An Open Letter from Caroline Robe

13, December 2012 § Leave a comment

1. whole painting
Dear John, Jane, and Jun– my lovely teachers from a year ago–
It is true that everything changes for the better after a time at the Aegean Center. Looking back one year ago we were hanging that final show. This week I am hanging my university’s final show. I can only hint at the personal growth, joy, and creative productivity that has occurred between the two. I know that this incredible moment, which is yet unfinished, began while I was on Paros immersed in what I can retrospectively see is one of the best and most unique communities that exist anywhere. Paros opened me to loving a place, loving a craft, and loving myself, and those lessons have continued to guide me as I make my way back in the States. Thanks to all of you for that.7
I didn’t know it then but the time spent in Italy and watching Jane and Jun do their painting work gave me a strong interest in narrative and classical technique. When I came back in the winter I began studying egg tempera and have been working with it since then. I was also awarded a scholarship to go study fresco this summer, and now work in both. Early in the year I started on my Honors thesis, a year-long independent project in the student’s discipline. My thesis is the work I am hanging in the show and I will be defending it to my committee in two weeks time.8
I wanted to share this with you because I feel it shows how much I absorbed while in Italy and Greece and the tremendous impact you have on your students. I think of you all and things you have taught me often. From you, John, I think of lessons about midtones, I am not even joking. I truly want to make the midtones in the paintings sing. I also think to really see things and appreciate. From you, Jane, I think of lessons about the figure, some tips on glazing, and how to be a woman and an artist all at once. From you, Jun, I remember many painting techniques learned, and I see how to be a young figurative painter with verve. All these lessons and more went into completing this project.
9
The painting project I conceived for my thesis is a narrative polyptych “afterpiece” in egg tempera. I wanted to explore the process and flow of bliss, vernacular space here in Orono, and feminine creative power. I started painting early this spring and finished last week. The painting is eight feet wide and five and half feet tall, structurally organized as a hinged triptych, with multiple paintings on each panel. There is silver leafing in the sky and I built the frame in a timber-frame style, learning much about carpentry! It is almost a house in itself. The center panel mimics annunciation paintings, but with a twist. The bottom panel is a hell montage inspired by Bosch. The outer two are symbolic landscapes compiled from my town here.
5
That’s all. I’m so happy to share this with you and to look back a year ago and remember it all.

As for the future, I am graduating in December, working on my portfolio this spring and summer, and headed out for residencies in the fall. I am applying to some in the states but really hoping to get over to Europe where I can learn more about the sort of painting I am interested in.

My best wishes to all of you, and thank you, thank you, thank you,
Caroline
http://carolinerobe.com/

“Les jeunes ont la parole” : “The youth have the word”

10, December 2012 § Leave a comment

Head of a female statue of the "idol with crossed arms" type (3200-720 BC):Louvre Collection

Head of a female statue of the “idol with crossed arms” type (3200-720 BC)
:Louvre Collection

Twice every year, The Louvre Museum (Paris, France) offers a special opportunity to fine art and art history students all over the city – a few Friday nights during their extra hours to present works in the museum, in their first language, in their own words. The fine artists create new pieces, based on works on display in the museum, and exhibit their work alongside their inspiration. Art history students express their passion for some of the best art history has preserved for the world by presenting them, after months of research and preparation, for anyone who comes to the museum on those nights ready to listen.

This year’s theme is “What do you see?” And I am honored, as a current Art History student studying at The American University of Paris, France and as an alumna of The Aegean Center of the Fine Arts, Paros, Cyclades, Greece, to be participating in this special occasion for the second time.

When I mentioned this project to one of my previous professors on Paros, he asked if I would share this experience on The Aegean Center blog, which seems more appropriate than ever considering the work I am presenting this year – the Cycladic Figurines. Yes, that’s right; after a year and a half in Paris studying art history, I chose to focus my presentation on some of the earliest works of Ancient Greece. Something must have stuck… thank you, Jeffrey Carson.

