relation with their sitters or muses; keeping also in mind the social, historical, and political backgrounds of how, when, why, and where the artworks were made. We are also asked to demand accountability from institutions that should provide them.

So, can we separate art from the artist? No. But as readers of art, our role is to look at art not just in the medium and techniques employed by the artist, nor the genius use of the elements of art and principles of design, but to fully understand the context in which these artworks were made. Berger wrote, “We never look at just one thing; we are always looking at the relation between things and ourselves… Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are.”

Selected Resources Introduction Carpio, Audrey. “We Need To Talk About Juan Luna | Art.” Vogue Philippines, 13 July 2023, https://vogue.ph/lifestyle/art/juan-luna-martin-arnaldo-film-hymen-oh-hymenee/.

Jangid, Sanjay. “The Significant Role of Art In Shaping Our Society.” Chitkara University, 7 April 2022, https://www.chitkara.edu.in/blogs/the-significant-role-of-art-in-shaping-our-society/.

Jones, Jonathan. “Was Picasso a misogynist? | Art and design.” The Guardian, 21 May 2015, https://www.theguardian.com/artanddesign/2015/may/21/was-picasso-misogynist-lee-miller-gertrudestein-women-relationships.

Needham, Alex, et al. “'Notoriously cruel': should we cancel Picasso? Collectors, artists, critics, and curators decide.” The Guardian, 7 April 2023, https://www.theguardian.com/artanddesign/2023/apr/07/cruel-cancel-picasso-monstrous-misogynistanniversary.

Seed, John. “In Manila, a Once-Lost Masterpiece Is Back on Public View.” Hyperallergic, 23 July 2023, https://hyperallergic.com/834568/in-manila-a-once-lost-juan-luna-masterpiece-is-back-on-publicview/.

Thipphawong, Laura. “Art Theory: Semiotics.” Arts Help, 20 February 2021, https://www.artshelp.com/arttheory-semiotics/.

Pablo Picasso & ‘Les Demoiselles d’Avignon’ Demoiselles, Les. “New Encounters with Les Demoiselles d’Avignon: Gender, Race, and the Origins of Cubism.” Mutualart.com, 2019, www.mutualart.com/Article/New-encounters-with-Les-Demoiselles-dAv/118A54476A6970D0.

Harris, Beth and Steven Zucker. “Pablo Picasso, Les Demoiselles d’Avignon.” Smarthistory, 9 August 2015. https://smarthistory.org/pablo-picasso-les-demoiselles-davignon/.

ISJ. “A Revolution in Paint: 100 Years of Picasso’s Demoiselles • International Socialism.” International Socialism, 2 July 2007, isj.org.uk/a-revolution-in-paint-100-years-of-picassos-demoiselles/.

Oelze, Sabine. “Pablo Picasso: Reassessing the Artist’s Toxic Masculinity – DW – 04/04/2023.” Dw.com, 4 Apr. 2023, www.dw.com/en/pablo-picasso-reassessing-the-artists-toxic-masculinity/a-65190110#:~:text=.

“Pablo Picasso and Cubism.” Masterworksfineart.com, 2014, news.masterworksfineart.com/2018/10/31/pablo-picasso-and-cubism.

“Pablo Picasso. Les Demoiselles d’Avignon. Paris, June-July 1907 | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/79766#:~:text=Picasso.

The Art Story. “Pablo Picasso.” The Art Story, 2011, www.theartstory.org/artist/picasso-pablo/.

Wolfe, Shira. “Les Demoiselles d’Avignon: Analysis of Picasso’s Iconic Painting.” Artland Magazine, 21 Oct. 2021, magazine.artland.com/les-demoiselles-davignon-analysis-picassopainting/#:~:text=The%20table%20of%20the%20 painting.

Juan Luna & ‘Hymen, o Hyménée’ Alip, Eufronio M. “Juan Luna: A Biographical Sketch.” The Journal of History, vol. 5, no. 3-4, 1957.

Philippine E-Journals, https://ejournals.ph/article.php?id=4710.

Pichay, Nicholas. “Thoughts on Luna and his Hymén.” Rappler, 30 October 2023, https://www.rappler.com/life-and-style/arts-culture/thoughts-juan-luna-hymen-hymenee/? fbclid=IwAR0KgQF3Rn6mzamS4bPx4ag5nGG3RTZn-dE3vSP8gsuq7g4Sixghj_KAsU0.

Singian, Lala. “The Holy Grail of Philippine Art: Juan Luna’s ‘Hymen, Oh Hyménée!’ Revealed.”

Lifestyle.INQ, Lifestyle Inquirer, 30 October 2023, https://lifestyle.inquirer.net/458012/the-holy-grail-ofphilippine-art-juan-lunas-hymen-oh-hymenee-revealed.

Yu, Lance Spencer. “'Holy grail': Juan Luna's lost masterpiece revealed after 132 years.” Rappler, 10 June 2023, https://www.rappler.com/life-and-style/arts-culture/holy-grail-juan-luna-hymen-oh-hymenee-lostmasterpiece-revealed/.

Addressing the Dilemma The Art Assignment. “Love the Art, Hate the Artist.” YouTube, 6 September 2018, https://youtu.be/OTwVbxWb7Jk?si=xWV5QvFldQeqSasl.

Berger, John. Ways of Seeing: Based on the BBC Television Series. Penguin Publishing Group, 1972.

Dixon, Daisy. “Conflicted art: how to approach works by morally bad artists — Art Aesthetics Magazine.”

Art Aesthetics Magazine, 26 May 2019, https://www.artaesthetics.net/publications/2019/5/26/conflictedart-how-to-approach-works-by-morally-bad-artists.

Frey, Angelica. “The Problem with the Muse in Art History.” Art & Object, 29 June 2020, https://www.artandobject.com/articles/problem-muse-art-history.

Grady, Constance. “Michael Jackson’s music and Louis CK’s comedy after #MeToo.” Vox, 11 October 2018, https://www.vox.com/culture/2018/10/11/17933686/me-too-separating-artist-art-johnny-deppwoody-allen-michael-jackson-louis-ck.

Harris, Beth, and Steven Zucker. “» Pablo Picasso, Les Demoiselles d'Avignon.” Smarthistory, https://smarthistory.org/pablo-picasso-les-demoiselles-davignon/.

Ju, Sophia. “Separate the art from the artist — a reflection of the ‘cancel culture’.” The Chronicle, 9 December 2022, https://www.dukechronicle.com/article/2022/12/120822-ju-art-cancel-culture.

Power, Nina. “How Cancel Culture Made Us Forget the Art of Interpretation.” ArtReview, 30 July 2020. https://artreview.com/how-cancel-culture-made-us-forget-the-art-of-interpretation/

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Fernande Olivier, Self-portrait, 1935, Association La Belle Fernande

FINAL REQUIREMENT FOR ARTS 1: CRITICAL PERSPECTIVES IN THE ARTS AY 2023-2024 FIRST SEMESTER

Content Alessandra Beatrice Mikaela Arceo Jessica Leigh Dycoco Jenny Babes Padilla Clarisse Gen Reyes Layout Jessica Leigh Dycoco

“We never look at just one thing; we are always looking at the relation between things and ourselves.” // John Berger

Juan Luna, A lithograph of Hymen O Hymenee, 1889, 20.3 x 31.7 cm