Art and the Will of the Artist

For my Art & Christ class, we have moved on from researching snippets of the history of art, and have now begun a book by Rowan Williams (who officiated the wedding of Prince William and Kate Middleton!) titled Grace & Necessity: Reflections on Art & Love. I’m not going to lie – it is a tough read. There are many times I find myself reading sentences 2, 3, maybe 4 times before I grasp what Williams is saying, and even then I cannot fully comprehend his ideas. That, however, is the beauty of the book. You really have to focus in on the reading, with no other distractions present, and the layers upon layers of juicy, thought-provoking concepts make themselves known. Honestly, this book is a goldmine of artistic and theological treasure, and it has been transforming how I think about what being an artist means (and we have only read one chapter!).

One concept in Grace & Necessity that I find particularly compelling is the idea comparing art and the will of the artist. Williams references the writings of Jacques Maritain, in which Maritain states that art is more “intellectual” than prudence, prudence referring to the human good (15). Art’s intent is not on the delightful or good. Therefore, it does not matter what kind of person is making art, whether they are crazy, killers, saints, housewives, etc. For example, Amerighi da Caravaggio is a renowned Italian Baroque painter, oftentimes studied in Art History courses for his use of chiaroscuro. His work is undeniably beautiful and powerful, yet Caravaggio had a personal life full of dysfunction. He was put in jail numerous times, killed a man, vandalized his own living quarters, and actually had a death warrant put on his head by the Pope. Yet he served his paintings, and he knew the art form well.

“The Call of St. Matthew” – Caravaggio
http://www.dhspriory.org

“Good” art is created when the artist simply learns to love the work, do the work, and serve the work. Williams states that the “activity of the artist does have a serious moral character simply because it pushes aside the ego and the desire of the artist as individual (15-16).” He states as well that the “artist as artist is not called on to love God or the world or humanity, but to love what he or she is doing (15).” Carl Jung, in his book Modern Man in Search of a Soul, speaks on this issue as well. He writes:

“Whenever the creative force predominates, human life is ruled and molded by the unconscious as against the active will, and the conscious ego is swept along on a subterranean current, being nothing more than a helpless observer of events. The work in process becomes the poet’s fate and determines his psychic development.”

Ergo, if the artist is putting aside his or her own will in order to create the art well, the art will have its integrity intact and it will undoubtedly shape the artist in the creation process. The art, then, will be capable of exhibiting beauty, and could have the capacity to make a difference in the world.

Of course, I must point out that Williams claims that art created for the sole intent of exhibiting beauty or changing the world will fail to do so. Maritain actually explains that creating art in order to change the world is the moral fallacy that many artists fall victim to (16). This is difficult to accept because I know that I, as an artist, hope that my art will make a difference in the world, if even in a small way. However, if that is the main purpose for why I create, Williams points out that the good of the work is compromised (14).

A fitting comic strip for this idea.
http://www.mimiandeunice.com

We discussed this idea a bit in class, and an observation was made that really resonated with me. As mentioned earlier, the artist needs to simply do the work and serve the work, respecting its integrity. We must simply do what we are in control of well. I am a potter, and I have reached a point where I have come to know the clay fairly well and have formed a relationship with it. Therefore, if I want to make art with integrity, I must continue to create with clay, and make each pot well. This requires my time, my attention, and my sacrificing of my own will in order to allow the clay to become what it needs to become.

As people, we must all do well what we are in control of. Whether that means loving our friends, spouse or children well, taking care of a plant well, or making sure that the coffee being made and served to a customer is the best of the barista’s ability, if each task is done intentionally and thoughtfully, we can make a difference in everyday life. In doing so, a person’s life itself is becoming an art, as it will begin to exhibit beauty and change the world. Perhaps this is not what Williams was trying to say, but for me it is meaningful, and in the deep sea of wisdom and philosophy that is Grace & Necessity, it is a tidbit I can understand and apply to my own life as an artist.

Sources:

“Caravaggio.” Wikipedia. Wikimedia Foundation, 10 Sept. 2013. Web. 10 Oct. 2013. <http://en.wikipedia.org/wiki/Caravaggio&gt;.

Jung, Carl G. Modern Man in Search of a Soul. New York: Harcourt, Brace & World, 1933. 168-71. Print.

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. Harrisburg, PA: Morehouse, 2005. Print.

The Little Dyer

Tintoretto was a man with great natural talent… And many names.

