June | 2015 | robertituarte

In response to the Protestant Reformation, the Council of Trent was convened to examine doctrine and reform of the Catholic Church in various sessions between 1545 and 1563. One point of these sessions was to discuss the responsibility of religious images. During this period, the influence of the Council was very distinct compared to that of the Renaissance. The Renaissance era valued a simpler, more philosophical beauty in the portrayal of biblical works. They left patrons and supporters to consider and stipulate about what was occurring in the world of art. With responsibility bestowed on Catholic followers, the art of the Baroque era had a precise reason and focus for art. And that was to draw out emotion. Art had a greater impact than just the spoken word. It was a valuable instrument for inspiring devotion and teaching doctrine of the church. And that was achieved to an amazing degree with master painters of the Baroque era.

Michelangelo Merisi da Caravaggio was an Italian Baroque painter, who before and after being a well-known artist, led a wild life. He was known for his temper and fighting leading to jail numerous times for some serious offenses. He managed to see his way through the consequences of such behavior. The influential Cardinal del Monte was instrumental in Caravaggio’s career progression once the artist was a part of his court after 1595.

The church was aggressive and strict in what they expected from the people. Art, during this period, was meant to evoke emotion and a religious commitment in its sponsors. With the Catholic court’s support and guidance, Caravaggio understood the church’s direction and expectation for artists.

Caravaggio’s extreme level of realism was barely appreciated by fellow artists. The scholars within the Council of Trent wanted art to be more natural than the Mannerist visions of the fading High Renaissance style. But Caravaggio had his own visions. Visions that went well above the Council’s or any other supporter’s imagination. At the time, artists were encouraged to represent religious subjects in a reachable way, with clarity and sense of closeness, to connect viewers directly with the sacred subject. Caravaggio’s work went past the frame. It reached (and still reaches) the viewer through his emphasis on co-extensive space or feeling part of the scenery (see The Supper at Emmaus).

Using various techniques from the Renaissance period, tenebrism and chiaroscuro, Caravaggio shows everything, from grimy fingernails, to the callused bottoms of feet (see Madonna di Loreto) and to bruised fruit with worm holes. It was like photorealism from his own era. And The Incredulity of Saint Thomas represents Caravaggio’s ruthless honesty. Only someone who associated with the simplest and poorest people of Rome could extract the realism of everyday life and incorporate it with biblical subjects.

The Incredulity of Saint Thomas by Caravaggio: 1601-1602

In The Incredulity of Saint Thomas, Jesus grabs hold of Thomas’ hand and places it inside the wound of his body in order to remove doubt from Thomas. Caravaggio does the same for his viewers until we believe, just as Thomas began to believe. Again, the artist places his emphasis on co-existing as well. It seemed as though Caravaggio, understanding he was a sinner, could interpret Christianity better than anyone. He lived the life. He knew the life. Caravaggio was the vessel the Council had in mind when seeking artists depicting stories through art presented with clarity, realism and emotion. The Council of Trent wanted to restore the church in its place of authority and convince people that they were not the bad ones. Consequently, Caravaggio wasn’t too concerned about being the bad one. He took it on head on and with full force through his art and life.

References:

Samworth, Herbert. The Trent Council: The Roman Catholic Church Response to the Protestant Demand for Reformation of the Church (1545-1563). Sola Scriptura, Grace Sola Foundation. Web. 19 June 2015. http://www.solagroup.org/articles/historyofthebible/hotb_0010.html

Tenebrism: Characteristics of 17th Century Tenebrist Painting Technique http://www.visual-arts-cork.com/painting/tenebrism.htm

“Caravaggio, Michelangelo Merisi da (Italian painter, 1571-1610)”. Getty.edu. Retrieved 19 June 2015. http://www.getty.edu/vow/ULANFullDisplay?find=Caravaggio&role=&nation=&prev_page=1&subjectid=500115312

I got my first taste of David (a copy) while on temporary duty in Italy for the US military. I took advantage of my time there and visited Florence. I was unaware of the impact it would have on my fascination with Italian history. I went to Piazza della Signoria (Florence) and was amazed and the various statues within the plaza. I did not know many of the artists but I knew David. I enjoyed my time and soaked in as much as I could, not knowing if I’d ever have another chance to see it. Two years later I was blessed with the opportunity to live in Italy (thanks Uncle Sam). I took full advantage and lived on the economy (off base) among Italians. My neighbor, Gaetano Lamonaca, like so many there, welcomed me with various gifts of friendship, wine, bread and a book. It wasn’t often I received a book. But Gaetano was a painter and he was (still is) proud of his country and its history, especially its artistic culture. The book was Essential Michelangelo. I still have it. The book gave me not only a hint of who the artist, Michelangelo, was but it was Gaetano’s way of saying, “Here. Here’s your flyer for what’s in Italy. E vai!! Vai!!” Now, I say, “Grazie, Gaetano.”

I have to admit, I wasn’t sure where this course would take me. From what I’ve read and seen so far it has given me a better understanding and deeper appreciation of both Italian and Northern portions of the Renaissance period. Somewhere between the 1300s and 1600s the Western world underwent a transformation. An astonishing surge of artistic and cultural revolution seemed to have done in a medieval civilization and took European culture into a new era. This was the Renaissance era. Renaissance means “rebirth”. A rebirth of a symbolic natured culture of the medieval minds, a rediscovery by intellectuals (known as Humanists) of ancient Greeks and Romans writings and concepts. It was a time for innovation for artists, architects, and scientist. The liberation of politics and religion. The Renaissance pioneers left religious traditions of medieval times and paved the way for creative artists such as Botticelli, Michelangelo, and Ghiberti to change the way the world was seen. These Renaissance artists developed techniques of painting with oils and using perspective, to bring emotion, life and a true sense of realism to their subjects.

David. Michelangelo di Lodovico Buonarroti Simoni, 1504

So, is it difficult to conclude that one such creation that comes to mind as a perfect example of this era of transformation would be Michelangelo’s David? The commission of David by was intended to be a statue of the proud slayer of Goliath but instantly became a symbol of the city, a symbol of Florentine freedom. A religious sculpture set to be placed on the Cattedrale di Santa Maria del Fiore, the main church of Florence at the time, David became a civic symbol. It was a time of instability between the people of the city and previous ruling family, the Medici. The Medici were seen as antagonists and were forced out of Florence. The Florentines embraced the David as a symbol of their (underdog) own fight with the Medici (Goliath). So, in 1504 the people determined that Michelangelo’s David would better be suited in a much more viewable place, the main piazza of Florence.

Though Michelangelo is recorded, within his poetry, as complaining about misuse of power and double standards by those in authority, often the Medici. The artist probably owes his guidance of his talent to the Medici. It was Lorenzo de Medici that encouraged and funded his education when Michelangelo was 13 years old. It wasn’t only the Michelangelo that the Medici saw potential and talent. They were the patrons of the arts, architecture and science. The Medici’s vision and money created a cultural movement that pulled Europe out of the Dark Ages ravaged by war and a plague into a fresh world overflowing with humanistic thought and inspiration.

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