Through the Lens of LoMonaco

In art, beauty takes many forms. But some forms resonate deeper than others. For me, Post-Impressionist paintings are captivating, but they simply cannot compete with the immersive, organic beauty of Art Nouveau architecture. In this blog, I am pitting four iconic works from each movement against each other, examining what they evoke, how they’re best experienced, and ultimately, why Art Nouveau stands out as the clear victor. Post-Impressionism Paul Cézanne, Turning Road at Montgeroult , 1898, oil on canvas, 81.3 x 65.7 cm (Museum of Modern Art, New York) Paul Cézanne’s Turning Road at Montgeroult Cézanne’s Turning Road at Montgeroult exemplifies Post-Impressionism by using structured brushwork and earthy colors. Cézanne sought to capture a truth beyond mere representation, using slow, deliberate brushstrokes to express the essence of reality. The balanced mix of vertical and horizontal elements, like trees and hills, creates a harmonious flow, yet the two-dimensional surface remains

The 1700s were a time of big changes, especially for the middle class, who were beginning to gain more wealth and influence. Suddenly, art wasn’t just for the rich—it started to reflect the dreams and lifestyles of everyday people who were rising in society. In paintings like William Hogarth’s Marriage A-la-Mode , Sir Joshua Reynolds’ Lady Elizabeth Delmé and her Children , and Jean-Honoré Fragonard’s The Swing , we can see how the middle class used art to show off their new status and navigate the world of power and prestige. William Hogarth, Marriage A-la-Mode , c. 1743, series of six paintings, oil on canvas, London In this first of a series of six oil paintings called " Marriage A-la-Mode " by Hogarth, he depicts the consequences of arranged marriages between wealthy, status-conscious families. In Marriage A-la-Mode , Hogarth exposes the dark side of social climbing through an undeniable critique of arranged marriages. The series captures the obsession with status and wea

     Created by Gian Lorenzo Bernini between 1623 and 1624, David is a life-sized marble sculpture that magnificently captures the dynamic elements of the Baroque era. Unlike other depictions, Bernini’s David draws the viewer into a moment of intense emotion, tension, and action. Based on the biblical story of David and Goliath, this sculpture showcases the scene where the young King David faces the giant Goliath on the battlefield, armed only with a sling and a stone after shedding his armor.       In this piece, Bernini masterfully conveys the drama of the moment. Every aspect of David ’s body displays a sense of instability and anticipation. The winding up of his body, lips clenched, brow furrowed, and his muscles tensed as he prepares to release the deadly blow showcase the realism of this moment. It’s a pose filled with dynamic energy, perfectly capturing the split second before action. The diagonals in David's body, the twisting motion, and the interplay of light and shadow