Candle-Light in Portraiture: The Meaning Behind a Single Candle

When it comes to how we see, comprehend, and interpret art, symbolism is one of the most important elements. That's why it comes naturally for individuals to discover meaning in artwork right away.  It's the artist's approach to expressing a more comprehensive idea without the use of text or words to make a more significant statement. The candle was frequently employed in Christian genre paintings in the fourteenth century, and its symbolic significance evolved later to symbolize other subjects. Most famously in Dutch paintings during the 17th century especially by a man known as Gerrit Dou, who had a distinctive style that was largely influenced by dark oil paintings with a single candle as the sole source of light. This is not to say all paintings in the 17th century with single candles symbolized the same thing, each use of candlelight differed from painting to painting. The paintings throughout this gallery highlight how a candle's symbolic significance in art varies based on the following paintings.  The singular candle has stood the test of time while serving as a metaphor for many things throughout the years, and every time, painters have incorporated some new insight for the viewers to find.

 

Georges de La Tour, The Penitent Magdalen, 1640

Oil on Canvas

52 1/2 x 40 1/4 in

Metropolitan Museum

This may look very similar to the Dutch paintings that follow but this is not Dutch.  But like other Dutch genre paintings from the same era, the candle's symbolism is still essential to understanding the meaning of the work.  Mary Magdalene's introspective examination of her own spiritual well-being is symbolized by the mirror, which is connected to introspective contemplation or reflection.  Similar to many Dutch genre paintings, this one depicts enlightenment through the wax candle's radiance, but with one important distinction: the enlightenment symbolized by the candle in this picture is spiritual rather than physical.  

Frans van Mieris the Elder, The Serenade, 1678-80

Oil on Wood

Arched top, 5 3/4 x 4 3/8 in.

Metropolitan Museum 

If this painting looks very similar to the style of the artist Gerrit Dou it’s due to the fact that Frans Van Mieris studied with him after ending his apprenticeship with his cousin. Mieris was viewed so highly by Gerrit Dou that Dou gave him the title of “Prince of my Pupils”. This painting represents the common incidents of the working class. Since most of Gerrit Dou's paintings with singular candles illustrated enlightenment that is no different here. The woman in the middle is illuminated by the light of the candle towards the bottom, giving her a representation of enlightenment. Even more, emphasized by her posture and confidence while speaking to two threatening-looking men. 

Pierre Louis Dumesnil the Younger, Card Players in a Drawing Room, 1698-1781

Oil on Canvas

31 1/8 x 38 3/4 in

Metropolitan Museum 

The following two pieces have used candlelight to symbolize enlightenment, one spiritually and another knowledgeable. This piece does have a hint of knowledgeable enlightenment due to the illuminated faces of upper-class figures compared to darken-out lower-class faces. Candlelight has been known throughout history to represent the inevitable passing of time, due to their burn time, and once out can never burn again. The candle’s stick on the table with five figures surrounding it is tall illustrating a long life ahead of them. This is in contrast to the dying out fireplace the woman on her knees tries to keep ablaze, symbolizing the shortness of life left.

Gerrit Dou, An Evening School, 1655-57

Oil on Wood

Arched top, 10 x 9 in

Metropolitan Museum 

Gerrit Dou depicts a little evening school in this Dutch genre painting, and again, the sole source of illumination is a wax candle.  Only when they are close to the candle are the three students and their teacher become visible to the viewers. The candle represents enlightenment; the closer a person is to the candle, the more enlightened they are; and the more away from the flame, the less enlightened they are. The instructor is closest to the candle and hence the most easily identified.  Because it makes Gerrit Dou's Dutch genre paintings instantly recognizable, the use of chiaroscuro is crucial. He had a distinct and original style that could be easily picked out from the group.

Hans Schäufelein, The Dormition of the Virgin; (reverse) Christ Carrying the Cross, 1510

Oil and gold on fir

55 x 53 1/8 in

Metropolitan Museum

This piece illustrates the death of the Virgin Mary while using all three of the symbolic representations of a single candle we have discussed previously. The candlelight illustrates knowledgeable enlightenment, spiritual enlightenment, and the inevitable passing of time. The Virgin Mary’s face is illuminated by the candle just below her showing her enlightenment through knowledge. The light surrounding her face depicts her spiritual enlightenment almost looking as if she has a halo over her head, making her set apart from the figures around her. The third passing of time is shown through the burning down of the candle stick saying her time is near and the inevitable death has come.

