Art, with its capacity to capture the essence of an era, has always reflected the society in which it is produced. Interestingly, this essence is perhaps most visible in artworks where urban landscapes dominate or play a key role in their composition. In this regard, the artistic iconography (the symbols, architecture, and aesthetic) of our urban landscapes has undergone considerable change over time, adapting and transforming itself accordingly to the demands of its citizens. Interestingly, perhaps the most profound changes in the artistic depiction of the urban sphere began to become more visible from the Renaissance onwards (around the 1600s); an era when the urban environment, thanks largely to the introduction of town planning, began to be conceived as an ideal place for the materialisation of a harmonious relationship between man and space. With these shifts in attitudes in mind, we will now discuss two historical artworks from two different periods and perspectives that, throughout history, have provided a unique glimpse of urban life, from the bustling streets of 17th-century Delft to the more introspective scenes of 20th-century New York.
In View of Delft (1660), Johannes Vermeer shows us the canaled city of Delft, South Holland, reborn from the rubble of a powder magazine explosion that occurred in 1654, which tragically not only caused a number of deaths but also destroyed the city. Delft painting however, seemingly isn’t a reconstruction of the city, but instead a portrayal between it’s actual physical elements and his creative impression of it. In this sense, Vermeer presents to us an idea of the city as a lively centre and observes its contrasts by grouping buildings, such as the Schiedam gate and the clock, with the movement of its inhabitants, and the cloudy sky. Such a contrast may also be seen between the sky and the earth; the sky for instance, has been depicted using light brushstrokes, whilst more intense colours have been used to reflect the texture of the buildings, the sand, and the water.
In the painting, the intersection of the land and the water of the canals; the true lifeblood of the city, facilitating trade with the outside world; also draws attention to the artist’s painting style. In fact, the water, with the buildings vividly reflecting from it, allows Vermeer to create a succession of light and shadow, thus offering a view full of depth and atmosphere, evoking a sense of serenity and tranquillity. Such a representation also provides us with a glimpse into the social and cultural life of the time. Indeed, one only has to see the characters in the scene, particularly when it comes to the clothes they’re wearing, to gain an insight into what life may have been like during those times.
Moving forward to the 20th century, Edward Hopper’s Nighthawks (1942) is an iconic
portrayal of modern – well modern for the time, I’d be surprised if you saw as many Fedoras nowadays- urban life in America. Though, whereas Vermeer captured the vitality of the city of Delft and its inhabitants with his works, Hopper’s artistic vision of the New York is characterised by a deep sense of isolation and melancholy. Inspired by a restaurant on New York’s Greenwich Avenue, the scene shows a carefully constructed composition of urban life but somewhat strangely lacks a narrative. Yet this absence of a story, however, is what also seemingly provides the work with its timeless quality. In essence, the painting is a spectacle of urban life, which is made visible to us from the diner’s large, illuminated glass windows, which seemingly appear as a stage in the street; attracting our curious gaze as if we were passers-by. Despite the diner’s radiance however, we cannot avoid feeling a sense of isolation as a result of it, something which is particularly brought about by the anonymity of the figures.
Whilst urbanisation has the capacity to change the shape of a landscape, it can also alter the connections between us humans too. In the painting for instance, Hopper masterfully captures the paradoxical experience of being surrounded by people yet feeling completely alone. Vermeer on the other hand, presents urban life as a portrait of tranquillity and order. In
this regard, it is perhaps the people more so than the landscape that truly separates these two paintings. The four characters portrayed in Hoppers piece for example, appear to be lost in their thoughts and despite their proximity, seem distant from each other as if disconnected. Interestingly, Hopper’s choice of muted tones, with the sharp geometric lines of the closed shops and contrasting light and shadow, helps to heighten this atmosphere of urban alienation. On this note, it’s perhaps worth mentioning that a living landscape, such as that of the city, can be suffocating. It’s loud noises and towering buildings for instance, can often push us to adopt a more reflective attitude, and to attempt to try and find that serenity so much sought after by the likes of Vermeer himself in View of Delft (1660).
This article was initially written by recent graduate and Guest Writer Lidia Militerno.
This section has been amended by the Editor.
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