Skewer the Beast! Art Analysis: Northern Renaissance

 

            For this analysis, I chose a piece connected to the Protestant Reformation, however, this artwork did not follow the guidelines established by the members of this religious movement. Rather, this piece followed the Counter-Reformation ideals that were born from the opposition – thus being a beautiful protest influenced by the protestants themselves.

Pierce Through the Serpent’s Heart: Backstory

There is always a serpent in the grass – a threat that goes unseen, one that lurks within the shadows and can strike at the depths of one’s soul. It corrupts man, allowing him to give into temptation and commit egregious sin; allows man to harm his fellow brother and torment the innocent. This serpent has gone by many names, throughout many histories, however its motivation remains all the same – to lead man to ruin.

This, at least, is my interpretation of the serpent(s) found featured in religious works; moreover, these beasts are the representation of the original serpent himself, the devil – Satan. During the Northern Renaissance, and furthermore the Reformation, many Christians believed this serpent pressed through the cracks of the Catholic Church and took hold of who many viewed as the holy conduit between God and man – the Pope. As Martin Luther pushed for the advent of the Protestant Church, hoping to topple the sinful acts of other members, artists began to implement humanism into their works – focusing on the relationship with God and man, nothing more. However, not every artist was fond of defying the church, as many spent their childhood as followers of the faith; so, they pushed against Luther’s Reformation, establishing their Counter-Reformation movement.

 Sir Peter Paul Reubens, a notable member of the of the Counter-Reformation movement, created a powerful piece of art based of the story of Saint George – and the serpent. This tale, dating back to the late thirteenth century, told the story of small town burdened by a dragon (serpent). To appease the creature, they fed the monster two sheep every day, but soon ran the herd dry. Desperate, the townspeople used a lottery to decide whose children the dragon would feast upon; until the region’s King faced a grim reality, the selection of his own daughter. In panic, he pleads for her life by promising to relinquish half of his wealth and kingdom in return for her safety, however the townspeople forcibility take her to the dragon. This is until, by chance, Saint George finds the lonely princess awaiting her demise. He captures the beast, dragging it to face the townspeople, and barters with them – ‘convert to Christianity and I will slay the monster.’ They happily oblige and thus, plunging his blade into the dragon, Saint George secures his place as a Christian hero. (Wikipedia)

Sir Reubens, commissioned by the city of Genoa to capture the glory of the fantastic Christian tale in 1606 (National Gallery of Art), used many styles not found in Reformation periods, rather using the guidelines laid out during the Council of Trent. Outlined by Dr. Lauren Kilroy-Ewbank for Smarthistory.com, the Council decided, “’[for]…images of Christ, of the Virgin Mother of God, and of the other saints, are to be had and retained particularly in temples, and that due honor and veneration are to be given them, […] images were not to be worshipped as idols, but to help channel a devotee’s thoughts to the individual represented.” (Kilroy-Ewbank). Essentially, artists who supported Counter-Reformation were not to paint such an awe-inspiring painting that takes away from the holiness these figures, but an artwork that pay homage to their legacy.

Triumph Over the Dragon: Analysis

The creature, stunned by a forceful blow through his snout, is in the prime position for a final devastating blow; Saint George, mounted on his horse, draws back with his blade, and prepares to strike the necessary hit to put a swift end to the beast’s existence. This painting is such an awesome scene, very reminiscent of earlier works depicting Greek mythologies.

Tone – With all legends, drama is a necessity to truly capture the emotion felt by the hero and/or villain. Here, a “spotlight” is place on Saint George, having the sun’s vibrant rays glisten off his armor – this makes it obvious to all viewers that he is more than just a warrior, but a man who has God’s blessing. In contrast, the dragon shrouded in darkness and void of any innocence, represents the pure incarnate of evil that has descended upon the small town. Additionally, with a shadowy atmosphere looming overhead, there is much more emphasis placed on just how important it is that St. George defeats the serpent – the fate of the town, and maybe the world, rests within his hands. All of these separate tones clash, meeting at are definitive borders, which further accentuates the imagery of each area.

Color – The tone only tells one of part this story though, as its color completes the drama found within this artwork. The pearl white found on the coat and mane of the horse, I believe, represents purity and the power of God - towering over the dragon and representing his overwhelming strength. Saint George has a flowing, red cloak present behind himself – catching the wind and enveloping the blade of sword – all representing the violence about to be dealt upon the beast. St. George, protected by such an exquisite, yet strong plate armor, dons a vibrant blue tunic underneath; this garment represents his loyalty to the Lord and Virgin Mary and the protection they provide to his spirit. The dragon, conversely, features many dull and washed colors; these give the wicked creature an ugly hide, which further expresses just how twisted this form is, that evil has manifested in our world. In the background, the princess stands draped in a long, purple dress – the purple representing her nobility, the power her father controls, and the peace that will follow after the dragon’s death.

            Texture – Sir Reubens captured elegance through the texture he used on the steed’s mane and tail. The strokes used depict the hair as silk – soft and weightless – flowing freely during such a jagged and chaotic moment. The horse’s coat, groomed and clean, supports the total image of purity: this animal has maintained its flawless appearance during its battle against corruption. St. George’s armor displays a smooth surface, appearing to untouched from the numerous wars this man has seen, and glimmering with beautiful sunlight (light of God), reflecting it on to the beast. Completely opposite from his enemy, the dragon features a rough, leathery hide adorned with scraggly hair. It flails about the ground, trying to fight back with gnarly, sharp claws and fangs. Nothing about this creature displays good, its features are that of evil – nothing more and nothing less. 

            ... And soon this evil will be defeated.

            

References

 

Unknown, Unknown. “Saint George and the Dragon - the Collection.” The Collection - Museo Nacional Del Prado, 3 Apr. 2022, https://www.museodelprado.es/en/the-collection/art-work/saint-george-and-the-dragon/dea0a4cc-110e-425e-a8e2-bdb37444d26c.

 

Mark, Joshua J. “Counter-Reformation.” World History Encyclopedia, Https://Www.worldhistory.org#Organization, 6 June 2022, https://www.worldhistory.org/Counter-Reformation/.

 

Unknown, Unknown. “Sir Peter Paul Rubens.” Artist Info, 2022, https://www.nga.gov/collection/artist-info.1847.html#biography.

 

Dr. Kilroy-Ewbank, Lauren "The Council of Trent and the call to reform art," in Smarthistory, May 20, 2021, accessed June 9, 2022, https://smarthistory.org/the-council-of-trent-and-the-call-to-reform-art/.

 

Unknown, Unknown. “Saint George.” Wikipedia, Wikimedia Foundation, 8 June 2022, https://en.wikipedia.org/wiki/Saint_George.