Skip to main content

Simone Martini, 'Christ Discovered in the Temple,' 1342

 


Through his choices in composition Simone Martini is draws the viewer's eye to the smaller figure of Christ. Though it is an unusual story, the figures are easy to identify; the Virgin in her ultramarine drapery, the elderly figure of Joseph and Christ himself. There is no sense of a 'temple' here as in other depictions (for instance Giotto's fresco of the same subject in the Scrovegni Chapel, usually titled Christ Among Doctors), but instead a background of gold mostly likely produced from water gilding. Martini advances his textural choices in the relief arch that frames the family, but also using shell gold for the trimmings of draperies, and sgraffito for halos. Very much in the tradition of the early Renaissance, the halos are solid and two dimensional, recalling Byzantine prototypes. There is a strong propensity for jewel-like, mimetic qualities to Martini's panels. His signature and dating in Latin along the bottom of the frame signals his pride at the finished product. 

Due to expense of materials and the choice of an unusual subject, it can be speculated that this panel was produced for a wealthy patron. The dating of 1342 shows that it was was painted in Avignon when the Papal court moved there from Rome. According to fellow artist Ghiberti, Martini was in Avignon at this time, and Vasari corroborates this in his Lives. Despite a fairly prolific output by Martini while in Sienna, only five documented works survive from the eight or nine years of activity in Avignon, before his death in 1444. It is entirely possible he was instructed by a member of the papal curia to travel to Avignon, according to Emma Capron. With this substantial flow of money, he would not necessarily need to run a large workshop to maintain a steady income, and so it is also possible that this panel shows the true hand of the artist most clearly. 

Certainly it is a unique and well put together piece - at this point Martini was a well established panel painter. He had already produced a Madonna of Humility for instance, a form that reappears here in the seated figure of the Virgin. His use of a verdaccio underpaint for the faces of the figures is particularly apparent in the Virgin which has faded to show the green pigment, possible terre verte. Much of our knowledge of early Renaissance fresco and tempera techniques comes from the blueprints offered by Cennino Cennini. In addition, there are clear Sienese qualities to the panel - the folds of the draperies across Joseph recall the work of Giotto, as do the gesticulations. Mary and Joseph direct the viewer's eye to each other with elegant, elongated fingers. Joseph offers a comforting, fatherly hand on the figure of Christ. But it is Christ who stamps his authority over the scene. His folded arms highlights his resolute attitude, the affirmation of his divinity. Physically higher than the Virgin, she rescinds her position in favour of this higher spiritual source. Although only twelve years old at the time of this narrative, Christ already wields his omnipotent divinity. 

Comments

Post a Comment

Popular posts from this blog

John Everett Millais, 'Peace Concluded', 1856

  My eye is drawn to the copy of The Times clutched in the hands of the officer. The white of the figurine on the man's knee and the white of his wife's sleeves all serve to make the white paper stand out even more on the canvas. As the title of the painting suggests, this is about the end of the Crimean War, seemingly depicting a soldier who has just returned home, surrounded by his family, but the mood is perhaps less euphoric than you might expect. The soldier seems somber and weary, and his wife has a look of concern. Although on the surface it seems to be quite a harmonious composition representing a close knit and traditional family, the positioning of the man is odd. It is his wife who takes her place at the apex of the triangular composition, the soldier is reduced to an emasculated role, perhaps an invalid, as suggested by the blanket over his legs. Her face is passive, but not exactly positive. With her arms draped around her husband, she looks posed, dutiful but not...
Post a Comment
Read more

Ernst Barlach, 'The Avenger', 1914

  On the advent of both the First World War and the artistic movement known as Futurism, Ersnt Barlach cast this work in bronze. The eye picks out an angular, horizontal form, a sense of hurried pace and strong facial features to this work by the German Expressionist artist. This piece is highly interesting when discussed in terms of the artist's oeuvre - Barlach entered the First World War with a clear attitude of patriotism. The sculpture reflects that, as the figure seemingly thrusts forward wielding a sizeable weapon above his head, leading the charge head on. Describing the sculpture as his 'raging Barbarian' it is clear that Barlach wanted to present an emotionally charged figure. Perhaps it is even a self portrait, with Barlach picturing himself as the hero. The artist did in fact serve briefly as an infantry officer. However realisation soon dawned and patriotism quickly dwindled. All of Barlach's sculptures from this point onward are influenced by the horror an...
Post a Comment
Read more

Egon Schiele, 'Dead Mother', 1910

  My eye is drawn to the hand. Those long, bony fingers are so characteristic of Schiele but here they are particularly skeletal and deathly – the veins seem to have been injected with poison. And they are a warning right in the foreground of the painting that keeps the viewer at bay as an outsider to this incredibly intimate relationship between mother and child, and sets the tone of death and mortality which hangs over the whole image. The mother cradles her child in a womb-like shroud, alluding to childbirth and the death of the mother explained in the title. She seems desperate to feel that bodily connection with her child, highlighted by the emphasis on her craned neck as she tries to connect to the baby. There is a clear link between the mother’s bent neck and the child’s bent neck, again emphasising their longing to be with each other. However, the darkness around the child is almost like ropes, with flecks of white in the painting making it look as though the darkness is wo...
Post a Comment
Read more