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Analysis of Carnival of Venice, 1946, Oil on Canvas by Enrico Donati and Bombardment, 1937-38, Oil on Masonite paintings
Introduction
Often, people purchase paintings and other pieces of art without knowing how to analyze these artistic pieces of work. Most people purchase paintings for their decorative purposes, as opposed to, the artistic elements that these paintings bear, as well as, their artistic significance. Analyzing art is important for providing a response to the piece of art, as well as, interpreting the hidden meaning of a specific piece of art. Such an analysis allows the audience to comprehend the message that the artist is trying to pass with the specific piece of art.
For this critical analysis, two paintings, both created after 1900, will be analyzed. Specifically, the pieces of art to be analyzed include the Carnival of Venice, 1946, Oil on Canvas by Enrico Donati and Bombardment, 1937-38, Oil on Masonite, by Philip Guston. Specifically, the analysis will include a comparison of the two pieces of art in terms of a visual analyses and cultural analyses.
Visual Analysis
As previously mentioned, two pieces of art will be analyzed including Carnival of Venice, 1946, Oil on Canvas by Enrico Donati and Bombardment, 1937-38, Oil on Masonite, by Philip Guston. The Carnival of Venice, 1946, Oil on Canvas is Enrico Donati’s depiction the Italian annual festival. In appearance, the painting looks like three contorted ships in a mystic sea that are slowly dissolving into the void firmament above. The first two ships are placed in the front most part of the painting, whereas the third ship is in the far background of the painting. Additionally, as the ships slowly loose shape, they take the form of various grotesque animalistic shapes, which all seem to be attracted to the sky, and give a sense of impatience as they reach for the sky. In essence, the painting appears as symbolically, and naturalistically biomorphic with the images providing an abstract of the feelings and thoughts of the artist.
The predominant colors in the painting are the subtle blue and the fiery reds and yellows. The color blue, as well as, its different shades saturate the painting, whereas the reds and yellows give the painting the artistic intensity it requires. In terms of dynamics, the painting appears as a subconsciously, vehement image. However, a closer examination gives the painting a frenetic feel, especially when observing the top half of the painting. The painting inspires an eerie and irrational mood, as the images in the painting appear peculiar and unusual and for that reason, the painting cannot be understood at the first look. The surface of the painting provides a tactile impression that gives the audience the sense that the painting is rough in texture. This is because the placement of the images in the painting is somewhat asymmetrical thus, suggesting a quantity of lumpiness in the painting. The most striking thing about Donati’s painting is the bottom half of the painting symbolizing a reflection of the top part of the painting. This is because the presumed reflection does not convey the same frantic mood as the top part of the painting, and it reveals a sense of calm and composure. Arguably, the reflection provides a sense of balance for the painting, and it does not provide an actual reflection of the top part of the painting.
The second painting for analysis is the artistic piece, Bombardment, 1937-38, Oil on Masonite, by Philip Guston. Unlike the previous painting, this painting is much more intense and hysterical, thus catching the attention of the audience instantly. Guston uses a curvilinear technique in the creation of the painting, which is observable in the fact that the painting is within a circle. As explained in the museum label, the painting represents the events that took place during the Spanish war, and is an aerial depiction of the bombardment of civilians by warplanes. The painting embodies a seemingly circular façade of a number of different people being sucked in to what looks like a portal people-suctioning portal or hole.
Observably, this portal seems to be created by the persnickety weaponry being dropped from by the dark, sinister warplanes that inundate the sky at the top of the painting. In terms of color, the most predominant color in the picture is black, and the artist uses shades and hues of black in many parts of the painting. Another color that stands out in this painting is the radiant orange that is used to accolade the black colors in the painting. Dynamically, the painting appears pulsating and frenetic and it gives the impression of a chaotic world. This, in turn, inspires a dark and apprehensive mood, as the audience gets the feeling that something bad is occurring in the painting. The most striking thing about this painting is the caricature of a man in a mask being dressed in a brilliant orange gown, with his hand at the nozzle of the mask, as if he struggles to breathe in some air.
Research
Born on February 19 1909, Enrico Donati was a Surrealist painter, who created a number of artistic pieces of work that had a philosophical connotation. As a painter, Donati was fascinated, if not obsessed by the unconventional techniques and works of art. Accordingly, Donati experimented with almost all of his paintings, using various artistic materials such as paint, turpentine, tar, and even sawdust. Most of his paintings drew attention from academic circles and he received plenty of awards through his artwork. Born in Italy, Donati allowed his cultural background to influence, as well as, be part of the pieces he created. More specifically, the painting, The Carnival of Venice, created in 1946, is a depiction of the famous event the carnival of Venice, which takes place annually in Italy. This work of art is meant to illustrate the different faces of people during the event. These faces signify the different masks that Italians wear during the festival.
Phillip Guston is the artist responsible for the creation of the second painting, The Bombardment, created in 1937-38. The artist was born in 1937, on June 27th and he is well known for his use of abstract expressionism in all his pieces of art. However, the artist soon transformed his artistic pieces of work into embracing neo-expressionism, as revealed in the painting, The Bombardment. In his explanation of the painting, Guston states that he aimed at expressing the atrocities that General Francisco Franco and Adolf Hitler were responsible for during the Spanish Civil War. Accordingly, Guston was determined to create awareness on decrying human hatred and destruction through this painting, and he aimed to change the events taking place in his society during the time.
Cultural Analysis
Based on the visual analysis, as well as, research on both paintings, it is evident that these two pieces of art evoke different cultural interest and taste. Additionally, both paintings communicate significant cultural events that may have taken place during the period when the paintings were created. Each of the paintings express different values and beliefs, in relation to culture. Specifically, Donati’s painting communicates the Carnival of Venice, one of Italy’s historical social conventions that regarding the different social classes in the state. Guston’s painting, on the other hand, expresses his political views regarding the Spanish war. An observation of the painting makes it clear to the audience that Guston considered the event as a disastrous and atrocious experience.
Both these pieces of art stand out as personal expressions of the artists’ views and perceptions regarding the society during their time. Both the events being depicted in the paintings were significant to the artists’ cultures, and for that reason, the two artists felt they needed to provide their individual perceptions regarding the events that took place during the time. Conclusively, these two paintings can be connected to the contemporary American audience, as they both hold an indirect denotation to the current affairs in the American society. Whereas one painting conveys an artist’s point of view regarding social classes, the other painting communicates the effects of war to the society. Both the expressions of the two paintings relate to what is happening in the state today, and for that reason, can be connected to the contemporary American audience. Both paintings are intellectually and visually appealing, as they draw immediate attention from the audience , as well as, stimulate rational thought from the audience.
Work Cited
Auping, Michael, Philip Guston: Retrospective (United Kingdom: Thames & Hudson, 2006),
1-271.
Kurtz, Wilhelm, Art Forgeries and How to Analyze Paintings Successfully. (United Kingdom:
Gloucester Art Press, 1990), 1-177.
Landau Ellen, “Double Consciousness in Mexico: How Philip Guston and Reuben Kadish
Painted a Morelian Mural” American Art 21, No. 1 (Spring 2007): 74-.97
Prial, Frank, “Enrico Donati, Surrealist Artist, Dies at 99”, New York Times,
<http://www.nytimes.com/2008/04/26/arts/26donati.html> 15 November 2011.
Wolff, Theodore F., Enrico Donati: Surrealism and Beyond. (New York: Hudson Hills, 1996).
1-168.