Jacopo Tintoretto was the firstborn of 21 children, and his father was a silk dyer by trade. Tintoretto, in fact, means “little dyer,” and it is from this that Tintoretto got his nickname. His real name is Jacopo Comin, and in his adolescent years he was also known as Jacobo Robusti. In his years as a painter, he also landed the nickname “il furioso,” or “the furious one,” for his rapid painting style. This, along with being one of 21 children, had to give him some difficulties in finding his identity…

“Self Portrait” – Tintoretto
http://www.vam.ac.uk

Tintoretto reached his status as an excellent painter without really having any formal training.

When Tintoretto was a young boy, he starting daubing paint on walls at his home. His talent was noticed by his father, and at the age of 15 Tintoretto started studying under Titian. This, however, only lasted for about 10 days before Titian sent him out of his studio, either out of jealousy of such a promising painter, or because Titian deemed that Tintoretto was a good painter, but not a good pupil. I hope it was the latter – it would be disheartening to know that a mastery painter would not aid in the development of a young boy with that much potential. Unfortunately, though, some artists do not want rivals to shadow their work. I will choose to give Titian the benefit of the doubt on this one.

After training with Titian, Tintoretto never learned under anyone else. Instead, he practiced on his own and was influenced greatly by the works of Michelangelo and Titian. He actually had inscribed in his studio: “The drawing of Michelangelo and the color of Titian.” Although he admired the work of these two artists, his own style was more emotive, fierce, and dramatic. It’s amazing to me how dedicated and motivated he was to learn to paint on his own. His passion for the art is inspiring, and his work is a testament to his zeal. There is no doubting why he became one of the greatest painters in the Italian Renaissance.

Tintoretto set up some interesting still-lifes to help him with his paintings…

One of Tintoretto’s impressive and notable qualities in his work is his use of foreshortening. In order to master this skill, he became an expert in the wax and clay method of modeling, which he used to create “little models.” His supplies to create these models included dead objects which had been dissected or depicted in anatomy books. He then draped them or left them nude as he assembled in and hung them from boxes, casting various light sources on them and drawing them from all angles. I love how experimental he was with light and angles, and once again how dedicated he was to excelling in his skills, even though his subject matter to do so may have been a little disturbing.

One of Tintoretto’s drawings of his wax models
100swallows.wordpress.com

Rough sketch study of Tintoretto’s foreshortening (taken from Tintoretto’s “Miracle of the Slave”)

Tintoretto was most famous for and successful with his religious paintings.

Some of Tintoretto’s greatest works include the four separate works of the St. Mark’s paintings, the painting of virtually the entire interior of the Scuola di San Rocco, and his painting titled Paradise. The St. Mark’s paintings were commissioned by the Scuola di San Rocco, and from there he worked with the church for 20 years as he filled virtually every wall with canvas paintings. The church is truly a beautiful work of Tintoretto’s original art.

“The Saint’s Body Brought to Venice” – Tintoretto
http://www.terminartors.com

Here is a link to a virtual tour of the Upper Hall of the Scuola di San Rocco:

http://www.scuolagrandesanrocco.it/en/virtual-tour-the-upper-hall-high-quality.html

Paradise was Tintoretto’s last work of significance, and he certainly went out with a bang. This painting was done before any commission was given, and at 74 ft by 30 ft, it is regarded as the largest painting ever done on canvas. Apparently the reason he completed it without commission was due to his hope that the painting would be his “recompense after death.” I suppose he is literally using his art for spiritual purposes, but I wonder if he took into consideration the verses in Ephesians 2 stating that we are saved by grace, not by works. Regardless, it is certainly an impressive piece, and one to ponder as it seems to depict the Last Judgement.

“Paradise” – Tintoretto
Displayed in the Doge’s Palace
iconicpaintings.wordpress.com

Overall, I admire Tintoretto in many ways. He knew his God-given talents, and he developed those skills and was able to share them to millions of people. I believe that if we truly follow the passions that have been instilled in us, God will bless that. If artists do that well, they can make a significant impact on the world.

Sources:

“Jacopo Tintoretto.” BBC.co.uk. British Broadcasting Company, 2013. Web. 23 Sept. 2013. <http://www.bbc.co.uk/arts/yourpaintings/artists/jacopo-tintoretto-5805&gt;.

“Jacopo Tintoretto (Robusti) Biography.” JacopoTintoretto.org. Creative Commons License, 2013. Web. 23 Sept. 2013. <http://www.jacopotintoretto.org/biography.html&gt;.

