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      "body": "![Screen Shot 2017-08-15 at 16.37.29.png](https://steemitimages.com/DQmWdJhAGzNX8AkRH5jCXMSxvhW89YA5RYEmu2AG3GLo4Yp/Screen%20Shot%202017-08-15%20at%2016.37.29.png)\n\n\n   Hello dear Steemians,\n as I've explored with you, some of my politically engaged paintings in the previous posts, I decided to give you some context and present you some artists whose work has been my inspiration in terms of evaluating artistic responses to oppression and suffering. Before starting on my own project, I also decided that I would make a copy of their work to exercise my hand. Art has both been utilized to promote political messages, but also conversely artists have their work to express their political beliefs. Political messages, whether subtle or overt, can resonate in officially commissioned works. Artists have long been associated with radical political activities. \n\nOne of the artist following the trend of creating politically engaged artworks is the French painter Jules De Balincourt. Jules de Balincourt’s   paintings in the social, political and economic landscape of the United States, where the Paris-born artist has lived since childhood. Working from the position of an outsider, the artist questions structures of power and influence, laying bare injustices and hypocrisies while maintaining an amused attachment to the myths through which identity and nationality are constructed. He practices the art of playful nature of the compositions. He made the contemplation of political themes—such as how we perceive the world through the way we draw our maps or the idea of \"Peaceful Protest” easily identifiable for his viewer.\n![0000074759.jpg](https://steemitimages.com/DQmQ7vLLDgw3XRJ7kxeWneUxphN9u7uaJQtTmpcnUnGtvZy/0000074759.jpg)\n\n When I visited New York I accidentally found myself at his exhibition, the abstraction, some flickering landscapes behind the peaceful protests in a contemporary days was what got me dragged into political art and it made me want to explore the idea of both liberty and oppression and how it could both exist in a restless world, that I live in. \n\nThis is the work i chose to copy: \n![0000074649.jpg](https://steemitimages.com/DQmZmz4CmsmvqAREmpv5NWVFcfhaxYwK1CMsSD3NKwsGmLm/0000074649.jpg)\n\nWhen copying a work, I personally usually choose a segment that seems the most interesting and useful to me and then i don't exactly copy but interpret on it. This was the part that I chose from the composition presented above, next to a copy of the work that i did. \n![balincourt_detail.jpg](https://steemitimages.com/DQmRAfkiboXESyC16HeqyFyKtSy6Ru8y2P2Aayr3zTuJqu7/balincourt_detail.jpg) ![image (3).jpg](https://steemitimages.com/DQmVkvf4q8xDXCVxa7T2v2JLqFBXhZqjoUpTqYxQ7cs2pny/image%20(3).jpg)\n\nIn a stylistic amalgam of Pop and folk, abstract and figurative, he mixes traditional oil paint with tape, sprays paint, stencils and other “low” materials. These are the same techniques and materials that I used with my first artwork of A2 project and as the background helps to evoke unsettling ambiance, the painting brings an ambiguity to the viewer. \n\n![image (4) copy.jpeg](https://steemitimages.com/DQmabEj7yhjM9eXn41dNi1Hr9DSML2PTBJj7JSEUymq5Qkf/image%20(4)%20copy.jpeg)\n\nI hope you enjoyed the post. Please leave all the feedback and any remarks in the comments as it means the world to me ! \n\nThank you so much, \n\nMaria",
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      "body": "Thank you, here is the link with all the rules: https://steemit.com/creativecomp/@sammosk/creative-competition-all-are-welcome-winners-of-last-week-new-entrants-here\n\nI have a contest too: https://steemit.com/art/@juliakponsford/artists-poets-and-musicians-get-in-here-i-m-having-a-creative-competition-with-prizes-art-explosion-week-4",
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      "body": "![botticelli.jpg](https://steemitimages.com/DQmPp78ormJbFfmGKB79jNouz47L6zgZyVZNkTjhcEufScr/botticelli.jpg)\n\n\n\n   During the Renaissance, the Italian city was a self-governed, independent state. From around 1434, however, the Medici banking family unofficially ruled the city. The dynasty that they formed commissioned a vast array of paintings, sculptures and architecture, and their generosity and competitive nature ensured the city’s status as the artistic centre of Europe during the fifteenth century and beyond. Florentine Renaissance artist Benozzo Gozzoli was commissioned by the Medici family to make a fresco for the private chapel of