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The Tufts Daily
Where you read it first | Friday, March 29, 2024

Defining Desire in 'Divine Desire'

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Emily Gruzdowich is a sophomore majoring in Art History and Political Science.

Desiring to aesthetically render the allure of human flesh, artists have sought innovative ways to represent the human body -- both over-sexualizing and muting its carnal nature. The nude in the classical period, while often devoid of clothing, carefully concealed the nakedness of its form, replacing the overtly erotic with a refined grace. However, as artistic trends progressed, changing circumstances forced artists to grapple with the public reception of nudity. One example, sixteenth century art from the Netherlands, adopted the partial and full nude into its classical iconography; a facet of the Dutch Golden Age was a reflection on the epoch of Greek sculpture. Triumphant Hercules and coy Venus mirrored the sublimity of the previous age.

While an adaptation of the past, the Dutch Golden Age was simultaneously a reflection of the country's contemporary state and interaction with neighboring countries. Artists were heavily influenced by their grand tours throughout Italy and firsthand views of the peninsula’s idyllic scenes. The classic-izing tendency of mythological subject matter, which characterized Italian art, was subsequently reflected in the work of these foreign artists.

Focusing primarily on Hendrick Goltzius and Jacob Matham, the San Diego Museum of Art compiled "Divine Desire" to focus on the mechanism and media of printmaking, the predominant mythological subject matter and the birth of the Baroque -- a product of the former.

Lending itself to widespread adaptation and proliferation, the medium of the print prompted this convergence of ideals and artistic trends. The exportation of prints on an international level granted artistic independence and is thus another explanation for the diversity of artistic depictions found in the period. Printmaking encouraged artistic innovation. The copper-plate engraving was successful in disseminating Dutch interpretations of mythological iconography to a far broader audience. Due to the size and portability of prints, artists could more freely depict sensual scenes fit for the eyes of a private audience. The juxtaposition of the dark, deeply hatched contours with the light, softly hatched foreground and flesh endows the works with a remarkable sense of depth. Manipulations in the multitude of lines and crosshatched strokes results in a finished print that melds earthly and divine desire by synthesizing the harsh medium of metal with the soft allure of flesh on paper.

The established western tradition that contextualizes the work of the Dutch artists framed classical mythology in the terms of Christian theology. Yet, as noted in the exhibition catalog by Michael Brown, the curator, not every mythological depiction is imbued with an overtly moralizing theme or significant message. The treacherous escapades of the gods can in some instances be just that: interesting adventures well suited to creative artistic depiction.

Mimicking the meticulous details of Goltzius’ prints, the exhibition rotunda replicates the architectural elements depicted on paperThese elements are translated into a tangible recreation of the archway. As one scans the room, one observes the panoply of the gods. The grandiose entrance culminates with the euphoric "The Wedding of Cupid and Psyche"(1587). Bold reds and deep tones adorn the walls, setting off the meticulous dark etched lines and crisp white paper. The juxtaposition of light and darkness that characterizes the prints in the show is amplified by the bold setting. One’s eye rhythmically dances across the lofty clouds, processing the perceived marriage between divinity and desire. The pantheon of the gods is a fitting testament to the subject matter depicted within and serves as an apt precursor to the following works. In a setting that mirrors their sublimity, the San Diego Museum of Art contributes to eradicating the misconception that prints are relegated to the mere craft of draftsmen.