Within Europe, the depiction of religious martyrs became a common theme in Baroque painting due to its ability to draw emotion out of the audience. Because of western Europe’s background in Christianity, stories of Christians giving up their lives for their faith resonated and deeply moved many emotionally and spiritually. Within the Catholic world, martyrs were given the highest honor for their ultimate sacrifice. With the popularity of their stories, many artists were commissioned either by the church or by private collectors to depict the final moments or death of martyrs. In these paintings, the artist attempts to capture the same emotion as the stories of the martyrs, but to a greater level through the visual depiction. Through the painting, the viewer would be elevated to greater levels of sympathy and pity and could be inspired further to hold fast to their faith.
With the popularity of images depicting martyrs, Jacques-Louis David, the founder of the French Neoclassical movement, most likely encountered several types of these images during his time studying art. David was not interested in religion or faith, but was rather active in the political and philosophical discussions during French Enlightenment period. David recognized that, similarly to paintings of religious Martyrs, depictions of political Martyrs, or people who were sacrificed life in support of their ideological beliefs, could draw strong fervor out of people and provoke action. David on several occasions painted scenes of current political martyrs of the French Revolution, like The Death of Marat, as well as past martyrs who held significance within Enlightenment thought, including The Death of Socrates. Within his painting of political martyrs, one can see how David used themes found in Baroque depictions of Christian martyrs.
With the popularity of images depicting martyrs, Jacques-Louis David, the founder of the French Neoclassical movement, most likely encountered several types of these images during his time studying art. David was not interested in religion or faith, but was rather active in the political and philosophical discussions during French Enlightenment period. David recognized that, similarly to paintings of religious Martyrs, depictions of political Martyrs, or people who were sacrificed life in support of their ideological beliefs, could draw strong fervor out of people and provoke action. David on several occasions painted scenes of current political martyrs of the French Revolution, like The Death of Marat, as well as past martyrs who held significance within Enlightenment thought, including The Death of Socrates. Within his painting of political martyrs, one can see how David used themes found in Baroque depictions of Christian martyrs.
Stefano Maderno, The Martyrdom of Saint Cecilia, c. 1600, marble, length 130 cm, Santa Cecilia in Traverse, Rome
Created in 1600, The Martyrdom of Saint Cecilia by Stefano Maderno is a picturesque example of Baroque sculpture. Saint Cecilia is one of the most famous martyrs and is known as the saint of musicians. According to legend, she was murdered by three blows to the neck by sword because of here faith. The sculptures curved and limp body feels very realistic and makes it seem as if Saint Cecilia had only recently been killed. Her turned head gives a sense of her recent death but also exposes the cut to her neck that ultimately kills her. The depiction of the deep cut especially horrifies the viewer for its upfront display of the suffering the martyr went through for her faith. The apparent nearness and horrifying nature of Cecilia’s death deeply moves the viewer emotionally and spiritually.
Caravaggio, The Crucifixion of Saint Peter, c. 1601, oil on canvas, 230 x 170 cm, Santa Maria del Popolo, Rome, Italy
Tradition within the Catholic Church says that the Apostle Peter was hung on a cross upside down because Peter asked not to die in the same manner as Christ. This painting, by Caravaggio, uses Baroque techniques to depict the death of Peter. The contrast of light vs. dark (or chiaroscuro) not only gives depth to the painting, but also provide emphasis to the character of Paul and adds a sense of drama to the scene. Peter is pictured in a idealized and muscular body giving him a sense of strength even in the painful moment. Caravaggio also gives incredibly detail to the pierced hands and feet of Peter. Peters scrunched up face gives a window to the viewer the pain Peter currently suffers. All of these details draw the viewer into the seen and to feel the anguish of Peter during his final moments.
Gerrit van Honthorst, Saint Sebastian, c. 1632, oil on canvas, 101 x 117 cm, The National Gallery, London
Honthorst, considered to be a follower of Caravaggio, also uses the Baroque style to depict an emotional and terrifying scene. Saint Sebastian was a Roman Centurion sentenced to death by the Emperor for converting to Christianity. He was tied to a tree and shot with arrows and then stoned to death. Saint Sebastian’s limp body looks incredibly realistic and conveys his recent passing. The lack of a large amount of blood gives the sense that he was shot only a few moments ago . All of these facts plus the incredibly attention to detail draw the viewer in and make it seem as if we are in the scene witnessing the last breaths of Saint Sebastian.
Jacques-Louis David, The Death of Socrates, c. 1787, oil on canvas, 129.5 x 196.2 cm, 31.45
During the Enlightenment, Socrates was a greatly revered philosopher for voluntarily taking hemlock in an act of resistance and conviction in his beliefs. David, in The Death of Socrates, dramatizes and idealizes Socrates final act in attempt convict others to follow Socrates in a similar manner. In the painting, while others surrounding are limp in emotion, Socrates's muscular and radiating body sits straight up with a hand pointing to the sky. These details are suppose to glorify and magnify Socrates character in his final act. David hoped that, similarly to previous martyr paintings, The Death of Socrates would move the viewer to sympathize with Socrates and his convictions and provoke the audience to actions of sacrifice for their beliefs as the French Revolution approached.
Jacques-Louis David, The Death of Marat, c. 1793, 165 x 128 cm, Royal Museums of Fine Arts of Belgium, Brussels, Belgium
The Death of Marat is one of the most recognizable images from the French Revolution. Marat, a journalist and key leader of the French Revolution, was murdered by someone who opposed his political beliefs. David paints Marat stylistically in a very similar way to Baroque paintings. The scene is set soon after Marat’s death as he still has pen and paper in hand. He slouches in a very similar manner to to other martyr paintings. The background is dark forcing the viewer to focus on Marat. Blood can bee seen slowing building up in the tub. All of these details bring the viewers directly into the scene and make it feel as if Marat has died right in front of them. Like Baroque paintings, drawing the viewer into the painting produces great feelings of sorrow and conviction.
Jacques Louis David, The Death of Bara, c. 1794, 119 x 156 cm, Private Collection
The Death of Bara is one of the three paintings David completed for a series on French Revolution martyrs, one other including The Death of Marat. Bara was a young drummer boy of the First French Republic and became a prominent symbol of the revolution when he was killed in battle. In the painting Bara lies in a very similar fashion to Maderno Saint Cecilia. His naked body harkens back to the Renaissance painting but also illustrates his youth. Like the past paintings, this image creates compassion and pity for a boy who sacrificed his life for a greater political cause.
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