its Function as Devotional Objects
HART1402: Renaissance Art in London
Final Word Count:
References
Illustrations
Renaissance Religious Art and how it Engages with its Function as Devotional Objects
I. Introduction
Most of the artworks of the Renaissance were in some way connected to the church. Artists such as Michelangelo, created enormous works that can still be viewed today. Michelangelo in particular created this sense of worship and devotion through his work in the Sistine Chapel. The point of the artwork was to provide the church attendee as well as the resident padres a visual Bible, in some respects. When attending mass, it would serve as a reminder of God, and the promises he made to the mortals on earth. As John of Genoa said in Catholicon (late 13th century): “Know that there were three reasons for the institution of images in churches. First, for the instruction of simple people, because they are instructed by them as if by books. Second, so that the mystery of the incarnation and the examples of the Saints may be the more active in our memory through being presented daily to our eyes. Third, to excite feelings of devotion, these being aroused more effectively by things seen than by things hears.” This essay looks at three artworks in the National Gallery on how they aid devotion in different ways. The first artwork is by Raphael, his painting of Saint Catherine of Alexandria is from about 1507. The second artwork is by an associate of Pietro Perugino, The Virgin and Child with Saint John from about 1480-1500. The third artwork is done by Pietro Perugino called the Three Panels from an Altarpiece from about 1496-1500.
II. Raphael’s Saint Catherine
The Saints play a huge role in the life of the Catholic Church, and its congregants. In discussion, the Catholic Church should always be a part of the Renaissance discussion, especially when it comes to the Italian Renaissance. Most of the Italians are Catholic and so are most of the artists who, therefore, had inside knowledge to what the patrons and the church would appreciate as part of its worship plans. The patrons were often from the very rich, such as the de Medici family. Saints are also seen as models or examples of moral life, and proper behavior. Hence, they have also been revered, and painted, as much as the Madonna and Child. On such Saint that was painted by Raphael is Saint Catherine of Alexandria. However, this particular scene depicts the Saint as she leans against the wheel on which she was supposed to have died. She was sentenced to death on a spiked wheel, which Raphael depicts in this image (see Illustrations: Figure 1). The wheel is the iconographic symbol of Saint Catherine’s attribute. Again, the idea of the intimate knowledge of Catholic history would give one the idea that the artist was a Catholic believer.
The positioning of the body is a reflection of how artists of his time generally painted their subjects. There is the slight turn of the body, the pose, and the “generic” appearance of the fingers. In this painting, Raphael opted for a clearer silhouette, as discovered through the analysis of the painting. The drawings and the under-painting show a different position of the body. The background is a “Italian” landscape that was painted meticulously and with detail, as much as Saint Catherine dressing in bright-colored Renaissance clothing on the foreground. The deep shadows in the cloak and the rest of the garments create a depth that was not seen in previous medieval paintings. The materials contribute to the colors in the drapery. As Ashkok et al states: the Saint’s drapery contains glazes of red lake pigment. The blue sky in the background is painted in “a single layer of natural ultramarine.” Raphael created an image that is reflective of Saint Catherine’s adoration and devotion to God, especially to the fact that she was miraculously saved from death.
Saint Catherine is one of the many saints that have been immortalized through the history of the church, but also through painting such as this. This particular painting is exhibited in the National Gallery. It has been rendered with the particular brush strokes known to the Renaissance artist. The draping of the clothing is also a masterful rendering typical to the great masters of the Renaissance. It creates elegance to the body especially in terms of it posture. Raphael had captured the moment of gratefulness, worship and devotion of a saint. He captured the life lived for God, motivating others to do the same. Thus, he created a subject matter that would be close to the heart of the worshipper, whether the painting hangs in public place such as a gallery or a church, or whether it was found in a private home. Her eyes are turned in the direction of where you would look if you are to worship. The painting of Saint Catherine by Raphael, is just one of the ways in which the artist could express his devotion to god, and pass that on to the viewers.
