Joan of Arc Essay -- Essays Papers

Joan of Arc In the Metropolitan Museum of Art in New York City the painting â€Å"Joan of Arc† by Jules Bastien-Lepage hangs in the B. Gerald Cantor Sculpture Gallery. This Piece is rather large and was done with oil paint on canvas, its dimensions being approximately eight feet tall with a width of ten feet. When walking toward Bastien-Lapage’s painting, it’s size and realism grabs one’s attention, and then holds it while this scene of Joan of Arc seems to take place right before one’s eyes. The corridor where the painting is displayed is part of the museums permanent collection. The gallery is composed of many sculptures with paintings placed between them; almost all of the work is French and done sometime in the 1800’s. This long and wide corridor has Ionic styled pillars at each end, and all together the subtle architecture goes nicely with all the different art work displayed. Bastien-Lepage’s painting is placed third from the end of this corridor and fits there nicely, although one might expect it to see it somewhere else for the amount of attention it receives. To the right of the painting is the wall sign that states the artist’s life span, which was 1848 to 1884, along with the following brief history: â€Å"After the Province of Lorraine was lost to Germany following the Franco-Prussian War in 1871, the French saw in Joan of Arc a new and powerful symbol. In 1875 Bastien-Lepage, a native of Lorraine, began to make studies for a picture of her. In the present Painting, exhibited in the salon of 1880, Joan is shown receiving her revelation in her parents’ garden. Behind her are Saint Michael, Margaret, and Catherine.† Joan appears to be the focus of the painting as she stands in the foreground and to the right. Her image is almost life size, and, along with an enormous amount of detail that has been used, she appears very lifelike. Joan stands with her head and shoulder leaning slightly against a tree and her eyes looking upward. Her left arm is stretched out away from her body and holding the end branch of a young flexible tree, while her right arm is at her side with her hand cupped against her dress. The smoothness in the contours of her skin and the ways the textures are represented on her clothing, with the folding and shadowing, are all done well. The use of the different shades of color for the skin tones, clothing, and their... ...ts position in the museum seems to have been well thought out. Unfortunately, this painting loses some of its grandeur when one gets up close. The only real detail work that is put into this piece that looks great up close is ironically the one element that can not be seen from a distance, which is a group of men at the bottom bathing in the waters. While this piece can be positioned on this wall so that it receives its first attention from afar, a piece like Bastien-Lepage’s would not be completely at home in this location. When passing by Joan in her present location, at about a distance of 6 feet as the flow of the room so works, the feeling of being right there with her is exemplified. Then as one moves away to the wall opposite the painting at a distance of about fifteen feet, the furthest distance that the room allows, the beauty of the whole painting is taken in with nothing being lost. After taking in every detail up close and then stepping back to let the painting consume the viewer on a whole, Jules Bastien-Lepage’s painting of Joan of Arc shows the artist’s fine tuned skills in capturing the essence of realism while also conveying a deep humanistic compassion.