Book Review: History of Beauty

There is no singular definition of beauty. Through history, the concept of what is considered beautiful has evolved and that changing ideal has been documented by artists, poets and authors. In my quest to understand the concept of beauty, I read the book "History of Beauty" by Umberto Eco.

This monumental tome seeks to answer the questions: What is beauty? What is art? What is taste and fashion? Umberto Eco explores the changing concept of beauty in Western civilization from the ancient Greeks to the present time through extracts from literature, poetry and philosophy as well as paintings, sculptures and photographs.

The seventeen chapters documenting the history of beauty include:
1. The Aesthetic Ideal in Ancient Greece
2. Apollonian and Dionysiac
3. Beauty as Proportion and Harmony
4. Light and Color in the Middle Ages
5. The Beauty of Monsters
6. From the Pastourelle to the Donna Angelicata
7. Magic Beauty between the Fifteenth and Sixteenth Centuries
8. Ladies and Heroes
9. From Grace to Disquieting Beauty
10. Reason and Beauty
11. The Sublime
12. Romantic Beauty
13. The Religion of Beauty
14. The New Object
15. The Beauty of Machines
16. From Abstract Forms to the Depths of Material
17. The Beauty and the Media

One of the most fascinating parts of the book are the comparative tables which visually illustrate and summarize how the concept of beauty has evolved through art over time. For example on the comparative table for "Clothed Venus", the ideal woman is presented from the seventh century BC in the form of a sculpture called Auxerre Kore (Musee de Louvre) and moves through each century to 1960 with Anita Ekberg in La Dolce Vita. Included on this table are some of my favourite artworks such as:
Raphael's La Donna Velata (1514, Galleria Palatina, Palazzo Pitti)
Francois Bouchers Madame de Pompadour (1756, Alte Pinakothek Museum)
Egon Schieles Seated Woman with Brent Knee, (1917, Narodni Galerie)

Other comparative tables include: Nude Venus, Nude Adonis, Clothed Adonis, Face and Hair of Venus, Face and Hair of Adonis, Madonna, Jesus, Kings, and Queens.

One of the most surprising things that I gleened from reading this book is that ugliness is a requirement for beauty. It is in fact the contrast between the two that allows us to recognize beauty. "William of Auvergne said that variety increases the Beauty of the universe, and thus even the things that strike us as unpleasant are necessary to the universal order, including monsters." (page 148)

This is a scholarly book that presents a comprehensive analysis of the ideals of beauty as presented through art and literature. Richly illustrated and written in elegant prose, it should be read by every serious student of art and fashion.


"A beautiful thing is something that would make us happy if it were ours, but remains beautiful even if it belongs to someone else." (page 10)

Title: History of Beauty
Edited by: Umberto Eco
Translated by: Alastair McEwen
Publisher: Rizzoli, New York (2004)
Category: Non-fiction, art
Number of Pages: 438

1966

Details of orange paper dress ensemble from 1966, copyright Ingrid Mida 2009
Mixed media (Paper, ribbon, thread)


Details from blue paper dress ensemble from 1966 copyright Ingrid Mida 2009
Mixed media (Paper, ribbon, thread)

Unlike the prevailing view in the contemporary art world, I believe that art does not need to be provocative or ugly to have meaning. Earlier this spring, I created an artwork (for a prestigious competition) in which I wrestled with my soul over whether or not I could produce shocking and ugly work. After many sleepless nights, beauty won out. I knew then that I would not be one of the chosen. I've tried to make peace with that and decided to share selections from that submission.

This is my artist statement from the work which is called "1966".

Our choice of clothing conveys unspoken messages about our self-image and our place in society. My artwork, which uses paper as a medium to represent the ephemeral nature of fashion trends, examines the meaning inherent in women's clothing.

With the birth of the feminist movement in the 1960s, women began to question their traditional roles as wives and mothers. Fashion mirrored the social and cultural upheaval of that decade and women were freed from the constraints of highly structured clothing.

