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COMPARATIVE ANALYSIS OF TWO WORKS OF ART

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COMPARATIVE ANALYSIS OF TWO WORKS OF ART

Characteristics of Each Work

I decided to analyze to artworks:

Pietro Tacca, Monument to Philip IV, bronze, dimensions unknown, Madrid, Spain, 1640.

Kehinde Wiley, Napoleon Leading the Army over the Alps, oil on canvas, 9’ x 9’, 2005.

1. Monument to Philip IV by Pietro Tacca:

 Artist: Pietro Tacca

 Title: Monument to Philip IV

 Medium: Bronze

 Dimensions: Unknown

 Date: 1640

 Location: Plaza de Oriente, Madrid, Spain

Kehinde Wiley, Napoleon Leading the Army over the Alps:

 Artist: Kehinde Wiley

 Title: Napoleon Leading the Army over the Alps

 Medium: Oil on canvas

 Dimensions: 9’ x 9’

 Date: 2005

 Location: Brooklyn Museum of Art, New York

Describe and Compare the Composition and Scale of Each Work

The Monument to Philip IV by Pietro Tacca and Kehinde Wiley's Napoleon Leading the Army

over the Alps exhibit specific compositional differences in elements and principles. Tacca's monument,
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a Baroque equestrian statue, features an exceptional rearing horse accompanying a rider, revealing an

intricate balance of form and movement. The composition is characterized by a concentrated figure,

Philip IV, with a solid bronze rear and a hollow front, stressing strength achieved through careful load

distribution. In contrast, Wiley's artwork reinterprets Jacques-Louis David's Napoleon Crossing the

Alps, replacing the main figure with an anonymous Black man. The composition asserts a central focus

on the rider but presents contemporary elements, such as camouflage attire and a dynamic, rearing

horse. Wiley's composition is asymmetrical, dispersing elements across the canvas, and employs a

vivid color palette and ornate frame to draw attention to the artificiality of image-making. While

Tacca's work emphasizes stability and grandeur through the calculated balance of the equestrian statue,

Wiley's composition challenges traditional representations of power by subverting historical narratives

and introducing contemporary elements. Additionally, Tacca's monument is a physical, three-

dimensional sculpture, whereas Wiley's work is a two-dimensional painting, impacting their overall

scale and presence.

Analyze and Compare the Artistic Media of the Two Works

In comparing the two artworks based on their respective media, the painting, executed in oil on

canvas, and the sculpture, crafted in bronze, offer distinct sensory experiences that significantly

influence interpretation. The painting, with its use of oil paint, exhibits a painterly technique

characterized by expressive brushstrokes. The artist's deliberate application of color and texture

contributes to a dynamic representation of the subject matter. The visible brushstrokes, varying from

thin to thick, create an emotive quality, emphasizing the artist's gestures. The choice of oil as a medium

allows for a nuanced exploration of color schemes, enhancing the overall visual effect through depth

and luminosity. Conversely, the bronze sculpture, created through a combination of casting and carving

techniques, offers a tactile and three-dimensional encounter. The artist's decision to leave certain areas

untreated, exposing the natural qualities of the material, contributes to the visual impact. The play of
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light on the polished and textured surfaces varies throughout the day, inviting viewers to engage with

the sculpture from different perspectives. The sculpture's form, whether viewed from a dominant point

or alternative angles, presents varying compositions, emphasizing movement and spatial relationships.

Analyze and Compare the Artistic Style of Both Works

The Monument to Philip IV by Pietro Tacca and Kehinde Wiley's "Napoleon Leading the Army

over the Alps" exhibit distinct representational styles rooted in different historical and cultural contexts.

Tacca's equestrian statue of Philip IV, created in 1640, reflects Baroque characteristics with a blend of

naturalism and idealism. The statue's dynamic pose, influenced by Velázquez and executed with a

daring stability. The historical context of Philip IV's reign during the challenging Thirty Years War is

mirrored in the regal portrayal of the king as a powerful figure. In contrast, Kehinde Wiley's 2005 art

challenges traditional representations by reinterpreting Jacques-Louis David's Napoleon Crossing the

Alps. Wiley's work, part of the Rumors of War series, embodies modern street casting, describing an

anonymous Black man in urban clothing atop a rearing horse. Wiley's pictorial style integrates elements

of authenticity and abstraction, juxtaposing historical equestrian description with a modern, hip-hop-

inspired style. The use of rich red background, gold motifs, and sperm cells questions traditional beliefs

of power and masculinity.

Describe and Compare the Subject Matter of Each Work

The Monument to Philip IV in Madrid and Kehinde Wiley's "Napoleon Leading the Army over

the Alps" vary considerably in their subject matter. The Monument to Philip IV illustrates an equestrian

figure of the Spanish king atop a fountain. The scene is historical and regal, accompanying the king

depicted on a rearing horse, exuding power and control. The sculpture integrates complex elements like

the fountain balance and echoes a historical memorial context. Conversely, Wiley's "Napoleon Leading

the Army over the Alps" reinterprets Jacques-Louis David's emblematic painting with a contemporary

twist. The subject is an anonymous Black man on a rearing horse, dressed in modern city attire. The
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scene challenges traditional representations of power, introducing a narrative that confronts biases in

art history. The subject's pose, juxtaposed against a beautifying backdrop, creates a visual dialogue

between ancient tropes and contemporary identity. In both works, the central theme is a rider figure, but

the Monument to Philip IV leans towards historical admiration, while Wiley's piece joins in a critical

discourse on representation and authority, clear through the subject's modern attire and the decorative

backdrop.

Analyze the Meaning and Personal Experience

The Monument to Philip IV, a Baroque equestrian statue by Pietro Tacca, exudes a sense of

regal power and stability. The king's dynamic pose, the rearing horse, and the technical feat of balance

contribute to an impression of strength and authority. The details, such as the royal attire and the

elaborate fountain composition, suggest a celebration of historical grandeur and the might of the

Spanish monarchy during a challenging period. The statue, based on drawings embodyies a Baroque

aesthetic that conveys the opulence and power of the Spanish monarchy during a challenging historical

period. The technical prowess involved in creating the sculpture, notably the precise weights and forces

determined by Kings, adds a layer of appreciation for the craftsmanship of the time.

Conversely, Wiley's painting challenges established norms and power structures. The

substitution of the traditional white subject with an anonymous Black man in contemporary clothing

prompts a reevaluation of historical narratives. Wiley's use of symbolic details, such as the camouflage

pants and gold sperm cells, introduces a critical discourse on race, masculinity, and the reclamation of

representation. The deliberate decision to retain the rocky outcropping and the names of historical

military leaders, underscores the artist's intent to include ordinary people of color often overlooked in

historical narratives. The Monument to Philip IV evoked a sense of historical grandiosity to me, while

Wiley's work prompts contemplation on societal norms and representation. From a personal standpoint,
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the Monument to Philip IV evokes a sense of historical majesty and technical mastery. In contrast,

Wiley's work captivates with its thought-provoking narrative, challenging traditional representations

and fostering critical reflection on societal norms. This stark opposition in meaning and approach

underscores the power of art to engage viewers in a dialogue about history, representation, and cultural

identity.