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Europe 1300 - 1800
Course: Europe 1300 - 1800 > Unit 9
Lesson 2: Italy- Restoring ancient sculpture in Baroque Rome
- Bernini, Pluto and Proserpina
- Bernini, David
- Bernini, David
- Bernini, David
- Bernini, Apollo and Daphne
- Gian Lorenzo Bernini, Baldacchino
- Bernini, Bust of Medusa
- Bernini, Ecstasy of Saint Teresa
- Bernini, Ecstasy of Saint Teresa
- Bernini, Ecstasy of Saint Teresa
- Gian Lorenzo Bernini, Cathedra Petri (Chair of St. Peter)
- Bernini, Saint Peter's Square
- Bernini, Sant'Andrea al Quirinale
- Geometry and motion in Borromini's San Carlo
- Carracci, Christ Appearing to Saint Peter on the Appian Way
- Caravaggio, Narcissus at the Source
- Caravaggio, Calling of Saint Matthew
- Caravaggio, Calling of St. Matthew
- Caravaggio, The Conversion of St. Paul (or The Conversion of Saul)
- Caravaggio, Crucifixion of Saint Peter
- Caravaggio, Supper at Emmaus
- Caravaggio, Deposition
- Caravaggio, Saint John the Baptist in the Wilderness
- Caravaggio, The Flagellation of Christ
- Caravaggio, Death of the Virgin
- Caravaggio and Caravaggisti in 17th-Century Europe
- Reni, Aurora
- Gentileschi, Judith Slaying Holofernes
- Gentileschi, Judith and Holofernes
- Gentileschi, Judith and Her Maidservant with the Head of Holofernes
- Gentileschi, Conversion of the Magdalene
- Elisabetta Sirani, Portia Wounding her Thigh
- Guercino, Saint Luke Displaying a Painting of the Virgin
- Il Gesù, including Triumph of the Name of Jesus ceiling fresco
- Pozzo, Saint Ignatius Chapel, Il Gesù
- Pozzo, Glorification of Saint Ignatius, Sant'Ignazio
- The altar tabernacle, Pauline Chapel, Santa Maria Maggiore, Rome
- Pierre Le Gros the Younger, Stanislas Kostka on his Deathbed
- Baroque art in Italy
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Guercino, Saint Luke Displaying a Painting of the Virgin
Guercino, St. Luke Displaying a Painting of the Virgin, oil on canvas, 1652-53
(Nelson-Atkins Museum of Art, Kansas City). Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- Why is the bull (ox) the symbol of Saint Luke?(5 votes)
- Revelations 4:6-8 describes four creatures at the throne of God -- a winged man, a winged lion, a winged ox, and an eagle -- which is also imagery that comes from an earlier vision from the prophet Ezekiel. By tradition, Catholics associate these four animals as symbols of the authors of the four Gospels. If you've been watching through the Art History playlist, you may recall previous times where an eagle was associated with St. John and a winged man with St. Matthew, which comes from this same source.(6 votes)
- What evidence is there that Luke was a painter? It sounds like it may have been Catholic propaganda to help their cause since the Protestants like Luke because he was a writer and they were against painting of religious iconography in general.(5 votes)
- To my understanding, none at all. There is also no evidence that he was a writer except that a gospel was attributed to him (by the same Church at an earlier date).
Information about ancient people is almost always second-hand, and the veracity of such accounts is always (and should be) subject to continuous evaluation.(6 votes)
- The painting describes St. Luke painting in a decidedly pre-Baroque style with the thick halos and lack of action. Is Guercino recreating a specific Madonna and Child painting there, or is it just a vague claim that this would have been the artistic style of the first century (which, of course, it wasn't).(5 votes)
- Possibly he simply wants the picture to look old fashioned, without saying anything specific about art around the time of Christ. If you have not seen many, or any, images of early Christian art, you cannot try to reproduce it. Any producer of historical films or artist illustrating historical situations will have to make hints that people would understand as referencing the past, both because they will not known, and because the viewers might not even understand a more accurate depiction!(3 votes)
- The whole discussion about the use of religious depiction and images in faith is so reminiscent of the Byzantine Iconoclasm (two periods) during the 8th century within the Eastern Orthodox Church and Byzantine Empire!
