The theme of the display will be representative examples of Saints and Martyrs created during the Reformation, the theme is to display the notion of the Catholic Church as the one true church separate and distinct from the Protestantism. Art works developed in the Catholic Church at this time were to be unique and focus on specific aspects of the Catholic dogma. The art pieces I have selected are strong examples of the beliefs of the time that art should focus on: Jesus Christ, Mary the Virgin Mother, Saints, and martyrs. This exhibition would be a balanced representation, as it shows an uplifting painting in The Dream of Saint Catherine as well as the suffering of those who, literally, gave up their lives for their faith in the Martyrdom of Saint Bartholomew and in Saint Sebastian, showing both central figures suffering for what they believed in and the splendor of angels taking Saint Sebastian to his savior. The use of vivid colors interspersed with blacks and grays was typical and used to draw the viewer closer to see what lies in the darkness of the images. The viewers should learn that art of this time was limited, somewhat, in terms of subject and content, but was unlimited in each artist’s different rendition of the Saints and Martyrs of the day.
I chose this topic and these images because they are excellent examples of the church’s vision of what constituted appropriate art at the time, “prior to the Reformation, the Catholic Church was considered elitist, rather than a place for the masses. The Counter-Reformation changed this approach and the Catholic Church tried to be open and transparent to all audiences. Art was a way to teach both the literate and illiterate about Christianity” (Crocker Art Museum). The Catholic Church’s view of what was acceptable and expected in art, was, in many ways, prescriptive, i.e., pious individuals were to be a main focus to encourage piety in those who gazed upon it. It forced the artist to meet the criteria established by the church, to include what subjects were favored, how the images should be direct and compelling in the narration and should be presented in a clear manner, without unnecessary embellishments. Finally, the art was to be simple enough that ordinary people could easily understand the story being portrayed, to the extent possible. The three pieces fit together as a collection because they represent the subjects giving up something for their faith. Saint Catherine gives up the possibility of being a wife and a mother through her imaginary marriage to Christ. This sacrifice is reinforced by the images of Mary and the infant Christ accompanied by angels both in the forefront and in the darker portions of the painting. Saint Sebastian is an image of the saint’s “state of emotional transport and transcendence of bodily pain.” He is accompanied by angels that are supporting him, representing the notion that he is not alone.
The angels appear to be taking Sebastian to a better place as a reward for his suffering and persecution of being a Christian under the reign of Diocletian. The last painting, Martyrdom of Saint Bartholomew, is another representation of someone giving up their lives for their church, but it is slightly different in that Bartholomew is alive in every sense of the word and although he is a sympathy inducing subject, he does not dwell in the suffering, but looks towards heaven. “The viewer is meant to empathize with Bartholomew, whose body seemingly bursts through the surface of the canvas, and whose outstretched arms embrace a mystical light that illuminates his flesh. His piercing eyes, open mouth, and petitioning left hand bespeak an intense communion with the divine; yet this same hand draws our attention to the instruments of his torture, symbolically positioned in the shape of a cross.” The three pieces placed together represent the artist’s interpretation of events in a manner that comes across as almost three dimensional. The figures in each of the paintings, particularly the main figure, appears as though they could burst off the canvas with ease. The Dream of Saint Catherine of Alexandria was painted by Logovico Carracci, c 1593. Lodovico was the oldest of the three Carracci’s from the family of Bolognese artists who are recognized as having “inaugurated the age of the baroque.” His work was in high demand due to the fact that his depictions of Saints were known for eliciting piety in those who laid eyes upon his work. The piece was completed when Carracci was about 38 years old. The painting at one time was even owned by the French Royal Family. The figure of Saint Catherine asleep was based on an ancient Roman statue.
Saint Sebastian by Tanzio De Varallo. Tanzio da Varallo (Antonio d’Enrico) was born c. 1575 in Varallo in the mountains north of Milan and orphaned at 11 when he moved to live with his brothers who were working on the Sacro Monte, where he first received his artistic training. In 1600 he was given permission to go to Rome for the Jubilee Year. There is strong evidence he traveled to Naples and Venice, where he continued to work and study. He died in Varallo Sesia in 1633. De Ribera was a Spanish Tenebrist painter. A great deal of his best known work was done in Rome, Italy, and Naples where he finally settled. This painting was done while he was living in Naples.
Little is written about the specific reasons for each piece, other than the pious nature of the subjects and the similarities to paintings made by each artist in the time period. The Dream of Saint Catherine of Alexandria, c. 1593, exemplifies the goals of the Guidelines for Church art following Council of Trent: Be clear, intelligible, realistic, to be an emotional stimulant to the faithful, emphasis on the mystical, and a tool for instructing the illiterate. The image is of Saint Catherine dressed in the finest of clothes sound asleep accompanied by two angels, Mary and infant Jesus looking down at her spiritually and supportively. The colors, where they are used, are bright and inviting, and the darker portion of the painting is mystical as the shadows seem out of proportion, “at the same time, the quirky folds and pleats cascading down Catherine’s garments impart a vertiginous sensation — the dizziness of sleep.”