In 1966, the year that the phrase "women's liberation" first appeared in print, the disposable paper dress was created as a marketing tool. These cheap and sexy dresses were an instant hit and symbolic of the new levels of liberty women were achieving in the workplace and at home. Bikinis, representative of new sexual freedoms, often came in ensembles with matching dress, hat, and shoes, and were sometimes even worn as bridal wear.

This work called "1966" celebrates a pivotal year in our recent history in which there was a convergence of the women's movement with fashion.

Launch Gallery

Launch Gallery in Toronto asked me to fill their sculpture vitrine with my mixed media pieces for the balance of the summer. Here is an up close look at some of my work on display for sale there.

18th Century Hats by Ingrid Mida copyright 2009 (Fabric, embroidery thread and beads)

Blue Ballgown by Ingrid Mida copyright 2009 (Paper, ribbon and thread)


Red Ballgown, copyright Ingrid Mida 2009 (Paper, ribbon and thread)

Sculpture Vitrine at Launch Gallery

Somehow it seems that everything looks better under glass. A while back, I actually had a customer who wanted to buy the blue paper ballgown and I refused to sell it because I could not figure out how to mount/display it. I should have asked if she had a glass cabinet! Now I'm thinking that it would look beautiful under a bell jar.

Launch Gallery
410 Adelaide Street West, Toronto
Adelaide and Spadina 416-504-7910
Hours: Monday - Friday 12- 6 pm or by appointment

Galerie Myrna Myers

It can be intimidating to walk in some galleries, especially in Paris, but that is not the case at Galerie Myrna Myers. Myrna and her husband are the friendliest gallery owners I've ever met and are happy to share their extensive knowledge about Oriental textiles, ceramics and works of art with visitors to their chic gallery in the 7th arrondisement of Paris.

Myrna talked at length about the items in her gallery, describing the main differences between Chinese, Japanese and Tibetan robes and other textiles that she collects and sells. While all the textiles were incredibly beautiful, I was most interested in the Japanese kimonos. I once made a series of miniature kimonos and I've been reluctant to display or sell them because I did not understand the symbolism inherent in their decoration. Myrna assured me that almost every type of object was portrayed on fabric used in kimonos. I especially liked her description of the kimono as "poems to wear".

I was struck by Myrna's incredible passion for Oriental textiles, especially the story of how she turned her passion into a career. Her extensive collection of Chinese textiles resulted in a book called "Silks for Thrones and Altars", co-authored with John E. Vollmer, a curator of textiles at the Royal Ontario Museum.


Myrna inscribed the book for me and encouraged me to "keep working on my Japanese inspirations". I have so much inspiration and so little time. If only there were 30 hours in a day and/or I had an apprentice!!!!

Galerie Myrna Myers
11 rue de Beaune
Paris 75007
01 42 61 11 08
mmyersgal@aol.com

Musee Picasso

The news of the theft of a Pablo Picasso sketchbook from the Musee Picasso yesterday sent shivers down my spine. Although I don't specifically recall seeing the sketchbook with a red cover valued at $12.4 million during my visit, it was shocking nonetheless, especially since no alarms were set off in the museum and there were no signs of a break-in. This magnificent collection of Picasso's work is housed in a former mansion located in the Marais district of Paris and its out of the way location means that it is usually not crowded. (Could that be one of the reasons the thieves targeted this museum?)

The entire museum is devoted to the works of Picasso and includes more than 250 paintings, 180 sculptures and 1,500 drawings. The pieces were acquired by France upon the death of the prolific artist in lieu of death duties. I'd hazard a guess that no other museum in the world can rival this collection of Picasso works.

There is a charming cafe in the garden where you can feast your eyes on this amusing goat sculpture.

I've been a long time admirer of Picasso's work. The energy, creativity and genius that he demonstrated in his lifetime is unparalleled.

Photo credits: Ingrid Mida

Musee Picasso
5 Rue de Thorigny
01 42 71 25 21
Metro: St-Sebastien.