Children in Portraiture: The Shift of Children's Roles Throughout History

 It is no surprise to viewers that children can often be found at the center or main focus of many artworks.  Throughout history children have resembled many different positions in society and family.  They have received different care, attention, and appreciation in different cultures and contexts.  The paintings, mainly pulled from American artists with one British and one German artist sprinkled in, show a contrast in cultural views of children from different countries.  Starting as early as 1545 going all the way to 1948, this exhibition demonstrates different roles and ways children have been portrayed in different pieces of artwork throughout different times in history.  This exhibition includes a variety of different mediums such as photos, drawings, and paintings in order to get a glimpse of how children were portrayed differently across different mediums.  Walking you through different areas and aspects of children’s lives, this exhibit shows children in school, in play, at home, and in the company of adults.  As the times move closer to the present, we see the shift from children strictly in the home and with adults, as seen in earlier works, to children participating in activities outside of the home and interacting with children outside of their family.  Together, these pieces show this shift in the roles of children as we move from the past, closer to the present.

Lucas Cranach the Younger and Workshop, Christ Blessing the Children, 1545-50

Oil on Beech 

6 ½ in x 8 ¾ in 

Metropolitan Museum

This painting is filled with infants as well as toddlers.  The viewer’s eyes are drawn to the center of the painting where an infant is being held by Christ, as the parents of the other infants are waiting their turn in hopes of Christ blessing their children too.  The children being held by parents and the toddlers also being so close to the parents hints at the importance of the youth and the importance of family. 

Joshua Johnson, Edward and Sarah Rutter, 1805

Oil on Canvas

36x32 in

Metropolitan Museum 

These two children, brother and sister, are the main focus of this painting.  The dark background creates a stark contrast to the children’s light hair and skin.  This brings emphasis to the children and draws our attention to them.  The children's eyes stare at the viewer and their posture is relaxed as if waiting for instruction from an older authority.  Edward and Sarah Rutter are not partaking in any taxing activity and their fancier clothes indicate they are not going to be running around outside.  This painting continues the sense of children being homebodies and incapable of doing difficult tasks for themselves.

Ambrose Andrews, The Children of Nathan Starr, 1835 

Oil on Canvas 

28 3/8 x 36 1/2 in

Metropolitan Museum 

This painting, depicting a family playing a game of battledore and shuttlecock is the first piece in this exhibit that introduces an intimate family scene.  This painting depicts a scene that we would see in a house when the family is all together and spending quality time together.  We are beginning to see a shift from children having little room to have fun and do things we would typically think of when talking about children, to being able to play a fun game while their mom is reading.   

Ben Hoffman Abramowitz, Children At Play, 1935-43

Lithograph 

image: 11 3/4 x 9 3/4 in. 

sheet: 15 1/4 x 11 1/2 in. 

Metropolitan Museum 

In this piece we see four boys depicted playing what appears to be basketball.  They are also in a body of water, seemingly carefree playing a fun game.  A big thing to note in this is that there are no parents or adult figures present.  This shows a shift from children being depicted in the house or inside to children at play outside of the home and outside of the family circle.  This begins to resemble children and the way they interact with others and the world around them more closely to what we are used to today.

David Feinstein, School Children, 1935-43

Lithograph 

image: 8 1/2 x 11 3/4 in. 

sheet: 10 1/4 x 16 in. 

Metropolitan Museum 

In this final painting, the artist creates a solemn feeling for the viewer through the student’s serious expressions and their sunken postures as they follow what appears to be their teacher.  The children are in a single file line behind their teacher, which is an image that most who go to school can resonate with.  The first depiction of children going to school in this exhibit, this piece shows children with responsibility.  Their responsibility is going to school and learning.  This is a shift from older art where children are expected to be at home and be obedient children.  We begin to see children depicted as individual beings and independent beings with lives outside the home.