the Palazzo Medici. As was common practice, it included a representation of his patrons in The Procession of the Magi c.1459-1461. But as an indication of the relatively high status of the artist, Gozzoli also included a self-portrait with the words OPUS BENOTTI. \n  The Medici family was so powerful that its members even appeared in paintings they had not directly commissioned. Guasparre di Zanobi Del Lama commissioned The Adoration of the Magi. C.1475. from Sandro Botticelli, which features several members of the Medici family. The answer of why did Guasparre pay Botticeli to depict so many members of the most powerful banking family in Florence may lie in Guasparre’s dubious past. The lowly patron had been convicted of embezzlement in 1447 but made his subsequent fortune as a broker and money changer. This wealth allowed him to commission Botticelli to paint this altarpiece in a chapel of Santa Maria Novella. Bearing in mind that the Medici were enrolled with the Guild of Money Charges( Arte di Cambio) it is little wonder Guasparre wanted to secure a favourable association with them. The Adoration was the only artistic product of Guasparre’s brief social elevation. In 1476 he was convicted of fraud again and banned from trading. In the composition, Del Lama may be seen among the crowd of people on the right-hand side of the picture, an elderly man with white hair and a light blue robe looking at the observer and pointing in the latter's direction with his right hand. The most famous members of the Medici family are portrayed together with del Lama, there is no doubt that the eldest king, kneeling before the Virgin and the Christ Child, is a representation of Cosimo the Elder, founder in the 1430s of what would be dynastic rule by the Medici family over Florence for many years to come. Other members: Cosimo's son Piero, called the Gouty, as the kneeling king with red mantle in the centre, Lorenzo the Magnificent as the young man at his right, in profile, with a black and red mantle.\n  Guasparre probably commissioned a work depicting the adoration of the Magi precisely because he was named after the first of the Magi, Caspar, who was thus considered to be his patron saint. It was common practice in medieval and Renaissance times for people to commission artworks depicting their patron saint in the hope that this saint would intercede on their behalf at the Last Judgement. When the dead are resurrected and separated into the righteous and the damned.",
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      "body": "Hey Mariam,\n\nthis was an amazing piece of work! Ryan here -- I loved the insight into the artistic process: looking to model something similar for my own posts on poetry. But I have yet to post anything. Will follow you!\n\n- R",
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      "body": "![tryptich.png](https://steemitimages.com/DQmQs8CDUspWUjY2HeG9DX5aQkam1Hu7q13VQ7QWk8ejQ8J/tryptich.png)\n\n     The process of creating the triptych about my country’s journey through the Soviet Union to the independence has been a challenging practice for me. At the start, I collected a multitude of pre-planned sketches and photographs, hoping that I would build a perfect composition and everything would go smoothly but as I soon found out sometimes when aesthetics are not as pleasing as you expect them to be, you have to intervene.  I am not a big planner, I always preferred working instinctively, directly onto the canvas, but after starting caring a sketchbook I soon came to the realization, how much better my past paintings could’ve looked if I put these extra thoughts to them. Layering all the possibilities, trying different palette combinations out- it all made a huge difference in the end. By all the artist research that I had to carry, I was hugely influenced on my choice of colour in all three of my paintings by Jules de Balincaurt. He uses bright colours, to depict a drastic reality.  Two completely opposite things but by looking at his work I came to realization that it is achievable to make the viewer glimpse and understand that it’s a canvas with happy colours and a narrative about horrifying experience. The colours in a way intensify the irony of the war and the constant battle between nations, people, and generations. In my case, it shows the stupidity of the Soviet regime and how everyone was dragged into illusionistic future plans that in the end, led to the collapse and additional problems for generations to come.