Dance: American Art 1830 - 1960 ESSAY ON MUSEUM DISPLAY

Dance: American Art 1830 - 1960
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Dance: American Art, 1830 - 1960
Strayer University
Felicia McCaw
Professor Cynthia Creel
Hum 112
Online Spring 2016
May 22, 2016

Date Visited: May 17, 2016
Exhibit: March 20, 2016 – June 12, 2016

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This impressive exhibit is housed within the Detroit Institute of Arts in Detroit, Michigan which is an astounding beautifully designed building inspired by French architecture. A visual display that is superlative to appreciation and reflects American artists who have contributed to the symbolic challenge of capturing forms of dance from the most simplistic to extreme choreographic performance. Each painting speaks a language all its own in the portrayal of dance and ensuing joy in the differing depictions using ambiguity and clearness as themes. Various approaches of the painting range from romanticism expression, impressionism, realism and modernism.
As dance is an art form the expressive capture is indeed an imaginative explosion of emotional outburst in creating visual artworks as representative. Aesthetically correct is the approach in the documentation of present and historical interpretation of dance, mimesis, expression and communication of sentimentality or emotion when dealing with dance as a theme or subject.
One of the selections that is symbolic of expressive art that convey messages all its own is Dances, 1914-15, by Arthur Bowen Davis displayed at the museum. Reflective of grace of form, litheness and suppleness it virtually simmers with latent sensuality bathed in ricocheting colors of asymmetrical splashes blended and combined to compose female forms in dance. Enthralling the eye it captures the interest because of its intriguing hidden and clarity and its ability to capture rhythms and life. Expressing joy, fruitfulness, nubileness it is almost a ceremonious dance of richness in fertility in comparison to Les Demoiselle d’Avignon by Picasso that is a visual sensuality that is apparent without discretion.

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The difference between the two is symbolic of innocence versus a worldliness and weariness compared to a youthfulness and beginning. Les Demoiselle d’Avignon is also composed of asymmetrical application and splashes of color to define female form but have more of an angular approach to reflect the carnality of their trade and the ambiguousness of their future and daily existence. As conceptualized the appearance of faces are differentiated to reflect masks covering two of the women faces and the others express sadness, tension and despair of their life circumstances. As hidden by the masks this could be reflective of the desire to hide their identity because they have been forced into the trade of prostitution and its inner disgrace. Both paintings are reflective of a combination of classicism and surrealism that have been intertwined to compose both Les Demoiselle d’Avignon and Dances and are imagery and volumes of communication.
The next painting selection that was displayed at the museum is Rustic Dance After a Sleigh Ride, 1830, by William Sidney Mount, which is reflective of a scene of high stepping merriment at an evening soiree. Expressive is emotions that dramatize the moment as highly enjoyable with the utmost of respect given to the women as they are politely asked to dance.
The coloring and details are refined and indicative that a fine brush was used to relay the station of life of the participants at the soiree. The historical value of preciseness and dress is captured for reference and referral. Further this scene also indicates that scenario is based upon Southern life because the entertainers are black slaves with one black slave onlooking.
In comparison Negro Life in the South (Kentucky Home), 1859, is highly ambiguous for it relays a picture of black slaves being content, at rest and at ease with their situational slavery. Although realism was utilized in its composition with real models to help in portrayal it is
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underlining the pushing point against slavery for none felt that slaves should be so content in their lot and have time for song and dance and nothing indicative of work to earn a living while others labored hard to survive every day. Although the difference in the quality of the state of dress of the mistress and the slaves is in contrast and reflect the level of life it is not reflective of the true wrongness of slavery. The startling point in this painting is that the mistress is associating closely with slaves and as taboo or violation of rules it is not permissible for her to be there because it was considerable unseemly and below her to associate with black slaves and be there unescorted. Further the richness and detail is finely done and indicative of a fine brush being used to capture coloring, facial images and mood as the other painting. Both painting are excellent relayances of a time period that has passed and follow the classical approach.
In contrast, Rustic Dance After a Sleigh Ride is an all Caucasian scenario with three black slaves enjoying the good life while the Negro Life in the South reflects a snapshot in the life of black slaves but with many underlining undercurrents and emotional drama that is a thrust at freeing the slaves to ensure that they are made to work as others with only one Caucasian person visible
Every painting selected is of such excellence that the viewing in person is a worthy endeavor for the pure visual enjoyment and the speculative appreciation and intriguing thoughts and attractant that arise from the almost stimulative interaction with the viewing and conceptive thoughts that arise. In conclusion, the theory of artistic benevolence is presented with excellence and is an exemplary example of mentorship and a highly enjoyable view.


REFERENCES
Sayre, H.M. (2014) The Humanities: Culture, Continuity and Change, Boston, MA: Pearson
Page 1120, Page 967

Arthur Bowen Davis: Dances (27.158) – The Detroit Institute of Arts
http://www.dia.org/object-info/67d4ce9b-88f6-40a9-851f-adfd38d9b326.aspx?position=3

Museum of Fine Arts, Boston
http://www.mfa.org/collections/object/rustic-dance-after-a-sleigh-ride-33204