Entering the 17th century, Europe faced incredible challenges and intense nationalistic competition. For instance, in 1588 the infamous Spanish Armada found itself shattered by a horrendous storm off the coast of England, destroying the most powerful navy on the planet. From 1500 onward, colonial efforts extended from Europe across the world, leaving indigenous peoples subdued and overwhelmed by British, Spanish, Italian, French, and Dutch explorers as European nations attempted to outdo one another in prestige and power. And the cultural and intellectual revolution, presently known as the Renaissance, was powerfully influencing European thought. All in all, the Europe that entered the 17th century found itself immensely competitive and diverse.
Alongside this competition for power and prowess through colonization and war, European nations found themselves experimenting with and outdoing one another in the sphere of art. Most notably, Italy harbored men and women of remarkable talent in painting, sculpting, and other artistic forms. Yet, European artists of all nationalities found themselves seeking a personal artistic identity. Because of this, artists from Italy, France, the Netherlands, and all across the continent strived for ingenuity in their work. Most often, this search for identity brought about recognizable diversity in artists from differing homelands.
Amidst the disparity of European artists in the 1600s, I want to ask the question, “Was there any form of art that unified 17th century Europe?” That is, was there any topic or type of art object that was consistently pursued across the European continent? This collection of art objects intends to answer that question. Specifically, I argue that biblical narratives painted with oil on canvas bridged the divide between European states. The biblical narrative in painting holds timeless truth shared across the continent, yet maintains its representation in distinct ways.
El Greco (Domenikos Theotokopoulos), The Vision of Saint John, 1608-1614
Oil on Canvas, Metropolitan Museum of Art, 56.48
El Greco removes himself from Greece’s traditional artistic precision through form and line. Taken as a fragment of a larger altarpiece, this monumental canvas depicts Saint John receiving his vision about the Fifth Seal of Revelation 6:9-11. A swirling and writhing composition, the vibrancy of movement and emotion in this work portrays a Greek rendition of the vision John received from God. Capturing the idea of “vision” is monumentally difficult in art because El Greco had never and could never actually see what John saw. So, with whirling figures and garish shading, El Greco presents a familiar story in a unique way. Maintaining his identity as both El Greco and a Greek artist, he transcends nationalistic diversity by painting the shared truth of Christianity.
Caravaggio, The Denial of Saint Peter, 1610
Oil on Canvas, Metropolitan Museum of Art, 1997.167
Moving across the Ionian Sea, the Italian painter Caravaggio continues in the tradition of painting Biblical narratives with The Denial of Saint Peter. Recognizable by its use of light and dark to convey dramatic effect, Caravaggio illustrates the tragedy of Peter denying Christ. Looking at this work, the 17th century European mind would have been filled with the words of Luke 22:54-62. The despairing and shameful act recorded in this passage of scripture is brilliantly captured by this emotional piece. Remaining true to his Italian style, Caravaggio similarly links himself across the borders of Europe to the larger tradition of European art. Painting this familiar passage in his personal style displays the tendency of European painters to portray borderless truths in personal ways.
Oil on Canvas, Metropolitan Museum of Art, 1984.459.2
Continuing in the Italian peninsula, this work depicts the narrative of Samson in the book of Judges. The central focus is on Samson’s highly detailed back, maintaining the tradition of Italian Renaissance. The return to the ideal figure is clearly illustrated here. Thus, Guercino is able to contribute to the continent-wide conversation regarding Biblical narrative by presenting this well-known episode with unique, Italian flavor. Focusing on different aspects of painting than Caravaggio, Guercino adds the unique element of classicism to this painting. Thus, across Italy, work with the Biblical narrative remains consistent, yet distinct.
Diego Rodríguez de Silva y Velázquez, The Supper at Emmaus, 1622-1623
Oil on Canvas, Metropolitan Museum of Art, 14.40.631
Moving west across the Mediterranean, Velazquez painted this work in his home country of Spain. Stylistically resembling Caravaggio’s work with the contrast of light and dark, this painting depicts the moment when Jesus Christ is recognized by his two disciples following the resurrection. Again, this narrative would have been shared and understood across Europe, but Velazquez applies a unique and personal approach. Most notably, the Christ figure in this work (recognized on the left side by his brightly colored clothing and the direction of the other two figure’s hands directing attention to him) embodies Spanish features. His long brown hair, olive skin, and pointed goatee are characteristically Spanish, as particular to this time period. Similar to the objects noted thus far, Velazquez illustrates a customary narrative, while maintaining an idiosyncratic approach.
Hendrick ter Brugghen, The Crucifixion with the Virgin and Saint John, ca. 1624-1625
Oil on Canvas, Metropolitan Museum of Art, 56.228
At first glance, this Dutch painting is strange. There is no way around it. The Christ figure, usually painted with some sense of beauty or vibrancy, is gruesome and unsettling. The background is grey and appears to glow and the Virgin and Saint John stand beneath the flowing blood of Jesus. Furthermore, death encompasses this painting. From the skull on the ground to the grotesquely faint skull of Christ, there is a deeply disturbing element of death that encompasses this scene. Whereas most of the objects shown in this exhibit are crafted with vibrant colors and detailed illustration, this work is simply disheartening. Presenting the traditional narrative of Christ’s crucifixion, viewers across Europe are offered an entrancing and disturbing perspective of the scene. Brugghen accomplishes a reorientation of perspective in thus scene, while doing so within the confines of the familiar.
Nicolas Poussin, Saints Peter and John Healing the Lame Man, 1655
Oil on Canvas, Metropolitan Museum of Art, 24.45.2
To complete this tour through the continent of Europe, the final object presented connects the entirety of our subject. In this painting, Poussin captures the elements of light and dark from Caravaggio and Velazquez; he stylizes the narrative with classicism in the fashion of Guercino; he conceives an imaginary scene from a text in the vein of El Greco; and he connects deep emotion with grotesque features alongside the work of Brugghen. Consciously, Poussin painted a very complex and intricate object. Noticeably though, he, having studied across the continent, encapsulates characteristics of the works of artists he has studied and seen, along with techniques he has both developed and been trained in to create this narrative. The Biblical narrative stretches across the continent of Europe in artistic unity. Poussin epitomizes this theme of unity alongside individuality in this final work.
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