Art, Actually

AP Art History is one of the most rigorous AP courses, but it is also one of the most enlightening. Throughout the year, we had to learn about 250 works of art, memorize their creators, the time periods in which they were created, the context behind their creation, and the artistic movement that applies to them. From Predynastic Egypt to the Inca Empire, Middle-Age Europe to Global Contemporary,  we submerged ourselves in the art of all kinds of cultures, movement, and time periods. Although we can–and have–written essays about all kinds of art works, there were a few works that particularly stood out to us. Whether it was due to the intricate details or the rich history behind a work, we each fell in love with not only the pieces of art described in this article, but also art history as a whole.

The four works of which we are delving into today are The Ambum Stone from an unknown artist in the prehistoric Enga Province of Papua New Guinea, The Ecstasy of Saint Teresa by Gian Lorenzo Bernini from the Baroque period of Italy, Tête à Tête from Marriage a la Mode by William Hogarth during the Rococo art movement, and A Philosopher Giving a Lecture at the Orrery by Joseph Wright of Derby of the Enlightenment period in England.

1. The Ambum Stone – Soraya Ladjili

   
   

   

   Photo via smarthistory.org Ambum Valley, Enga Province, Papua New Guinea. c. 1500 B.C.E. Greywacke.

   The AP Art History curriculum begins with the prehistoric era, covering 11 works from 30,000 to 500 BCE. While some pieces may be more widely known, like Stonehenge or the Hall of Bulls at Lascaux, there’s one little greywacke figure that captured my heart and has stayed my favorite piece throughout the course: the Ambum Stone.

   
   

   The Ambum Stone was created around 1500 BCE by the Enga people in the Ambum Valley of Papua New Guinea. Although the exact function of this stone carving is unknown, it is thought by some to have been used as a pestle (as in mortar and pestle). Its intricacy and smooth texture also suggest its importance and showcase its high value. The stone could have served a ritualistic purpose in promoting fertility, since it is shaped like an echidna, a unique mammal known for laying eggs. Due to the time and energy required to carve greywacke, the Ambum Stone is a prime example of a Neolithic work of a sedentary society. 

   
   

   While there are many other pieces that we covered that I connected with on a deeper level, thanks to the masterful techniques and symbolism, such as the Annunciation Triptych by Robert Campin, or Rebellious Silence by Shirin Neshat, I think that honestly the endearing qualities are what first drew me to the 3,500-year-old stone carving. Humans are naturally drawn to cute animals, so this 20cm zoomorphic figure, with its curled stance, tiny limbs, and thousand-yard stare is bound to be perceived as cute by many modern viewers and evokes a certain emotional response. Still, it’s important to remember and respect the figure in its original cultural context.

   
   

2. The Ecstasy of Saint Teresa by Gian Lorenzo Bernini – Zofia Rosciszewski

   
   

   

   Photo via smarthistory.org Gian Lorenzo Bernini 1647-1652. Marble (sculpture) and stucco w gilt bronze (chapel).

   Throughout the AP Art history curriculum, there have been numerous moving and inspiring structures like the Hellenistic piece number 37 Winged Victory of Samothrace (Nike), and like the Gothic wooden sculpture number 62 Röttgen Pietà. However, the most beautiful sculpture to me has to be piece number 89, The Ecstasy of Saint Teresa. 

   
   

   Created by Gian Lorenzo Bernini in 1646-1652, this controversial marble sculpture effectively expresses a beautifully complex depiction of Saint Teresa’s vision of God. Saint Teresa was a Counter-Reformation figure, advocating for intense piety and advising followers of God to self-flagellate to feel the pain of Jesus when he was on the cross, thereby rendering them closer to him. Bernini was inspired by Saint Teresa’s diaries in which she would write about her visions involving God. This diary entry demonstrates an angel descending from Heaven to stab her with an arrow in her… heart. However, one can see that Bernini interpreted this in a unique way: To demonstrate her love for God that consumes her, he purposefully angled this arrow to point toward her crotch instead of physical heart, creating a sense of intimacy between her and God. He then furthers this through her facial expressions that display a visceral and intense reaction to this action. This interpretation was pretty controversial, especially for the time period, but it created a sense of depth in the piece that would not have otherwise been achieved. 

