Tag: art-history

Erlebniskunst

Erlebniskunst or “experience art” in German, is a philosophical concept that emphasizes the importance of the viewer’s experience in the appreciation of art. It was first developed by the philosopher Hans-Georg Gadamer in the 20th century. Gadamer argued that art is not simply an object to be contemplated, but rather a dynamic process of interaction between the work and the viewer.

From the Philosophy Dictionary of Arguments

Certain words peak my interest. I recently encountered the word Erlebniskunst in an article about art. I related to the concept behind it and wondered if and how it applies to photography.

All the research information that I was able to find came from philosophy articles that stem from the original concept developed by Hans-Georg Gadamer who wrote:

“the power of the work of art suddenly tears the person experiencing it out of the context of his life, yet relates him back to the whole of his existence.”

I noted in a previous post titled “Creators and Observers” that I believed that we need more observers who are sensitive to aesthetic qualities in photographs and that there should be a visual/emotional relationship between the creator and the observer. A photograph that connects with a viewer should be able to create a spell on the observer. Sometimes an image will leave the observer speechless and stir emotions and aesthetic senses.

I feel the “art of experience” can apply to viewers of both photographs and the other arts. The observer must feel the emotional connection which has primacy over what is seen. Unfortunately, many viewers only see what is on the surface of the image. Some pictures will speak to you if you are receptive and allow them to do so.

“Art is only through feeling, so alive and sensitive that the picture is as the breath out of the mouth, but coming from the heart.”—Abraham Walkowitz

My photograph “Repose” was part of a gallery show. A viewer was having an emotional connection with the work and started telling me what she was feeling. I asked Rachel if she could write down the thoughts that she was experiencing.

“At first glance, “Repose” appears almost apocalyptic – the nude woman, staring blankly off into the distance, her partially curled body laying in a dormant cornfield, the sepia tones of the photograph adding to the eeriness. A quick assumption could be that the figure is dead, a simple conclusion placed together by the drained color palette and lifeless cornstalks. The composition of the picture plane with it’s single point perspective makes the viewer feel as though he/she is physically in the space. The viewer is no longer only an observer, but now also a participant. It’s this play with composition that signals the viewer to take pause, and examine the photograph longer. The figure, and older woman, lays in a pose reminiscent of a relaxed fetal position — a posture associated with new life. However, everything else in this photograph recalls aging, or nearing a state of hibernation, dormancy or death. The field the figure lays in has clearly been harvested, indicating an end to the growing season and an approach toward winter. Winter is often thought of as ‘the end’ of the cycle of seasons: plants fade, animals hibernate, and humans retreat in their own ways, waiting for spring to come when life will re-emerge and be re-born. Winter brings stillness. This stillness is expressed in “Repose.” It’s the stillness that allows the viewer to reflect. While, “Repose” is clearly a photographic commentary on aging, it’s not one of hopelessness. Like the seasons, the figure has lived through seasons of her own life; and in the stillness the viewer recognizes the beauty in her age and the life that she still has left. Moreover, “Repose” causes the viewer to think about his or her own mortality and life. It works as a memento mori of sorts — but a reminder that life continues, rather than a reminder of death.”

Repose (all images copyrighted)

Olympia by Manet

Here I am standing inside the Metropolitan Museum of Art in the gallery of the Manet/Degas show observing the painting “Olympia” by the artist Édouard Manet. It is a large painting measuring 51.1 inches by 74.8 inches. Completed in 1863, it is a picture of a naked red-headed lady with lilly-white skin lying on a rumpled bed with a black maid standing behind her holding a bouquet of flowers and a surprised looking black cat standing on the end of the bed.

A great deal of information has been written about how scandalous the painting was when it was exhibited at the 1865 Paris Salon and how it was instrumental in ushering in the age of modern art. In today’s world the idea of it being scandalous is at best quaint. But that is not what I want to write about.

I was standing in front of the painting when two ladies passed briskly in front of me giving a cursory glance at the painting with one saying to the other “that’s pretty” as they quickly moved on. Art appreciation at it best. For me, I could not stop looking at the painting. The scale of the painting along with the subject matter demanded attention. While closely observing every square inch of the canvas, I began to feel I was part of the scene as if I was traveling through time. I felt as if I was standing in the room depicted in the painting but I was a photographer working with the two models. I had asked Victorine to lay on the bed. She is naked except for a flower in her hair, a bracelet on her right wrist, a black ribbon around her neck, earrings and slip-on shoes. She came to the modeling session wearing these items and I could see no reason she should remove them. I usually go with serendipity. The other model, Laure, is wearing a pink dress with a white collar, a pink hair covering and holding a large bouquet of flowers wrapped with white paper. The thing that visually stands out on her are the red dangly earrings but since her head is turned only one is visibly hanging from her left ear. It definitely held my attention. I thought about having her remove it since it was distracting but again that is how she came to the modeling session and sometimes my meddling can detract from the composition.

When Victorine positioned herself on the bed, she just naturally posed in a comfortable position with legs crossed at the ankles and her hands finding positions that look natural and relaxed. It was just a coincidence that her left hand covered her pudendum. Her torso is propped up on the bed with pillows. The white sheets are messy and rumpled but again I don’t like to tamper with such details-I take it as it is. I asked both models to look at me which I thought would be best. Victorine looked at me but Laure made a questioning glance toward Victorine as if to ask a question. I liked the way she glanced and asked her to continue with that pose. Before freezing the image for posterity, a black cat unexpectedly appeared and jumped onto the bed looking directly at me. At first, I wanted to get the cat out of the picture but decided that it filled in that empty corner and proceeded to take the final picture. As I began fading away, I thought that Édouard would be happy with my photograph.

I slowly began to hear voices and saw people around me and realized I had returned to the museum looking at “Olympia”. Even though “Olympia” is a painting, I related to it as a photograph. First, it is a nude and a large portion of my photographic work is centered on the nude. Second, it is very naturalistic in appearance and has a relaxed demeanor. Third, there is a randomness to the composition including the models’ poses, the objects, the background, and the inclusion of the unexpected (the cat). These elements show up in some of my best work. 

Of course, the above account is pure speculation on my part but there is some basis that these events could be rooted in photography. I believe photography’s role may have had some significance. The painting has a modern feel to it and although no photographs have been connected to “Olympia” it seems to have a genetic relationship to photography.

It is known that Manet did use photographs for some of his paintings and etchings including “The Execution of the Emperor Maximilian” and several portraits. Some of his paintings included photographic nuances associated with light and dark areas of compositions. Historically, film initially had difficulty recording middle tones which resulted in high contrast photos. Paintings using such photographs as guides emphasized such characteristics.

Manet was not a stranger to photography (I saw him referred to as an amateur photographer) and like other painters he used photographs to help in his artistic vision.

But does it matter. It really is about the painting. What you see and feel when viewing it. The painting pulled me right into it and I felt I was there in 1863 recording the scene on film. Perhaps I did and Édouard Manet used my image to help create “Olympia.”

References: The Artist and the Camera-Degas to Picasso

     Art and Photography

“Olympia” by Édouard Manet