Jeanne d'Arc and Iconic Realism

        

                    

                                                                           Joan of Arc's Death at the Stake,                                    

                                                         by Hermann Stilke (1803–1860)                            

    To commemorate All Hallow's Eve and All Saints Day,  I present to you this post on my patron saint, Jeanne D'Arc. I've chosen this painting to illustrate iconic realism. Images merge within this painting of Jeanne d’Arc to provide an interpretation that represents the presence of hope that humanity, with all its industry, will recognize the value in the temporal nature of innocence. Interpretation of this work of art may include a variety of perspectives to complement the number of viewers of the specific art. At this moment of perception, then, the artist and the viewer become collaborators. 

     Once this cognitive collaboration between artist and viewer occurs, the cultural interpretation begins to transform into a collection of new perspectives, based on the historicity of the viewers. Nicholas Davey states, “Hermeneutic thought articulates the conviction that art does not represent (vorstellen), copy or falsify the given world but allows that which is within the world to present (darstellen) or actualize itself (verwirklichen) more fully.” [1] New perceptions of a creative work shape newly actualized interpretations of the original work of art, which eventually become accepted interpretations of a community. Once the community recognizes these interpretations, the iconic becomes a reality.

     Through the establishment of an iconic figure within the mind-set of the community, an artist can then place this icon in a new reality that the community does not accept as the normal setting for this iconic figure. This placement allows the artist to make a statement that brings awareness to the community’s consciousness of an aspect within its culture that may need some attention. Jeanne d'Arc illustrated iconic realism in that she was a woman dressed in armor as a medieval man would be, leading French armies for God. In this role, she was able to win freedom for France even though it cost her life. Thus, warring for freedom led to her own freedom.  

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[1] Davey, Nicholas. “Hermeneutics and Art Theory.” A Companion to Art Theory. eds. Paul  Smith and Carolyn Wilde. (Oxford: Blackwell, 2002) 149.

Walt Disney's 'Fantasia,' All Hallows Eve, and Iconic Realism

When the Walt Disney studios created the classic film, Fantasia, I wonder if they knew that future generations would be able to view their artistry via the technology of today. This scene directly follows "Night on Bald Mountain" where satanic forces pervade this same space. In the "Ave Maria" segment, the Disney artists have drawn realistic scenes of a pre-dawn woodland. The fervor of the night transforms into a peaceful daylight, conveyed through Franz Schubert's "Ave Maria" and a silent parade of 'saintly' images carrying torches. The placement of these individuals passing through this fertile woodland illustrates that humanity finds enlightened strength in an inner peace.

 Click here to view video of Disney's 'Ave Maria' from "Fantasia"

(Photo from Disney film, Fantasia, Google Images)

Click here to view Disney's "Fantasia" Final Chapter, Part 2 (Night on Bald Mountain) 

Iconic Realism in the Medieval Narrative Poem, Roman de la Rose

“The Dance in the Garden”

Pavane, “The Dance in the Garden” illumination from the Roman de la rose, Toulouse, early 16th century; in the British Library (Harley MS 4425, fol. 14v)

From my book, The Theory of Iconic Realism..., p. 47:

The medieval poem Roman de la Rose, written by Guillaume de Lorris and Jean de Meun in the 13th century, takes place in a medieval garden and represents the experience of love and desire through the dream of a twenty-year-old man. The authors use allegorical characters such as Reason, Envy, Genius, Old Age, Fair Welcome, and the god of Love to advise this young lover, as he discovers his inner motivation and develops needed courage to seek the desire of his heart in the form of a beautiful rose. Within the poetics of Roman de la Rose the writers have interwoven ideals that pertain to intuitive thought by associating visual iconography with the lexicon it illustrates. 

The rose represents a young woman in the setting of a realistic medieval castle. Although the authors create an aristocratic presentation of courtly love by the placement of the rose in this garden as a young man’s desirous fantasy, the reality is that a young man would not likely fall in love with a flower. However, the writers situate a sense of game playing with the semantics of the text and image, transporting the telling of this tale as a primary source of entertainment and enlightenment of designated cultural restraints within an aristocratic community, utilizing iconic realism as a source of enlightenment for their audience. This enlightenment involves the medieval male audience recognizing the sensitivities and complex thinking of the women in their lives. 

