This week I've been thinking about several random art historical facts and ideas. Several of you might have seen some of these links on my Twitter feed, but I wanted to flesh out a few ideas here:
- Norman Rockwell included a portrait of Grandma Moses in his painting Christmas Homecoming (1948, see right). You can see Moses on the left side of a painting, wearing an old-fashioned dress. The two artists were friends who lived relatively close to each other at one time. (In fact, you can read parts of a story about Norman Rockwell at Grandma Moses' surprise 88th birthday party here.)
- I really don't know that much about Grandma Moses. She never was discussed in any of my art history classes, but I didn't focus on American art from the 20th century. But could she have been excluded from courses and textbooks because she is a folk artist? Out of curiosity, have any Americanists studied Grandma Moses' work in an academic setting?
- I was surprised to learn that Johann Winckelmann, one of the early scholars of art history, was murdered in 1768. He was fifty years old. What if Winckelmann had lived a full life? I wonder if he would have retracted any of his ideas about unpainted classical sculpture, "good taste," or how Greek art has "noble simplicity."1 (For example, scholars in the early 19th century were able to document the traces of paint on certain Greek statues after their excavation. If Winckelmann had lived longer, would he have learned this news and changed his ideas about white marble and beauty?) Maybe it's a stretch, but I like to think about how the Western canon might have been different if Winckelmann had not been murdered.
- I've been reading about the Laocoön statue lately, partially because I want to know more about the theory that Michelangelo created the Laocoön (which is a rather far-fetched idea, in my opinion). I've also enjoyed looking at this annotated chronology of the statue: this piece has a pretty rich history!
- A comment from a student also led to me to look at a pre-20th century restoration of the Laocoön statue. This restoration depicts the arm of the priest as being fully-extended. (The restored arm (now lost) was the work of Renaissance artist Bandio Baccinelli. For those interested, Vasari wrote a little bit about Bandio Baccinelli's work on the Laocoön here.) It appears that has been a lot of debate regarding how Laocoön originally appeared. As recently as 1989, one scholar argued that the whole composition needs to be more compact and pyramidal in order to be historically accurate.2
1 Johann Joachim Winckelmann, "Reflections on the Imitation of Greek Works in Painting and Sculpture," in The Art of Art History: A Critical Anthology by Donald Preziosi, ed. (Oxford: Oxford University Press, 1998), 31-39. For an interesting critique on Winckelmann's theories, see also Kenneth Lapatin, "The Fate of Plate and Other Precious Materials: Toward a Historiography of Greek Minor (?) Arts," from Ancient Art and its Historiography by A. A. Donohue, ed. (Cambridge: Cambridge University Press, 2003), 69-91.
2 Seymor Howard, "Laocoon Rerestored," in American Journal of Archaeology 93, no. 3 (July 1989): 417-422.