Proctor Academy's European Art Classroom program surpasses the midpoint in their term studying and living abroad in Aix en Provence, France. A recent excursion to Vienna saw the group immerse themselves in the art and culture of Austria. Read more from Carly '24 and Lily '24 in this blog and enjoy Lisle's '24 video below!
Carly '24:
Watching the Orchestra, I am struck by the emotion and movement of the third chair violinist. Younger and more energetic than most of her peers, she enjoys the performance. She smiles as her body becomes one with the violin, the violin her music is, she becomes its vessel. She stands in contrast to her peers, especially the first chair violinist, who is clearly the most respected in the Orchestra, and the other player who draws your eye. Initially, the first chair is much less noticeable than his younger peer. But his consistency and willpower over the instrument show the technical perfection of his craft. Yet, unlike the 3rd chair, he seemingly exerts his will on the instrument to create a militant perfection of sound.
Bea’s “not a shrine” to Egon Schiele
As someone who has disliked classical music, I don't know what makes up a good orchestra performance. Is each position supposed to be unified in their movements, creating the visual imagery of conformity, like an army marching to war, or are performers allowed individuality, moving as the instrument pleases. While watching a performance, I realized that the woman who portrays emotion in her playing is meant to be a soloist. She draws the viewers with a love of her art but can't blend into the crowd. But an orchestra made up of the first chair would create a sharp-tuned sea of sound and movement.
Throughout history, artists have been forced to answer the question of whether to conform to historical movements or value individuality and freedom. Throughout our time in Vienna, we saw how the first chair was like the Baroque master's commissions for the church, which we viewed in the Kunsthistorisches Museum, perfect and conformist. While the third chair's emotional connection and combination of herself and her art represents all the art forms that portray an individual's emotion. Such as works by Gustav Klimt, which we viewed in the Secession House and Belvidere, and Egon Schiele, whose works we saw in the Secession House and Leopold Museum.
The differences in the violinists playing also speak to the emotional needs of youth to express themselves. The younger players still have a connection to their art, while the older have been forced into conformity. But art only has power because of the emotions behind it. How can Albert Duerer's Praying Hands that we saw in the Albertina be so popular? It's partially because of his technical perfection but more so because of the story behind the hands and the accompanying emotion. Why do the immersive exhibits in the Leopold send a chill down your spine? It's because of our emotional connection to the subject.
Lily '24:
Art serves as a medium that imparts lessons in observation and introspection. On our first painting class, Dave pointed at a singular apple sitting in the middle of our studio. I said to myself in my head: An apple? How hard could it be to capture the appearance of this unsophisticated red fruit? Little did I know that apple took away my artist’s hubris, mocking me with its simple yet elusive form as I struggled to capture its impression. Capturing something seemingly straightforward an apple in our studio, can be deceptively complex; due to the intricate interplay of form, textures, curves, and light reflections. To paint an apple, not only demands artistic techniques but an appreciation for the subject and the nuanced observations.
As the exercise unfolds, it becomes apparent that everyone interprets the simple fruit uniquely. One artist might choose a rich, ruby red for their apple, capturing its luscious appearance, while another may opt for a palette of earthy tones, emphasizing its organic feel. The diversity doesn't stop there––some have bold, defined planes of color, while others prefer subtle, smoothened strokes. In this artistic approach, it becomes evident that no two apples are alike, much like ourselves––the artists. Our perception of the surroundings is a deeply personal and subjective experience that is constantly shifting as our individual human experience accumulates and develops.
This makes me wonder why artists like Paul Cézanne would choose to repaint the same mountain, Mtn. Sainte-Victoire, day after day. To Cézanne, painting en plein air was truly a spiritual process of connecting with his surroundings. “Paint to know the mountain, the spectacle God spreads before our eyes. From every angle every season, in sunshine, in shadow, in every circumstance of our lives… painters need to think of the world as their catechism” (Susan Vreeland).
Creating art is a journey that begins with perceiving a frame of the world, internalizing and interpreting its content. Then, using nuanced personal decision-making and artistic skills to convey a unique output. It asks us to be attentive to the external surroundings and our internal expressions, encouraging us to reflect upon and embrace the moments before us. Drawing something as simple as an apple demands patience, observation, and a willingness to step back and appreciate the broader picture through observation and introspection. Painting is like making the decisions in our everyday life—it's a blank canvas awaiting the strokes of intention and meaning with a flare of personal artistic style.
Check out more photos from European Art Classroom on Flickr!
- European Art Classroom
- Off-Campus Program