Of course something stuck! Three and a half years ago now, when instead of going straight to college, I chose to take a gap year and attend The Aegean Center, I never could have guessed I would be here now, in Paris, about to present at the Louvre. My time in Italy, studying the Italian Renaissance almost entirely through on-site lectures, and then Ancient Greek art in Athens and on Paros, again, seeing first-hand what I was studying… well, I cannot really explain how much that defined me outside of the obvious: I am an art history major, on an ancient art track, and a fine arts minor in Paris today.

Following the presentations, AUP students are asked to write a short essay about their experience in order to receive credit from the university (following).

By happy coincidence, the final JOP night was the same night as The Aegean Center Student Showcase – hey, if I could not be on Paros that night, awe-struck by the creativity and skills of a new generation of artists, might as well be standing in the Louvre in Paris, explaining to whomever happened to stop and listen why he or she should be awe-struck by some of the earliest figurative work in history!

Thank you, Aegean Center, for getting me this far. I expect this is only the beginning…

With love and gratitude,
Stephanie Dissette

Cycladic Female Figurine

Cycladic Figurines
(A Paper By: Stephanie Dissette)

For this season’s “Les jeunes ont la parole,” it was my pleasure to present the Cycladic figurines of Pre-Classical Greece. While not my first choice, these figures were amongst my preferred works, as they embody much of why I am here today, in Paris and at AUP – tying-in with the Ancient Art and Architecture course I am currently enrolled in and the Ancient Art track I chose within my Art History Major; and perhaps even more importantly, keeping me connected to Greece and Greek art, my “roots” for why I chose to study Art History to begin with. The theme for this season, “What do you see?” also perfectly accompanied my presentation in particular, as the Cycladic figurines come from approximately 2800-2300 B.C., a period which has virtually no written documentation. This allowed me, as I was studying, and my audience, as they were viewing, to acknowledge an important part of Art History – a lot of what we consider historical fact will only ever be guesswork; in which case, though there are of course those who make a point of becoming experts in the field, anyone’s guess is as good as another’s, so long as one has evidence to support one’s theory.

And so, to begin my presentation I would always ask the audience to look closely at one or more of the figures in front of them, and explain to me what they saw, encouraging all suggestions given and recommending they start out very simply. Reminding my audience that I am a student, I would explain a bit about what it means when we give a formal analysis of a work, and invite them to follow in suit without fear of giving an incorrect perspective. Again, I find these figurines perfect for this sort of exercise in their simplicity – with less “action” or distraction in front of them, the audience is forced to stick to the basics. In this case, many discussed the gendering (about 40% said male, about 60% female), the shape and size, the material used (mostly when prompted), and the prominent noses and strange folding of the arms. Many, of course, also looked on with blank stares until I fed them a few possible answers. My favorite description came a couple of times, which was a comparison to the heads of Easter Island – brilliant! This proved to be the perfect introduction, allowing me to continue with a more in-depth analysis and investing my audience in a stake of the “final answer,” which was of course that there is no right answer.

But without getting too stuck on that, I would proceed by telling them about the Cyclades, the Eastern Greek Islands where the figures originated and where most of them were found. I offered two maps: one of grander Greece and the Aegean region, allowing a placement within Europe and one that focused in on the Cyclades Islands, and offered a close look at Paros, the island where the marble originated. Usually, I would take a moment to express that these figures are essentially the root of all Greek figurative sculpture and that Parian marble is still considered one of the best types in the world, was used all the way into the Late Hellenistic period in Greece (with sculptures such as the Venus de Milo), and that one can still visit the Ancient Marble Quarry on Paros. With the maps still in front of my audience, I would also explain the connection these islands shared with each other and even out as far as Egypt, Crete, and Turkey through trade routes, which may help explain some of the influence the figures might have received from other cultures as well as some of the influence they had on future figurative sculpture. Not every group I presented to really needed all of these details, but I did try to get as much of this information as possible to provide a context for these figurines which we know so little about, so few people have ever seen or cared to stop and notice, and to express why one should care about them at all. Whether I made it this far or got stopped in mentioning the Venus de Milo (which many a time required me to give a mini-lecture on that sculpture instead), this always connected me with the next big point: across the board, the grand majority of historians who wrote about the Cycladic figures believe them to be female. I was able to point out the delineated pubic triangles many of the figurines shared, as well as the apparent breasts. For a counter-example, I brought out images of two similar figurines from around the same era that historians believe to be male, as they are missing those two main components. Strangely enough, both of those figures are active, one playing a flute and the other a harp, whereas the female sculptures seem only occupied by holding themselves. This brought up the question, what is there purpose?