Political Media Campaigns and Iconic Realism

As the United States Presidential 2024 election draws near, I see an even greater increase in the use of iconic realism among many of the political candidates' ads. Making sure a photo opportunity occurs in an iconic venue, be it a local diner, children's playground, senior citizen home, hospital, battle ground or board room, the television ads present these individuals as earnestly engaging in some form of community involvement to illustrate the need for cultural reform.

In contrast, campaign mud-slinging by both candidates perpetuates confusion in the public mind-set when it would help a candidate to demonstrate respectful dialogue to provide the public with appropriate incentive to vote for one candidate over the other.

Personally, I would prefer to view the type of campaign ad that uses a positive form of iconic realism, which demonstrates that a candidate may actually have an innovative thought for positive action, presented in a creative and intelligent manner.

Tyree Guyton's 'Heidelberg Project' and Iconic Realism (Click this title to view more information)

Tyree Guyton, photo from Google Images

Soles of Detroit photo from Google Images

A while ago, I was channel surfing and happened upon a series of shows on the Green Planet channel entitled, "Detroit in Overdrive." Well, having been born and raised through my 14th year of life in the fine Metro Detroit area, I just had to watch these shows. And they brought tears to my eyes. One particular story, which focused on Tyree Guyton's Heidelberg Project, immediately struck me, for it was a perfect demonstration of iconic realism. Thank you, Tyree! 

Mr. Guyton has assembled a collection of iconic items that many people had discarded, including houses in his neighborhood. He applied his artistic talent to breathe life into the objects while simultaneously illustrated to those blessed with viewing this project with an awareness of possibility. He has turned blight into right! His juxtaposition of trash turned into art, in the midst of a forgotten and neglected neighborhood, demonstrates the cultural renaissance that is taking place in Detroit through the creative perseverance of dedicated individuals. 

Another fascinating aspect of this project centers on shoes. Mr. Guyton has collected shoes of all shapes and sizes, restored and newly painted by the members of the community. He has arranged those works of art in the middle of a street, providing his audience with an awareness of Detroit's restored soles as a visual testimony of the soulful restoration that occurs when dedication to the creativity and energy of a community transforms that community's heart and vitality. God bless you, Tyree Guyton! Onward!

Field of Dreams and Iconic Realism (Click here to view the movie trailer.)

In the photo, you will see the baseball field, which was actually constructed in an Iowa cornfield for the film, Field of Dreams.  

"An example of iconic realism in a film would be the baseball field within the 1989 film, Field of Dreams, based on the novel written by W. P. Kinsella and the screenplay written and directed by Phil Alden Robinson. Throughout the film, the audience knows that the mysterious baseball diamond, carved out of an Iowan cornfield by farmer Ray Kinsella, connects with the sport of baseball. Two iconic factors are present, the sport, which many view as America’s heart and the location, which is the heartland of America" (Lakatos 57).

"The realism is the actual grass, the parameters of the field, which consist of the edge of a cornfield and the players, themselves, which are the Chicago Black Socks, a team which had gone through a series of legalities during its prime season. The baseball players are ghosts from this infamous team, who simply wish to play out eternity on a ball field. As the plot unfolds, Ray’s true reason to construct the field revolves around ‘having a catch’ with his father. Therefore, the iconic feature of an authentic baseball field, placed in the middle of a cornfield in Iowa, a very unlikely place for a baseball field, elicits the cultural awareness from the main character. Ray’s illusions of his father were detached from a realistic understanding of his father’s passion, for he very much like Ray, himself, was a hardworking young man, who loved baseball" (Lakatos 57).

"Therefore, Robinson’s use of iconic realism in the Field of Dreams illustrates a personal mission of opening the consciousness of America to the conflict within the heart of its people and traditions. The use of illusion and human consciousness illuminate the struggle with personal motivation that produces results as stated repeatedly throughout the film, “If you build it, he will come.” This feature of iconic realism in the Field of Dreams adapts well to contemporary statements of community in iconic characterizations and the realistic dynamics of connection and detachment" (Lakatos 57).

Work Cited: 

Lakatos, Jeanne. The Theory of Iconic Realism: Understanding the Arts through a Cultural Context. Lewisburg, New York: Edwin Mellen Publishers, 2009.