Vincent, Finnan. “Jacopo Tintoretto: The Last Great Artist of the Italian Renaissance.”Italian Renaissance Art.com. N.p., 2013. Web. 23 Sept. 2013. <http://www.italian-renaissance-art.com/Tintoretto.html&gt;.

Digging Deeper: St. Mark’s Basilica

St. Mark’s Basilica is a beautiful example of Byzantine architecture, located in the Piazza San Marco in Venice, Italy. It is no doubt one of the most well known churches in Italy, and it is adorned with 85,000 square feet of glittering mosaics, houses cherished relics, and is the resting place for many important leaders and the remnants of St. Mark himself (Hayes). However, its history is far from perfect, as it is rooted in theft and tainted by a murderous arson…

The church was built in tribute to St. Mark, but his relics were not acquired legally.

On January 31, 828, Venetian merchants stole the supposed relics of St. Mark the Evangelist and brought them to Venice. They were able to smuggle them past the guards by burying the relics beneath layers of pork in barrels in order to get them back to their homeland into the hands of Doge Giustiniano Particiaco. The Doge then had the relics placed in the chapel within his palace temporarily until a larger, safer church could be built to secure them (Hayes).

It is hard to understand how such a church could be started on the basis of theft, whether looking at it ethically or morally. However, back in those times relics were an important agent in unification both politically and socially, making it a bit easier to understand why stealing them could be allowed. Furthermore, St. Mark was the patron saint to the people of Veneto, as he had evangelized to them in the past (BasilicaDiSanMarco). It is not surprising, then, that such an extravagant church was built to house his remains.

The basilica known today is not the original – it has been built two times.

St. Mark’s Basilica
http://www.far3e.com

As aforementioned, the original building for the church was in the Doge’s Palace, and a larger church was built in 832. However, the building did not live long as it was burned in 976 in rebellion against Doge Pietro Candiano IV, in which they locked him inside to kill him while they set the building on fire. Restoration of the church began under Doge Domenico Contarini, and it was consecrated in 1094 (Hayes, Wikipedia). Unfortunately, the remains of St. Mark were nowhere to be found…

Legend has it that St. Mark himself revealed the location of his relics.

According to BasilicaDiSanMarco, the relics of St. Mark were lost, and the people of Venice were greatly distressed. After many days of prayer, tears, and fasting, it is said that St. Mark showed himself to the people gathered in the church along with the Doge and bishop by “extending an arm from a pillar which ancient tradition says was on the right hand side.” From then on, his remains were kept in the crypt of the church (BasilicaDiSanMarco).

“The Finding of the Body of St. Mark” -Tintoretto
http://www.wikipaintings.org

This story is portrayed in Tintoretto’s “The Finding of the Body of St. Mark,” showing the timeline from the people’s anguish as they search for the remains, to St. Mark showing his location in the pillar and the people lowering his body. Back in those times, people were much more open to “irrational” circumstances, especially as sensitivity to holy matters were widely promoted and popular.

The decorative nature of the basilica has continued to evolve through time.

Through the centuries, columns, statues, friezes and more were continually brought in by ship to decorate the church (Hayes). In fact, many of the treasures in the church were stolen from other cities. These include the “Horses of St. Mark” and the statue of “The Tetrarchs,” both taken during the sack of Constantinople during the Fourth Crusade (Wikipedia).

Drawing study of the “Horses of St. Mark”

“The Tetrarchs”
http://www.wikipedia.org

I was continually surprised while researching St. Mark’s Basilica. There seemed to be so much shadiness involved as much of what makes the church today was attained through theft. Unfortunately it shows some of the poorer moments in the relationship between art and Christians. Its splendor, though, is undeniable. Even through such tainted history, God has still made the church into something beautiful, and today the art, stolen or not, can be admired and contemplated by many from around the world.

Sources:

BasilicaDiSanMarco. Procuratoria Di San Marco Venezia, 2004. Web. 10 Sept. 2013. <http://www.basilicasanmarco.it/WAI/eng/index.bsm&gt;.

Hayes, Holly. “St. Mark’s Basilica, Venice.” Sacred Destinations. N.p., 19 Jan. 2011. Web. 10 Sept. 2013. <http://www.sacred-destinations.com/italy/venice-san-marco&gt;.

“St Mark’s Basilica.” Wikipedia. Wikimedia Foundation, 19 Aug. 2013. Web. 10 Sept. 2013. <http://en.wikipedia.org/wiki/St_Mark’s_Basilica&gt;.