III. Virgin and Child with Saint John – Pietro Perugino
An associate of Pietro Perugino completed the second work, the Virgin and Child with Saint John. The associate is not named, therefore, the creation of the Virgin and Child with Saint John is attributed as an associate of Pietro Perugino (see Illustrations: Figure 2). Just as the reliefs were created for the sole purpose of bringing worshippers closer to God, or giving them a sense of that closeness with God, the Madonna were rendered in other ways, such as this one, tended to create the same response in worshippers. This painting is framed in the form of a cathedral window, giving the impression that the three were looking through the window at the people on the inside – the worshippers. The perspective creates this idea of ‘looking in from the outside,’ with the sky and the landscape in the background. This way, the viewers would be connected to the artwork, as the three is watching them. Once the viewers had this experience, they would feel closer to the biblical image.
The subject matter is not the only way in which the artists express themselves, but it was also a matter of finding the right materials and methods to give the desired effect and impact. Thus it is important to focus on how the Catholic Church introduced artworks into the church as part of its worship, and devotion to God. They have used particular objects and subject matter to introduce the church to the Biblical truths and, thus encouraging them to use these as focal points for devotion. Thus, the fact that the artist of the Virgin and Child with Saint John created this painting, meant that he knew of the relationship between Mary and Elizabeth (John’s mother). These are three very significant people in the Bible, and he had the impetus to put them together. As stated in the beginning the teaching aspect, that renders life to this image. Mary’s clothing subscribes to the Renaissance colors as with Raphael’s St Catherine. It is almost as if the colors represent royalty – the blue and the crimson. In addition, a color palette can be traced through the Renaissance paintings. The Virgin and Child with Saint John was painted on poplar, with tempera and was completed around 1480-1500. The dimensions for the painting are set at 68.5 x 44.5 cm. The size of the painting creates an intimacy with its viewers, as it draws the individuals closer to viewing as well as closer to God as a result.
IV. Three Panels from an Altarpiece, Certosa
The Altarpieces that were created were specifically aimed at creating a narrative that would give some abstraction to the “highest forms of devotion.” This ensured that “action and illusionism” were made competitive with contemplation.” It was particularly meant to engage the viewer in order for them to contemplate. One such altarpiece is in the National Gallery. It does not have a specific title, and is simply called Three Panels from an Altarpiece, Certosa. It is attributed to Pietro Perugino. The artwork has three panels that have been part of a much larger work (see Illustrations: Figure 3). The bottom section of the larger artwork was removed and is currently at the National Gallery. The panels were first frames as a triptych, but have since been restored and placed in the frame that it is now (see Illustrations: Figure 4). The space that was occupied by the original work has since been replaced with a copy.
The panels are attributed to Pietro Perugino, and this can be seen, again, in the colors that were used. Bromford et al, give an analysis of the panels, and how they were changed. However, if one looks at the panels, in its restored form, there is the typical subject matter that was meant for placement in the chapel of St Michael in Certosa. One can see this clearly in Fig. 3, where the panel had its place. The remaining panel contained God the Father. Bomford et al gives no indication of why the panel was removed, but it has landed at The National Gallery in London through acquisitions. This argument here gives the panels a context – if compared to its original place, it answers to the reason for its creation in the first place.
That is, St. Michael was painted on the left panel, with the Virgin and the Child painted in the middle section, just below God the Father. St. Raphael was painted on the right hand panel. By looking at the restored work (Figure 4), one cannot help but feel that it was unnecessary for the panels to be removed from the chapel. It is especially so, as these altarpieces were of great significance to the overall architectural interior, and in particular for the sake of worship in the church. As part of the protection that St. Michael offers, the artists included the defeat of Satan. This information came about as the restoration evolved. This particular altarpiece was painted on wood as so many of the artworks during the Renaissance period. The restoration work on the painting allows the viewer to see all the intricate detail that was added by the artist such as, for example, how the artists included the defeat of Satan. What is important to note is the way in which Perugino made use of light. It is especially vibrant on the armor worn by St Michael. He also made use of the light on the faces of his subjects. This could perhaps be an indication of the sense of being in the presence of God the Father (now absent in this particular “altarpiece”).
