Thursday, May 2, 2013

Art Critique 2 - Romulus and Remus


Diane Victor, Birth of a Nation:  Romulus and Remus (2009).  Aquatint on Unknown Surface (10.6” x 14”)

     Diane Victor’s print focuses on three main characters: a hyena and two infants.  All three figures are located on some kind of platform.  The two infants are seated below the hyena.  The hyena is female, judging by the anatomy of its underside, whose attention is directed towards something unseen and beyond the boundaries of the print.  This is evident in the characteristics of her head, eyes, and ears pointing towards the same, general direction, as well as potentially raised hackles (hair along the neck).  Where is she staring?  Is she scared or protective?  The two infants are male, validated by their uncovered genitals, and appear to be of African descent.  Each one is pushing the other and the expressions of each are that of fierce determination.

     The colors of the print are monochromatic.  It was completed in aquatint, which is an engraving process that allows for a smooth gradient from light to dark values.  This is particularly useful in the case of Victor’s print in order to guide the reader’s eye through the piece.  The darkest area of the print is the head of the hyena.  The eye travels along the body of the hyena, where darkness exists (for an unknown reason that I cannot deduce), and ultimately leads the viewer to intently look at the two infants.  The infants’ skirmish is the main subject of the print.

     The historical context of the print comes from the mythology and symbolism of the inception of Rome.  The story of Romulus and Remus, from which the aquatint is based, addresses two orphaned boys who were raised and nurtured by a wolf.  In the same way, Victor’s painting shows two African boys who are attempting to be nurtured by a hyena.  I believe that Victor is commenting on conflicts between African countries.  This seems plausible since Victor is from South Africa herself.  I believe that she portrays Africa, the mother continent, as the hyena in her piece who is offering her nutrients to those she is taking care of.  The infants (or distinct nationalities) refuse to take advantage of her resources, however, because they are too busy fighting each other.

     The painting also might be a commentary on the struggles of the African race.  I think that there is a contrast between the past and the future.  I believe that the platform upon which the three characters are on is a slave auction platform.  The children on the platform are there to be saved, as is Africa, considering parts of Africa (including South Africa) used to be owned by other nations, like Great Britain.  The hyena’s eyes form an implied line across the page and draw our own eyes to move from left to right along the print, as if on a timeline.  The attentive expression of the hyena seems to comment on the idea of looking ahead to the future, yet her expression also seems to show anxiety, a need for the protection of the children, and possibly fear.  I believe that this is also established by the title of Victor’s print series, “Birth of a Nation”.  This was also the title of a famous movie which came out in the early part of the 20th century.  The film was made to bring awareness to racial conflicts in the United States.  Finally, the expression of racial conflict is expressed through the style the artist preferred to use.  One website noted that aquatint was often used “where contrasts of dark and light were dramatic elements” (Printed Image 1).

     The overall sense that I feel from the piece is that of frustration.  Victor used mythology as the premise for the story behind her work, but I think it also serves as a standard.  To me, Victor is asking the question, “What went wrong?”  She sees that African people have struggled and continue to struggle, not just with other races, but among themselves as well.  I believe she is searching for reassurance that her continent will, one day, have peace.
 
Work Cited:
"Printed Image"  Accessed May 1, 2013.  http://www.metmuseum.org/toah/hd/aqtn/hd_aqtn.htm

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