\nMy goal with the works was to create an intrigue of the ambiance by the settle work. This is why I deliberately put one main figure in all three of the paintings. The subject matter is clear and the dominant feature really gives it a sense of a triptych series that depict all three major aspects of the society: The power, the citizen, and the protector. My work has been hugely shaped by the experience of growing up in my country but despite the fact that I come from the post-soviet republic, I never had a deep understanding of the concept and the history, all I had was a daily life hugely shaped by the past. After completing this project, I find myself in a full awareness of my past and now I can relate more to the other artists who feel responsible for their country. As I didn’t have a chance to fight for it in the past or cannot change anything currently, I can proudly say that at least I painted for it.\n\n\nThe Power:\n\n![noname2.png](https://steemitimages.com/DQmWsgSqghhG9ZZu9b4ZcAvZw6UMzm3D9xxJBB1B132gLQB/noname2.png)\n\nThe Citizen: \n![image (4) copy.jpeg](https://steemitimages.com/DQmabEj7yhjM9eXn41dNi1Hr9DSML2PTBJj7JSEUymq5Qkf/image%20(4)%20copy.jpeg)\n\n\nThe Protector:\n\n![noname copy.png](https://steemitimages.com/DQmNkhTBmjXUVquXthKNLLXVvprHAR58ygSNASTHxwVCEH9/noname%20copy.png)\n\n\nIf you want to know deeper stories, what each of the pieces represent and how it progressed to the final result, you can find blogs about them separately on my Steemit. Please leave feedback and your thoughts, it means the world to me! \n\nThank you so much,",
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      "body": "@@ -294,17 +294,16 @@\n issance \n- \n in Flore\n@@ -305,16 +305,17 @@\n Florence\n+,\n  there w\n@@ -384,17 +384,16 @@\n i, five \n-m\n middle g\n@@ -5526,17 +5526,17 @@\n his self\n- \n+-\n assuranc\n",
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      "body": "Much of Florence’s wealth depended on the manufacture and trading of wool and cloth and, of course, the commercial success of banking. Florentine guilds were secular corporations that controlled the arts and trade; collectively, they influenced the artistic legacy of Florence. During the Renaissance  in Florence there were seven major guilds, collectively known as the arti maggiori, five mmiddle guilds arti mediane and nine minor guilds collectively known as the arti minori which competed with each other to gain commissions and status. The rivalry between guilds extended to the status of the artists they employed. A notable example is the competition set by the Cloth importers’ Guild ( Calimala)- one of the wealthiest guilds in Florence- in 1401 for the commission was won by Lorenzo Ghiberti, with Filipo Brunelleschi as a runner-up. Another major guild was the Wool Merchant’s Guild ( Arte della Lana). It took charge of commissioning a dome for the cathedral of Santa Maria Del Fiore ( Florence Cathedral) in 1418. This time, Brunelleschi beat Ghiberti to the prize. The works relating to the Opera del Duomo- as it is known- were overseen by the Wool Merchant’s Guild ( the city’s most powerful guild) who, in announcing the competition for the construction of the huge dome, established an architectural challenge that would help define the achievements of the city, its architect and the epoch. The Opera del Duomo put up an exceptionally large sum of money- 200 gold florins- to the person capable of vaulting what is still the largest masonry dome in the world. The greatest architectural puzzle of the age could be solved by only one man- Brunelleschi. He is credited with mapping the rules of linear perspective, recognising the Classical Orders of architecture, engineering a hoist to carry incredible weights for the dome’s construction and spanning the drum with the dome itself. The completion of the dome secured his fame and fortune, not only as a master mason- like his medieval forebears- but also as an innovative engineer with mathematical ingenuity and aesthetic vision. The dome is an enduring monument to the civic pride of the city and arguably, still, creates the most magnificent silhouette in Italy. It would revolutionise dome construction.  The dome’s monumental scale testament to the domination of religion during the fifteenth century and the competition between neighbouring Italian cities, particularly Pisa and Siena reveals a great deal about the historical and social context. Its very existence demonstrates the importance of ccommercial patrons such as the Wool Guild, but also reveals the tremendous status some Renaissance artist enjoyed in their lifetimes.