I believe that a comparison between the two could prove fruitful and quite a few parallels could be drawn, especially regarding the later use of iconography for dogmatic and educational purposes in both the RomeoCatholic and the Byzantine church (after the 7th Ecumenical Council in particular).(3 votes)- Sounds good. There may be a Master of Arts thesis or even a book hidden in this idea. Go for it!(2 votes)
- What makes this painting baroque, besides when it was created? It doesn't look anything like the other baroque paintings we've studied so far. No tenebrism or big emotions or drama. I wouldn't put this in the same category as Caravaggio or Gentileschi.(2 votes)
- Was St. Luke martyred and if so, how?(2 votes)
- I believe he was when he was excuted by Nero the Emperor for his belief, so yes, I think he was martyred.(1 vote)
- Protestants and Catholics are obviously themes here, so I'm wondering.. when and why did Christianity kind of 'split up' in these two and to what extent does this influence people's lives?(2 votes)
- The original question asked to what extent does the split influence people's lives. I'd say the greatest difference has to do with Catholics going to Confession and telling the priest what sins they have committed since their last confession. The priest may tell them to do some type of penance, such as saying repetitions of "Hail Marys", and then being forgiven. I'm not a Catholic, but I believe each parishioner must do this before receiving the Eucharist (body and blood of Christ) and absolutely before they die to reduce their time in Purgatory.
Protestants have various ways of handling "sins", but there is no requirement to confess. Usually there must be a heart-felt repentance and change of behavior, but it is between the individual and God, sometimes through Christ's help. What happens to the individual's soul after death is probably of some disagreement among the various sects. Unlike Catholicism, Protestants generally believe they can be saved by faith alone. There are many Protestant sects, and I'm sure I've left out some of their differences.(1 vote)
Video transcript
Male voiceover: Well, here we are
looking at Guercino's painting of St. Luke painting the Virgin and
Child, or St. Luke at the easel. This is an interesting painting to
talk about from several respects. Female voiceover: Luke was
one of the four evangelists - Matthew, Mark, Luke and
John [unintelligible]. Male voiceover: He was one of
the four evangelists writing one of the four gospels that
makes up the Christian Bible. Female voiceover: But,
he was also a painter. Male voiceover: He was also believed
to be a painter and Christians
of the time, and some today, believe that he had actually
painted first-hand images of
Christ and the Virgin Mary. So he, for that reason, is also
the patron saint of artists, because he was mostly known
as being an evangelist, but he was also thought of as
being a painter [unintelligible]. Female voiceover: Yeah, you know
it makes me think about the whole
Christian tradition of making images, and this desire to have the image connect
directly to Christ and the apostles, and to marry and not to have any distance
between the image and the reality. Male voiceover: Absolutely. This painting is interesting
from that respect, in that
it shows Luke as an artist. We also see in the background this
inkwell with the [unintelligible] bowl, that is the allegorical symbol for
St. Luke, sitting on top of a book, which we have to assume is the Gospel of
St. Luke, one of the books of the Bible. It shows him in this dual
respect, and in that sense, it's almost a rather traditional
representation of St. Luke. It's also interesting, because
we could talk about this as a very good example of a Baroque
painting from the 17th century - this is from the 1650s - because
as in other Baroque paintings that had started developing in the late
1500s, we have very naturalistic figures, a sense of classisizing figures,
and architecture and clothing. Everything is relatively simple. There's not a lot of things
going on in the painting. We have large figures in the foreground. There's not a lot of distracting
things in the background. There's a rational sense of space,
and depth, and light and so on. For all these respects,
formally speaking, it's a pretty
traditional Baroque painting. Female voiceover: Right, that makes sense. Male voiceover: What's maybe most
interesting about this painting
is how we can also think of it, to a certain extent, as a
Counter-Reformation painting. Female voiceover: Sort of reaffirming
the importance of images for the church? Male voiceover: Absolutely. For the Catholic church, we can
think of this painting as a response that the Catholics are giving
toward the Protestant Reformation. For many decades at this point, for over
a hundred years, the Protestant church, especially in northern Europe,
had been criticizing the Catholics for many aspects of their
devotion and religious practice. One of the main targets of the
Protestant critics was religious art. Female voiceover: In fact,
religious images were being
destroyed in Protestant countries. Male voiceover: In some parts, they were
going around tearing paintings down, gouging out sculptures' eyes,
smashing and destroying things. Female voiceover:
Destroying images of saints. Male voiceover: Exactly, because
generally speaking, the criticism
was that art was not good, according to the Protestants,
for religious purposes,
because it was distracting. You would be distracted
by the artist's skill, or the beauty of the painting,
or the eroticism of the figures. Female voiceover: You could even be
fooled into worshiping the image iteself instead of the ideas behind the image. Male voiceover: The Protestants
said that was a great, great danger, that you could be so astounded