Paper Dresses and Accessories

Zara, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box
copyright Ingrid Mida 2009

Gabriela, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box,
copyright Ingrid Mida 2009


Daisy, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box,
copyright Ingrid Mida 2009

These whimsical miniature paper dresses and accessories are meant to evoke a feeling of nostalgia for the 1960s when paper dresses were all the rage. I hope they bring some sunshine and delight to your day.

If you'd like to read more about paper dresses and their place in fashion history, please see my posts from February 8, 2009 and February 9, 2009.

Fragile Fashion

Eugenia, copyright Ingrid Mida 2009
Mixed Media, 5x7 mounted

Amelie, copyright Ingrid Mida 2009
Mixed media, 5x7 mounted


Henrietta, copyright Ingrid Mida 2009
Mixed Media, 5x7 mounted

These are samples of some of my latest work now on display at Launch Gallery in Toronto. These tiny paper creations (approximately 2-3 inches mounted on a toile de jouey fabric background inside a shadow box) are made of paper, ribbon and beads.

By creating miniature paper clothing, the paper becomes a manifestation of the fragility of fashion and its place in history. In working at this small scale, I am emphasizing the precious quality of these beautiful historical garments.

Launch Gallery
410 Adelaide Street West (one block west of Spadina on north side), Toronto

Opening reception April 16th, 2009 7-10 pm
Hours: 12-5 pm Friday, April 17th to Sunday, April 26th, 2009
Artist in attendance Saturday, April 18th 12-3 pm

Portraits of an Artist

Oscar Wilde once said "Every portrait that is painted with feeling is a portrait of the artist, not the sitter."

I used to paint a lot of portraits and here are a couple of my favourites:


Portrait of a Young Woman, by Ingrid Mida Oil on canvas, 30x90 inches, 2007 (Model Holly in front of her portrait)


The Lacemaker after Vermeer by Ingrid Mida, 2006 Oil on canvas 20x20

Blue Jean Babes (#3 and #1) by Ingrid Mida 2006 Oil on canvas, 30x40

What these works say about me, I'm not sure....

Portraits of Marie Antoinette

Portrait of the Archduchess Marie Antoinette by Martin van Meytens the Younger, 1767-1768 (Schonbrunn Castle, Vienna)

In the many portraits of Marie Antoinette, she is portrayed with smooth, white skin, blonde hair, pretty blue eyes, a high forehead, and an aqualine nose. In the Portrait of the Archduchess Marie Antoinette by Martin van Meytens the Younger shown above, painted before she left for the French court, she seems to be perfection personified.

In spite of this lovely image, it's been said that Marie Antoinette was not considered especially beautiful. Apparently, her "Habsburg jaw and prominent nose were a bit heavy for eighteenth-century taste" (Source: "The Art of Dress" by Aileen Riberio, Yale University Press, 1995). As well, there are few images of MA in profile because she was self-conscious about her aqualine nose.

In the letters between Marie Antoinette and her mother (1770-1780), she makes several references to the portraits being painted of her and that she does not think they have achieved a proper likeness. Here are two extracts from her letters to her mother:

Marie Antoinette to Maria Theresa, 13 August 1773
"I am being painted, right now; it is true that no painter has yet caught the way I look: I would happily give all I own to anyone who could express in a portrait all the joy I would feel in seeing my dear Mama; how hard it is to be able to kiss her only by letter." (page 117).

Marie Antoinette to Marie Theresa, 16 November 1774
"The painters kill me and make me despair. I delayed the courier so as to allow my portrait to be finished; it has just been brought to me; it looks so little like me that I cannot send it. I hope to have a good one next month." (page 155)

(Source: Secrets of Marie Antoinette by Olivier Bernier, 1985)

As an artist, I know how difficult it is to achieve a likeness when painting a portrait. And even if all the features are precisely in place, considerable skill is required to capture the spirit of the sitter and translate that onto canvas. I wonder if the portrait artists mentioned in Marie Antoinette's letters failed to flatter her sufficiently to win her approval or were lacking in sufficient skill to capture her likeness.