\n\n![Florence_-_David_by_Donatello.jpg](https://steemitimages.com/DQmPvq4qTS7Xjsy8b8fB2mcSbdLjpeJWUtxbsPgXUhi6PX8/Florence_-_David_by_Donatello.jpg)\n\nThe famously androgynous bronze David, 1420-1440 was commissioned by Cosimo de Medici from Renaissance sculptor Donatello in Florence. According to the story from the Old Testament, David is the young shepherd boy who, against all odds, defeats the giant Goliath with a single stone to the head. He then beheads Goliath in a final act of triumph. For the Florentines, this story was of great importance as it reflected their own political position as a small state, which would nevertheless triumph against adversity. However, Donatello’s rendering of the subject was radical and new in a variety of ways: the figure’s nakedness-heightened by his flamboyant hat and boots-set him apart from other fifteenth- century depictions of the same subject. The hat itself was a deviation from the usual iconography of the young shepherd boy, and the way the toes on David’s left foot caress Goliath’s heavy beard lend a sensuality that also broke with the past. Cosimo de Medici’s acceptance of this break with tradition reveals the family’s liberal attitude towards the arts. The Medici wanted to be known as intellectual leaders and despite the religious subject matter, this commission was certainly evidence that their interest in humanism and Neo-Platonism meant more to them than the furore this particular David caused. \nFurthermore, as the first free-standing nude bronze since Antiquity, David was capable of being seen as an emblematic new man- a naked and individual figure, breaking completely with medieval tradition. Its placement, too, is revealing. This particular symbolic defender of the city was tucked away in the private courtyard of the Medici palace- perhaps it was considered too shocking to as a symbolic gesture for its patron. In appropriating David- who represented the Florentine Republic- the Medici expressed a quiet ambition, but only in the safety of their own home. This effeminate male appears boyish in nature, with little or no muscle definition, a lack of defined bodily hair, and a curvaceous form, especially in the curves of the bottom, back and hips. His contrappasto, which derived from Classical sculpture and was employed to heighten naturalism, exaggerates this, and also outlines his carefree stance. The shift in his weight distribution to the right leg is followed through in his tilted pelvis. This sensuality is continued with the lack of orthodox clothing, as he only wears detailed boots and a hat. In relation to the formal element of line, the composition of Donatello’s sculpture of the youth David, biblical slayer loosely follows a vertical line down the central vertical axis of the figure. this grounds him, heightens his self assurance and gives him a dignified air. His contours are both defined and fluid over his anatomically correct body.",
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      "body": "Much of Florence’s wealth depended on the manufacture and trading of wool and cloth and, of course, the commercial success of banking. Florentine guilds were secular corporations that controlled the arts and trade; collectively, they influenced the artistic legacy of Florence. During the Renaissance  in Florence there were seven major guilds, collectively known as the arti maggiori, five mmiddle guilds arti mediane and nine minor guilds collectively known as the arti minori which competed with each other to gain commissions and status. The rivalry between guilds extended to the status of the artists they employed. A notable example is the competition set by the Cloth importers’ Guild ( Calimala)- one of the wealthiest guilds in Florence- in 1401 for the commission was won by Lorenzo Ghiberti, with Filipo Brunelleschi as a runner-up. Another major guild was the Wool Merchant’s Guild ( Arte della Lana). It took charge of commissioning a dome for the cathedral of Santa Maria Del Fiore ( Florence Cathedral) in 1418. This time, Brunelleschi beat Ghiberti to the prize. The works relating to the Opera del Duomo- as it is known- were overseen by the Wool Merchant’s Guild ( the city’s most powerful guild) who, in announcing the competition for the construction of the huge dome, established an architectural challenge that would help define the achievements of the city, its architect and the epoch. The Opera del Duomo put up an exceptionally large sum of money- 200 gold florins- to the person capable of vaulting what is still the largest masonry dome in the world. The