Essay #1

Eight times out of ten, after entering the MET, I take a left towards the Greek statues. I’m not sure whether I do this intentionally or not, but this visit was no different. The change of logo and décor was puzzling. It was my first time visiting since the change. I don’t see myself ever getting used to it. I’m still hoping for some sort of delayed outrage that will cause the museum to revert to its previous, much more appealing logo. I found myself paying attention to the lighting and positioning of the many sculptures. I noticed the focus of light each statue received, as well as the contrast the marble had with the wall color and the floor. I wondered if the sculptures themselves would have as much impact in an environment not designed to show them off. Would this look as good in my poorly lit room? Pictured is a particular doorway that caught my attention. There’s many like it, but there was a hidden symmetry that brought my attention to this specific one. The way the sculpture shined in the background made me question if it was intentional or if I had just found a secret, flattering angle. I was going to continue to the modern art section, but I saw there was a new exhibition I had not seen. “Vigée Le Brun: Woman Artist in Revolutionary France,” I had never heard of her, but the period seemed of interest. 

I was trying to remember what exactly was in the spot before this exhibition, but I couldn’t remember. It’s almost as if the MET is capable of spontaneously producing space. The walls of this particular exhibit were light grey, almost silver. Ever since last class I’ve always been looking at the wall color before anything else. The gold borders (which were present in every painting) contrasted very nicely, surprisingly. I’m not too familiar with art periods, but Le Brun’s paintings reminded me of the all the European paintings you see if you go straight forward after entering the MET. They just looked a little more surreal than usual. Her detail with eyes was particularly striking. The gazes of the portraits brought me down to earth. Realistic, eye appealing, draining, it’s                                                                           almost as if I was right there with them.

The painting titled “Madame Grand” was the first to really capture my attention. I had seen this painting before. I even have it saved on my hard drive in my little ‘art’ folder. I hadn’t bothered to check the artist. The caption on the wall declared the painting a “modern Saint Cecilia.” The most pleasing part of this painting is the way the light hits the ribbons decorating Madame Grand’s dress. The representation of textures is accurate; you can almost touch them with your eyes. The dress itself is composed of many textiles. The shining skin pigment is enticing. It’s an angelic painting. At the same time, the stubbornness present in the eyes forms an interesting dichotomy with what the painting as a whole is attempting to represent. Here, Le Brun attempts to frame the entirety of Madame Grand. Her “musical, clever and attractive” side, but also revealing a woman capable of “extra marital affairs.”

Self-Portrait, 1790
Oil on canvas
Vigée Le Brun

The painting I chose to analyze deeply was a self-portrait of Vigée Le Brun. The border is thicker than some of the other painting borders. I was disappointed with the glass (or Plexiglas) used for this painting. The light reflected off of it awkwardly, and I’m sure the painting would be better to look at without it. Here, again, the textures are so vivid that they dominate the painting. The thin fabrics around Le Brun’s neck and wrist feel almost weightless, floating within the painting itself. The scarlet sash glows. It was interesting that she chose to paint herself painting. It definitely seemed that she was completely enveloped in her craft. She was proud of being the one who painted the queen. The lone red brush in her hand caught my attention. Does she actually use that many paint brushes? The eyes here are more sympathetic, rather than fierce. Almost like Le Brun is trying to communicate that she's aware of being really damn good at painting.