When analyzing works of art, it is necessary to understand the context in which such works were created. One such example that exemplifies this is Mannerist painting: an art style dominant during the sixteenth century characterized by irregular perspective, artificiality, and emotional intensity.
During the time in which the Mannerist style emerged, religious and political conflict wrought much havoc in sixteenth century Europe. In 1517, Martin Luther issued his 95 Theses that challenged the practices of the Catholic Church and its authority over Christian followers. In response to the growth of Protestant sects that arose from this contention, the Catholic Church instituted the Counter Reformation, which resulted in widespread internal reform, a reaffirmation of Catholic dogma, and several attempts to limit the expansion of Protestantism throughout Europe. Moreover, political strife ensued as well; in 1527, Holy Roman Emperor Charles V sacked the city of Rome, the primary site of the High Renaissance.
With these problems literally tearing Europe apart, Italian artists responded to their disillusionment by conveying their intense emotions through a new art form. Mannerist painting reflected artists' angst and spirituality through the depiction of religious scenes with asymmetric design and great distortion. This is most evident in Michaelangelo's mural The Last Judgement, which portrays the coming of Jesus in the last days to judge the living and the dead. A wrathful Jesus serves as the focal point of the mural as martyrs and countless writhing bodies surround him; furthermore, Mary looks upon the scene in terror as frightful corpses are bizarrely raised from the ground. Moreover, Hell appears in the lower part of the mural in order to accept those souls that will by rejected by Jesus. As this mural was painted shortly after the sack of Rome in 1527, it is reasonable to infer that Michaelangelo not only wished to depict the horror of the Last Judgement but also the insecurities at the time in which this amazing work of art was created.
Subscribe to:
Post Comments (Atom)
You raise a critical point: the relationship between the creation of art and the socio/political context in which it is created. How logical to find themes such as "tension" and "anguish" common to artistic works of the 16th century, a time of incessant religious warfare. What other emotions could be seen as more natural or common than those associated with the obliteration of entire cities? The false security of the late Medieval period shatters on the new focus on individual conscience that both provokes and then responds to further outrages. Good post.
ReplyDelete