   
   

   Although the meaning and context behind the sculpture is particularly beautiful to me, the aspect that makes this piece my favorite is the actual background to the sculpture. Bernini carefully positioned this sculpture below a window which is covered by bronze pieces that are shaped like rays of life. The statue is therefore illuminated with a natural light from the hidden window, engulfing the sculpture in a seemingly divine light. One of the reasons why this is my favorite art piece of the 250 is this integration of the background into the sculpture as a whole, providing the viewer with a holistic atmosphere for this divine scene. Overall, Bernini went above and beyond for this sculpture, rendering it one of the most memorable pieces for us.

   
   

3. Tête à Tête, from Marriage a la Mode, William Hogarth – Olivia Seixas

   
   

   

   Photo via smarthistory.org. Tête à Tête, from Marriage A-la-Mode 1743. William Hogarth. Oil on canvas.

   The curriculum then delves into a familiar movement known for its flowy and exuberant pieces: the Rococo period from the 1730s to the 1780s. Giving birth to pieces such as The Swing by Fragonard, it showcases immense control over color palettes, movement, and facial responses. One piece that particularly stood out to me was one created by William Hogarth, a satirical artwork pertaining to a larger series of six paintings called Marriage à La Mode. The specific oil painting in question is called Tête à Tête, and very clearly denounces arranged marriage in an aristocratic setting.

   
   

   The scene depicts a noble couple in a visually striking setting, an event that takes place around noon based on the clock on the mantle. On the right, we see the husband sitting on a chair in a rather lethargic pose, suggesting a rambunctious night out. The dog to his side represents loyalty, a symbol that becomes quite ironic as he sniffs a cap in the man’s jacket, a cap that is assumed to not belong to his wife. Even more surprising is the black dot on his neck, a sign of syphilis. The wife sits to the left of the painting, and here, we can see her outstretched as if relieving tension from the previous night. The extinguished candles and the pile of playing cards suggest that the wife had stayed up to play games and gamble. Finally, the paintings in the other room, namely the image to the right, were a common sight in the homes of the nobility. Oftentimes these indecent paintings would only be unveiled for male company. However, in this case, the piece is only partially covered, hinting at the various secrets being hidden within this arranged marriage.

   
   

   What drew me to this painting in particular was its pastel hues and lavishly decorated setting. The way Hogarth chooses to convey a complex and rooted societal issue in such an aesthetically pleasing manner appeals to my love for both beauty and the denunciation of wrongdoings. I truly adore this piece for its intricate details and symbolism.

   
   
   
   

4. A Philosopher Giving a Lecture at the Orrery. Joseph Wright of Derby – Gwyneth Muir Atkinson

   
   

   

   Photo via smarthistory.org. A Philosopher Giving a Lecture at the Orrery. Joseph Wright of Derby. c. 1766, oil on canvas.

   This 18th-century painting perfectly reflects the cultural narrative of the period: the Enlightenment. To give a bit of context, during the 16th and 17th centuries, paintings of this scale and artistry were typically reserved for religious themes, involving Biblical scenes, Greek gods, and other iconography. However, A Philosopher Giving a Lecture at the Orrery features secular subject matter—demonstrating the importance of scientific discovery and thought during the Enlightenment. Of course, Joseph Wright of Derby could not have known that his paintings would come to exemplify the Enlightenment as a whole, but even he could recognize that his work's unique subject matter stood in stark contrast to the Salon’s typical theistic pieces.

   
   

   In this painting, Wright of Derby employed a beautifully captivating technique to add drama to his work: chiaroscuro. Chiaroscuro is a technique in which light and dark are juxtaposed to create contrast. In doing so, it builds a deeper emotional connection with the viewer. In this case, I would argue that it creates a sense of intimacy—rather than simply observing the scene, the audience is drawn into it. It almost feels as though one is present in the room with the subjects.

   
   

   Personally, I consider this painting one of my favorites due to its distinct intimacy. Instead of a scene filled with chaos, violence, or some convoluted meaning, I can immediately grasp the context and purpose of this work. A Philosopher Giving a Lecture at the Orrery is a painting I can emotionally connect with, as if I am experiencing the same awe and wonder as the children.

   
   

   We may be done with the AP Art History course, but the things we learned in this class will never leave us. (We’ll forever be spiraling over the different types of vaults).

   
   
   
   

   Works Cited:

   “AP Art History,” Nalanda,  https://www.nalandaguides.com/apah.

   Fleet’s AP Art History, https://sites.google.com/view/ocsaaparthistory/home.

   Smart History, https://smarthistory.org/curated-guide/ap-art-history/.