by a painting by Leonardo that you would end up worshiping
the image more than the
message was trying to convey. Female voiceover: That does happen. Male voiceover: Absolutely. Female voiceover: People worship images
and think that they have magical powers. Male voiceover: Rather than images,
the Protestants had said the
primary focus of your devotion, the primary tool for devotion
and religious meditation, should instead be text, the
word of the actual Bible itself. Female voiceover: Just saying that,
in and of itself, is an attack on
the church, because one of the things that they were saying was that the church,
in all of its practices and rituals, had gotten away from what Christ
actually wrote in the Bible, and encouraged a going back and
a close reading of the real text, not just listening to the words of the
priest and the practices of the church. Male voiceover: Right, saying that
the authority was the text itself. It was written about
Christ, rather than ... Female voiceover: The Pope. Male voiceover: [Unintelligible]
archbishop telling you what to think. Female voiceover: It was a
pretty radical thing to say. Male voiceover: It was very radical. That's why they got in so much trouble. Female voiceover: Big trouble. Male voiceover: In any case, after
decades of this Protestant criticiism,
and the Protestant churches - the Lutherans, the Calvinists, and so
on - are growing stronger and stronger. The Catholic church needed to formulate
its response beginning in the mid-1500s, and this is the period known
as the Counter-Reformation. One of the things that the Catholics
do in the Counter-Reformation ... Female voiceover: The Counter-Reformation
means against the Reformation. Male voiceover: Exactly. It's the Catholic response to
the Protestant Reformation. Some people even call it
the Catholic Reformation, rather than the Protestant Reformation. One of the main points of the
Catholic Counter-Reformation is that they're justifying the use of art. They're saying that art is
an important religious tool, and one of the most straightforward
reasons that they claimed it was, was that, of course, even though
literacy had grown tremendously, still most people did
not know how to read. The Catholics respond to the Protestants,
"How can we tell people that the Bible is their main devotional
tool if they can't even read, and if books are still
relatively rare objects?" Instead, they say - Catholics
- that religious images,
altar pieces in churches, devotional images in your house,
these are more useful than books because everyone can
understand what they're about. They're immediately accessible. You don't have to know how to read and, as some people still say today, a
picture can be worth a thousand words. You can communicate things
with images that are impossible to communicate with
written words on the page. Here in this painting, what we have is
not only a celebration of a painter - St. Luke, according to Catholic belief
- but this is really a very pointed, a very rhetorical defense
of painted religious images, and it even suggests that painting is
even more important than the written word. Let's talk about how we
see that in this painting. Of course, we have St. Luke sitting at
the easel with his palette and brushes. Look how he turns, looks
at the viewer and gestures towards his painting of the
Virgin and Child, as if to say, "Look at what I'm doing. "This is what I'm painting." In the background, we have an
angel looking over his shoulder, looking pleasantly at the painting,
representing Divine approvation, as if God and the angels in Heaven ... Female voiceover:
[Unintelligible] him to ... Male voiceover: Looking on approvingly,
as St. Luke is painting this painting. Female voiceover: Just like God
inspired the gospels, so God inspired
the painting [unintelligible]. Male voiceover: Absolutely,
or at least approves of them. Then, what else do we see in the painting? Remember, of course, in a Baroque
painting, nothing is included
accidentally or for no reason. When we look over at the right
side, as we mentioned, there's
this inkwell and the book. Female voiceover: But, he's
turned his back on them. Male voiceover: The pen is in the inkwell. The book is closed. There's this weight on top of it, and as
you said, he's literally turned his back on the written word in order
to focus on the painting. Female voiceover: When you look at this,
and you think, "Mary and the Christ child "in this devotional image to
inspire prayer", and you think,
"Which is going to inspire prayer? "This?" Male voiceover: Right. Female voiceover: Well, this works for me. Male voiceover: Exactly, it's
a very, very rhetorical image. We need to understand this painting in
terms of the dialogue, the conflict, between the Protestants and the Catholics,
in terms of the Protestants saying, "Focus on the text," and the
Catholics defending the use of images. We should also add that the
Protestants liked St. Luke quite a lot, even though generally, they were a
little bit averse to the cult of saints. They did like St. Luke, as
well as the other evangelists,
because he was a writer. Here we have the Catholics
celebrating him as a painter. It's as if they're saying, "Look,
Protestants, you like St. Luke. "You think he's a great hero
because he was a writer, "but he was also a painter and therefore,
you cannot criticize painting," ... Female voiceover: You deny
the power [unintelligible]. Male voiceover: Because one of the great
heroes of the church was a painter, and made religious images
according to their belief. Female voiceover: It's the church
continually needing to justify, throughout its history at
different moments, the use
of images and their power. Male voiceover: Absolutely. Female voiceover: This image
just speaks to that so perfectly. Male voiceover: It's a
very good example of that.