After her mother's death, Marie Antoinette sat for several portraits with Elisabeth-Louise Vigee Le Brun. One of her portraits of Queen Marie Antoinette was exhibited at the Salon of 1783 and depicted the Queen wearing a chemise gown causing tremendous controversy. The portrait was withdrawn. To read more about Madame Vigee Le Brun, please refer to my earlier posting on the subject.

Queen Marie-Antoinette by E.L. Vigee-Lebrun, 1783, National Gallery of Art, Washington

I'd hazard a guess that Marie Antoinette would not have liked the contemporary portraits of her painted by Elizabeth Peyton.

Is it Art?

Fashion Plate #12, mixed media, 12x12 (partial image shown)
copyright Ingrid Mida, 2008

I haven't written much about fashion in a while. Not because I haven't been working, but rather because I've been obsessed by making images like Fashion Plate #12 shown above. I don't even know whether or not this one should be numbered 12 or 20. I had to guess. I have two full walls in my studio of them and more are in progress.

I also don't know whether or not they would be considered fine art. Perhaps they are more of a conceptual art piece, which is defined as art whose purpose is the expression of an idea.

I have juxtaposed the image of the 18th century woman dressed at the height of fashion alongside country folk. The fashionable lady looks down at the country folk and their simple pleasures and yet, who is happier? Who is entrapped in the folly of their desires?

All the research I did into Marie Antoinette combined with the precipitous decline in the economy triggered my insight into the dangers of the desire to live at the height of fashion. That insight led to my Cage of Desire series which in turn led to these works.

In any case, I am enjoying this exploration of beauty, desire and folly. I suppose whether or not it is art is for the viewer to decide.

French Fashion Plate Series

French Fashion Plate #10
Mixed Media, 12x4
copyright: Ingrid Mida, 2008

I continue to be obsessed with French fashion from the 18th century. This is one of my favourite creations. I'm not sure whether what I am making is considered art because it is too pretty and lacks angst. In any case, I love making them and now have a whole wall of them in my studio.

I have run out of this gorgeous fabric and am on the hunt for more toile de jouy. Nothing seems nearly as pretty and I am getting discouraged. I'll be pounding the pavement again today looking for some more fabric. I might just have to book a trip to Paris to find the perfect toile de jouy!

Antoinette

Antoinette, Mixed Media, 6x8 (framed),
copyright Ingrid Mida 2008

I am utterly besotted with everything French, especially anything related to Marie Antoinette. All of the artwork that I've produced this year has been influenced by the French fashions of the 17th and 18th centuries.

Even though this little bodice was one of the very first miniature pieces that I created, it wasn't until this week that I finished sewing on the buttons, ribbon, and trim. And it took me forever to figure out how to incorporate toile.

It seems like I always fall in love with my latest artwork. I have to live with it for a while before I'm ready to release it into the world.

French Fashion Plates

The fashions of eighteenth century France are a visual manifestation of over-the-top ornamentation with ribbons, bows, beads and embroidery. Their utter decadence and impracticality symbolizes the desire and decadence of that period.

These are my latest art works to celebrate pre-revolutionary French fashion. (Just imagine Marie Antoinette on a promenade in the gardens of Versailles.)

Fashion Plate #2 by Ingrid Mida
Mixed media, 8x10, 2008


Fashion Plate #1 by Ingrid Mida
Mixed media, 8x10, 2008

OCAD Mystery Art Sale

Cages of Desire by Ingrid Mida, (Mixed Media, 5.5 x 7.5 x 3) 2008

The Ontario College of Art and Design Mystery Art Sale is now in preview both onsite and online. This fundraiser for OCAD sells artwork by both famous and soon-to-be famous Canadian artists, but the buyer does not find out the name of the artist until after they purchase it for the paltry sum of $75.

I love the fact that people buy works of art that they love - not because of the name, but because they see a something that speaks to them. This sale is so popular that people line up for hours before the sale begins. Of course, buyers have previewed the work and have their list of lot numbers in hand.

In case anyone is interested, my two pieces which are shown above are lot #592 and lot #609. These works are from my series "Cages of Desire".