V. Conclusion
The artworks that were painted (and sculpted) created a visual book for those who could not read. It served as instruction in Biblical content as well as church doctrine (for example, the painting of the Saints, and what their associations were. Baxandall quoted John of Genoa as saying: “Know that there were three reasons for the institution of images in churches. First, for the instruction of simple people, because they are instructed by them as if by books. Second, so that the mystery of the incarnation and the examples of the Saints may be the more active in our memory through being presented daily to our eyes. Third, to excite feelings of devotion, these being aroused more effectively by things seen than by things hears.”
Thus, Raphael painted a portrait of Saint Catherine, giving anyone the sense of worship by simply viewing the work. Pietro Perugino created a work titled The Virgin and Child with Saint John giving insight to the content of the Bible. The third work that was under discussion here is another work by Pietro Perugino called the Three Panels from an Altarpiece (1496-1500). The discussion centered on how the Renaissance religious art engaged with its function as devotional objects. Many Renaissance artists were granted the gift to make the spaces of the churches into places where people could come and worship God. The church gave them the opportunity to participate in it devotional instructions and worship.
References
Ashkok Roy, Marika Spring and Carol Plazzotta, “Raphael's Early Work In The National Gallery: Paintings Before Rome,” Technical Bulletin, 25 (2004), 4-35 <https://www.nationalgallery.org.uk/paintings/research/technical-bulletin/technical-bulletin-volume-25> [accessed 22 March 2016].
“Associate of Pietro Perugino | The Virgin and Child With Saint John | NG181 | National Gallery, London,” Nationalgallery.org.uk, 2016 <http://www.nationalgallery.org.uk/paintings/associate-of-pietro-perugino-the-virgin-and-child-with-saint-john> [accessed 22 March 2016]
Baxandall, Michael, Painting And Experience In Fifteenth Century Italy (Oxford: Oxford
Bomford, David, Janet Brough, and Ashkok Roy, ‘Three Panels From Perugino's Certosa Di Pavia Altarpiece,’ National Gallery Technical Bulletin, 4 (1980), 3–31 <http://www.jstor.org/stable/10.2307/42616256?ref=search-gateway:9b42b140dc3c8cc2784f46ae8168d1d5> [accessed 18 March 2016].
Balbus, Joannes, Catholicon ([Farnborough, England]: Gregg International, 1971) Johnson, Geraldine, “Art Or Artefact? Madonna And Child Reliefs In The Early Renaissance,” in The Sculpted Object, 1400-1700, 1st edn (Brookfield: Scolar Press, 1997)
Kleinub, Christian. “Vision And the Visionary in Raphael”(University Park, PA: Pennsylvania State University Press, 2011)
Musacchio, Jacqueline, Marie, “The Material Culture of Family Life in Italy and Beyond,” in A Companion to Renaissance and Baroque Art, 1st edn (West Sussex: Blackwell & Son Publishing, 2013) pp. 275–94
Welch, Evelyn, Art In Renaissance Italy 1350-1500 (Oxford: Oxford Univ. Press, 2000)
Illustrations
Saint Catherine of Alexandria (1507, Raphael, 1483-1520,
Oil on poplar, 72.2 x 55.7 cm
The Virgin and Child with Saint John (1480-1500)
Associate of Pietro Perugino, 1469-1523
Tempera on poplar, 68.5 x 44.5 cm
The altarpiece in the chapel of S Michael in Certosa di Pavia, as it appears today (photograph: Chiolini, Pavia
Three Panels from an Altarpiece, Certosa
Pietro Perugino, about1496-1500