Now, here I usually pointed out the stands holding up all of the figurines, and asked my audience if they felt any of these figures could stand on their own. The consensus being no, I also drew their attention to the strangely angled heads of the figures, and suggested that should they be lying down on their backs, the figures would be well supported by their heads. Again, it was time to reiterate that everything I was suggesting is entirely my own perspective based on the many different sources I drew from, and that especially from here on out everything I could offer would be opinion-oriented. Drawing on an old professor’s perspective and words, I offered this phrase to my audience: “Out of the womb, into the tomb; out of the tomb, into the womb.” I argued that the arms crossed around the front of the figures emphasized the fertility or even possible pregnancy of the figures; and considering that nearly every figurine found by archeologists (our only reliable source in excavation) were found in tombs. To me, this combined with their inability to stand, made these figures the perfect symbols of the cycle of life, and perhaps made them an invaluable part of the burial ceremony of the early Cycladic Greeks. This would also explain why they are found in so many different sizes and levels of finishing – should they be a necessary item for burial, no matter what class or income, everyone would need one.

Finally, though this sometimes mixed into to other areas of my presentation, I would focus on some of the stranger questions relating to the figures. While I previously discussed the odd shape of the head, it was also necessary to explain why the only obvious facial feature was the nose. Here is when I would point out Figure 9, which still retains just enough of its original paint to delineate the drawing in of an eye and eyebrows. There are a few others that show paint markings on the face, and one that shows some within the incisions between the toes of a figure. This always opens up a wonderful conversation about the painting of sculpture, something that very few people seem to be aware existed quite commonly in Ancient Greece. There were also those who seemed unconvinced by my fertility argument, referring to other examples we have of “fertility goddesses,” all of whom are very voluptuous. This is another difficult question, and all I could draw upon was my own experience. Keeping in mind the Greek mentality throughout all of what we call Ancient Greece was idealism, I referred to the kore and kouros figures, the idealized versions of Greek youths, considered the best that society had to offer at the time. Then I talked a bit about the Greek diet, which especially in the Cyclades relied mostly on fish, local weeds, and wine – all very light, non-fattening foods. Perhaps the Greek fertility goddess would be slim and fit, whether or not she is meant to symbolize pregnancy or abundance.

Overall, the best aspect of my experience was when someone walked away saying they were impressed, they had never known anything about these figurines or this time period in art before and now know and care about it, and that they were interested in continuing on through the room in chronological order to explore what came after these beautiful, simple figures. I thoroughly enjoyed sharing my opinions with all that were willing to listen and encouraging my audience to have their own critical opinions of what they see when they explore art. Participating in this exercise at the Louvre always makes me appreciate Paris, museum culture, and my decision to study Art History more. I am honored to have been a part of this season’s “Les jeunes ont la parole,” and look forward to participating again in the future.