OCAD Mystery Art Sale
416-977-6000 ext. 823

Previews November 19 - 22 (noon to 6 pm)
Online Preview November 19 - 22
Public Art Sale November 22, 10 am to 4 pm
Free Admission

Textile Museum Shadow Box Auction Online Gallery

Stays of Georgiana, Mixed Media (8x8), copyright: Ingrid Mida, 2008

This piece is currently on display at the Textile Museum of Canada's annual Shadow Box Auction in Toronto. Bids begin at $175 and can be placed over the phone, in person at the Museum (October 13-30), or at the gala event itself which takes place the evening of Thursday, October 30th. All proceeds benefit the programs at the Museum.

I called this piece "Stays of Georgiana" in tribute to the Duchess of Devonshire who might have worn such a garment.

Check out all the artwork in the online gallery.

Textile Museum of Canada Shadow Box Auction

www.textilemuseum.ca
55 Centre Avenue (one block east of University, south of Dundas)
Toronto, Ontario
416-599-5321

info@textilemuseum.ca

Paper Dress Series: 1598 Gown

copyright Ingrid Mida, 2008

This is my latest paper dress creation inspired by a gown worn by Dorothea Savina von Neuberg in 1598. Note the long train on the back of the skirt which would have dragged on the ground.

Paper Dress Series

copyright Ingrid Mida, 2008

This is my latest sculpture creation, a miniature paper dress in the style of a gown worn in 1639 by Dorothea Maria Von Sulzbach (Bayerisches National Museum).

It took me months of work to figure out how to make paper behave like fabric. I tried numerous times and threw many attempts in the garbage.

To see more of my work, go to www.ingridmida.com

Yves Saint Laurent Retrospective at the Museum of Fine Arts in Montreal

Yves Saint Laurent Evening dress inspired by Matisse 

There are countless examples of artists and fashion designers who have looked to each other for inspiration in their work. In the recent Yves Saint Laurent retrospective at the Musee des Beaux Arts in Montreal, there was an entire room of garments that referenced artwork from artists including Matisse, Van Gogh, Renoir, and Mondrian. The gown in the top photo is a beautiful example of how Yves Saint Laurent reinterpreted the artist Matisse's cut-out artworks in garment form.

The exhibit was enchanting. I marveled at the elegance and originality of his designs on the approximately one hundred outfits on display. Most designs were timeless and difficult to attribute to a particular year, especially since YSL revisited his favourite sources of inspiration again and again.

This sketch of a cocoon-like wedding outfit made of hand-knit white wool tricot with silk satin ribbons was one of the most unusual outfits on display. Imagine how avant-gard this outfit would have been in 1965. It made me wonder if Viktor and Rolf were inspired by this outfit in creating their Russian doll collection for autumn/winter 1999-2000.

Yves Saint Laurent Wedding Gown 1999

This daring flora inspired wedding gown made of silk flowers with a pink silk organza train was spectacular! From the 1999 collection, this design was the incarnation of the mythological bride, the goddess Flora or Botticelli's Venus.

I left the exhibtion in awe of Yves Saint Laurent's tremendous talent and originality. He looked to many different sources for inspiration in his work including:
- other cultures (Africa, Spain, China, Morocco, Japan, India, Russia)
- other artists (Picasso, Matisse, Mondrian, Shakespeare, Appollinaire)
- other themes (glamour, silouette, masculine/feminine, flora/fauna, geometry, history)

Looking for sources of inspiration is something that I really understand as an artist. It was interesting for me to see how he interpreted and revisited these themes in his work over the course of a career spanning 40 plus years.

This exhibition continues at the Montreal Museum of Fine Arts until September 28, 2008 and then will travel to the Fine Art Museum of San Francisco (November 1, 2008 to March 1, 2009).

Yves Saint Laurent Retrospective (until September 28, 2008)
Montreal Museum of Fine Arts
1380 Sherbrooke Ouest, Monteal
514-285-2000, 1-800-899-MUSE
www.mbam.qc.ca

San Francisco Museum of Fine Art, November 1, 2008 to March 1, 2009