greatest architectural puzzle of the age could be solved by only one man- Brunelleschi. He is credited with mapping the rules of linear perspective, recognising the Classical Orders of architecture, engineering a hoist to carry incredible weights for the dome’s construction and spanning the drum with the dome itself. The completion of the dome secured his fame and fortune, not only as a master mason- like his medieval forebears- but also as an innovative engineer with mathematical ingenuity and aesthetic vision. The dome is an enduring monument to the civic pride of the city and arguably, still, creates the most magnificent silhouette in Italy. It would revolutionise dome construction.  The dome’s monumental scale testament to the domination of religion during the fifteenth century and the competition between neighbouring Italian cities, particularly Pisa and Siena reveals a great deal about the historical and social context. Its very existence demonstrates the importance of ccommercial patrons such as the Wool Guild, but also reveals the tremendous status some Renaissance artist enjoyed in their lifetimes.\n\n![Florence_-_David_by_Donatello.jpg](https://steemitimages.com/DQmPvq4qTS7Xjsy8b8fB2mcSbdLjpeJWUtxbsPgXUhi6PX8/Florence_-_David_by_Donatello.jpg)\n\nThe famously androgynous bronze David, 1420-1440 was commissioned by Cosimo de Medici from Renaissance sculptor Donatello in Florence. According to the story from the Old Testament, David is the young shepherd boy who, against all odds, defeats the giant Goliath with a single stone to the head. He then beheads Goliath in a final act of triumph. For the Florentines, this story was of great importance as it reflected their own political position as a small state, which would nevertheless triumph against adversity. However, Donatello’s rendering of the subject was radical and new in a variety of ways: the figure’s nakedness-heightened by his flamboyant hat and boots-set him apart from other fifteenth- century depictions of the same subject. The hat itself was a deviation from the usual iconography of the young shepherd boy, and the way the toes on David’s left foot caress Goliath’s heavy beard lend a sensuality that also broke with the past. Cosimo de Medici’s acceptance of this break with tradition reveals the family’s liberal attitude towards the arts. The Medici wanted to be known as intellectual leaders and despite the religious subject matter, this commission was certainly evidence that their interest in humanism and Neo-Platonism meant more to them than the furore this particular David caused. \nFurthermore, as the first free-standing nude bronze since Antiquity, David was capable of being seen as an emblematic new man- a naked and individual figure, breaking completely with medieval tradition. Its placement, too, is revealing. This particular symbolic defender of the city was tucked away in the private courtyard of the Medici palace- perhaps it was considered too shocking to as a symbolic gesture for its patron. In appropriating David- who represented the Florentine Republic- the Medici expressed a quiet ambition, but only in the safety of their own home. This effeminate male appears boyish in nature, with little or no muscle definition, a lack of defined bodily hair, and a curvaceous form, especially in the curves of the bottom, back and hips. His contrappasto, which derived from Classical sculpture and was employed to heighten naturalism, exaggerates this, and also outlines his carefree stance. The shift in his weight distribution to the right leg is followed through in his tilted pelvis. This sensuality is continued with the lack of orthodox clothing, as he only wears detailed boots and a hat. In relation to the formal element of line, the composition of Donatello’s sculpture of the youth David, biblical slayer loosely follows a vertical line down the central vertical axis of the figure. this grounds him, heightens his self assurance and gives him a dignified air. His contours are both defined and fluid over his anatomically correct body.",
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      "permlink": "5orgar-didn-t-have-a-chance-to-fight-for-my-country-but-can-proudly-say-i-painted-for-it",
      "title": "The famously androgynous bronze David and Florentine guilds"
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      "author": "artbaseline",
      "body": "Thanks a lot !! :-)",
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      "body": "beautiful! upvoted :)",
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