Date: 1624
Artist: Guido Reni
Location: The Borghese Gallery, Rome
Medium: Oil on Canvas
Dimensions: 173 cm * 134 cm
Exodus 32:19 “When they came near the camp, Moses saw the calf and the dancing, and he burned with anger. He threw the stone tablets to the ground, smashing them at the foot of the mountain.” (2)
Note: I classify this painting as depicting a miracle because of the nature of the tablets which were inscribed by God
Exodus 31:18 “When the Lord finished speaking with Moses on Mount Sinai, he gave him the two stone tablets inscribed with the terms of the covenant, written by the finger of God.” (2)
The Baroque art movement began as a response to the religious upheaval created by the Reformation. The tense mood of the art reflects the tense reality of Europeans who lived under the threat of religious wars and persecution. The art is also dynamic and emotional with striking contrasts, also reflecting the mood of the times The Baroque movement is also a reaction against Mannerist art which had become too complex for and difficult for the average person to understand. The Catholic Church, at the Council of Trent, mandated that religious art must be clear and compelling, thereby condemning the complexity and strangeness that was Mannerism. The combination of these driving forces created the Baroque, a style of art reflecting the tumultuous times and serving as propaganda for the religion of the artists and patrons with easily understood themes.
Painted in 1624 in the heart of the baroque movement, Moses with the Tables of the Law provides an excellent example of Baroque art. The emotion in this painting is the first characteristic to jump out at the viewer. Moses is angry. His mouth is open and he is yelling. He is about to throw the tablets to the ground. The great detail in his face reveals an angry but also sad expression and aghast expression. The movement of Moses also displays the Baroque characteristic of dynamism. Opposed to the mannerist painting of Moses striking water from the rock in which he is standing still and barely scratching the rock with a stick, in this painting Moses actually has the real movement of an angry man. Baroque art rejects the artificial elegance of mannerism, and instead favor of an exaggerated and harsh depiction of reality.
Even the clouds in the background appear to charged with anger and dynamism.
In looking at the overall aesthetics of the painting, it is obvious that the painting employs tenebrism, a stark contrast between light and dark often used in Baroque paintings. Moses’ bright red sash contrast with his dark blue robe, light glimmers on one side of his face while the other is enshrouded in darkness, and streaks of light appear in the clouds during a night sky. This use of tenebrism helps to create the tense dynamic mood.
In accordance with the Council of Trent, the subject and depiction of this art is clear to the viewer. Anyone who was familiar with the Bible or at least some Bible stories would know that the painting depicts Moses coming down from Mount Sinai after receiving the law and becoming furious when he sees that the Israelites have lost faith in God so quickly and made an idol. There are no strange characters lurking in the background and Moses is not an elegant elongated figure, the message is clear and it evokes an emotional response.
Personally, I feel like the painting does great job of depicting a moment with such emotion and generating a personal response. Comparing Mannerist and Baroque art, I find Baroque to be much more engaging and enjoyable to look at, even if I do love strange art, such as mannerism. This Baroque painting of Moses compared to the Mannerist fresco of Moses does a much better job of making scripture come alive which is what I want out of religious art. I would rather not have scenes from the Bible distorted and corrupted.
Bibliography
(1) Wilkins, David G. Schultz, J. Bernard. Linduff, Katheryn M. 2001. Art Past Art Present 4th Edition. Prentice Hall.
No comments:
Post a Comment