Works Cited
Fitton, J. L. “Marble Figurine of a Woman.” The British Museum. The British Museum Press, 1999. Web. 02 Nov. 2012. <http://www.britishmuseum.org/explore/highlights/highlight_objects/gr/m/marble_figurine_of_a_woman.aspx&gt;.
Hendrix, Elizabeth. “Painted Ladies of the Early Bronze Age.” The Metropolitan Museum of Art Bulletin, New Series 55.3 (1997-1998): 4-15. JSTOR. Web. 01 Nov. 2012.
Hendrix, Elizabeth A. “Painted Early Cycladic Figures: An Exploration of Context and Meaning.” Hesperia: The Journal of the American School of Classical Studies at Athens 72.4 (2003): 405-46. JSTOR. Web. 01 Nov. 2012.
Hoffman, Gail L. “Painted Ladies: Early Cycladic II Mourning Figures?” American Journal of Archaeology 106.4 (2002): 525-50. JSTOR. Web. 01 Nov. 2012
Mertens, Joan R. “Some Long Thoughts on Early Cycladic Sculpture.” Metropolitan Museum Journal 33 (1998): 7-22. JSTOR. Web. 01 Nov. 2012.
Mylonas, George E. “Cycladic and Mycenaean Figurines.” Bulletin of the City Art Museum of St. Louis 40 (1955): 1-14. JSTOR. Web. 01 Nov. 2012.
Neer, Richard T. “Crete and the Cyclades to the Late Bronze Age.” Greek Art and Archeology C. 2500 – C. 150 BCE. New York: Thames and Hudson, 2012. 22-24. Print.
Papadimitriou, Nikolas. “Cycladic Art Museum.” Museum of Cycladic Art. Nicholas and Dolly Goulandris Foundations, n.d. Web. 01 Nov. 2012. <http://www.cycladic.gr/frontoffice/portal.asp?cpage=resource&gt;.
Preziosi, Donald, and Louise A. Hitchcock. “Burial Practices.” Aegean Art and Architecture. Oxford: Oxford UP, 1999. 52-54. Print.
Renfrew, Colin. “The Development and Chronology of the Early Cycladic Figurines.”American Journal of Archaeology 73.1 (1969): 1-32. JSTOR. Web. 01 Nov. 2012.

The Aegean Center Fall 2012 Student Exhibiton

7, December 2012 § Leave a comment

The Aegean Center Fall 2012 Student Exhibiton

Featuring works of painting, photography, drawing and printmaking by the students of the Aegean Center.
Friday, 7 December, 19:30
All are welcome.

THE AEGEAN CENTER FOR THE FINE ARTS PRESENTS ITS WINTER VOCAL CONCERTS

4, December 2012 § Leave a comment

Image

The singing of classical music is not for everyone. The first important requirement is a good voice and equally good ears.  The voice can be trained; with perseverance a young singer can learn the breathing techniques which support the sound in the body, the articulation of vowels and consonants which give a sparkle to the pronunciation, and the development of
the resonance which makes the voice rich and warm. But even that does not suffice if one wants to sing solo songs. There must be a musicality with which the singer turns each phrase into an emotional gesture all his/her own. One must have a feeling for literature, a sense of the drama of the important words in the text, a sensitivity to the atmosphere of the music. And still we have not finished the list of important requirements; a singer must develop discipline. It demands much self-control to repeat exercises time and again, aspiring to a mastery of ones instrument so that the voice is used in service of the message, the implication of  the words, the ambience of the emotions.
And yet there are singers at the Aegean Center who are capable of this extreme discipline in order to express themselves in that most ephemeral of art forms, music.
THE VOCAL ENSEMBLE
The Vocal Ensemble will perform this week with a program of music inspired by spiritual and philosophical texts. Maestro Orfeas John Munsey has chosen a program of music from Greece, Russia, Estonia, Hungary, Belgium, Germany, England and the United States. There will be some absolute masterpieces like the Bach fugue Psallite Deo Nostro from the Magnificat and the Hymn to the Virgin by Rachmaninoff as well as a surprising arrangement of Arvo Paert’s piano composition Fuer Alina for a cappella voices.
The singers of the Vocal Ensemble this season are Nicola Pasterfield, Caroline Goddard, Apollonia Ikonomou, Petra Kampman, Brigitte Karavia, Lily Turmelle, Jane Morris Pack, Julia Robinson, Konstantina Andreakou, Jun Pierre Shiozawa, Terrence Mortimer and Benjamin Voisine-Addis
The Vocal Ensemble will perform Wednesday 5 December at the Agios Giorgios Catholic Church in Naousa and Saturday and Sunday 8 and 9 December at the Agios Antonios Catholic Church in Paroikia. All concerts are at 20:30 hours and admission is free of charge.
-Orfeas John Munsey

The Aegean Center Autumn 2012 Reading

4, December 2012 § Leave a comment

Tonight at the Aegean Center, the writing workshop led by Jeffrey Carson will present its autumn 2012 reading. The evening will feature poetry and prose by Emily Eberhart, Claire Goldman, Leslye Graham, Cassandra Knisley, Ilyah Kyriakopoulos and Lisa Nam.  The reading will begin at 18:30 in the Aegean Center main room.

Writing Workshop Leader – Jeffrey Carson

 

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