Antonello da Messina’s Virgin Annuciate (1475) may stand out in one's mind as one thinks of the numerous depictions of the annunciation of the Virgin Mary and of the yet more abundant images of Madonna with Child that clutter pre-Renaissance and Renaissance art.
As one looks at the painting it is possible to imagine what is occurring in the mind of the young girl shown there. The pages of her book being blown by a breeze, yet the source is hidden from view. The Virgin looks away from the viewer, her gaze fixed outside the confines of the painting. Her hand reaches out with a sense of trepidation and awe. And, in these peculiarities, one may wonder where stands the archangel Gabriel, or what it is that the Virgin reads, or why the edges of her lips seem to turn up just so slightly. But it remains a mystery.
Mystery Prevails
Such mysteries, though many times subtle, prevail in the art of the Renaissance and pre-Renaissance. If one is willing, one may find themselves drawn repeatedly into questions they never before asked about painting.
Messina leaves his viewers with many questions that give a great quality to his work. But there may be more pieces with even deeper mysteries. One only need look to the Ghent Altarpiece painted by the great Jan van Eyck and ask themselves who it is that sits on the throne in the middle panel of the six panel painting. Could it be Jesus, or is the figure meant to depict God the Father? Perhaps, a theological issue is brought to the table and the figure is simultaneously the Father and the Son? One may not see the question as important and may rather simply wish to enjoy the craftsmanship of the piece, yet it is important to remember that the history of the world has been shaped around such questions.
There are yet more pieces on which to ponder, such as the enigmatic and – if one wishes to deviate from the chronology of the evolution of art – surreal Garden of Earthly Delights triptych painted by Hieronymus Bosch in 1502. To unravel the meaning behind all the playful antics of the figures in the middle panel, or the giant birds and strange structures and creatures, may be next to impossible (or at least would require a life devoted the study of such symbolism). Yet, there is something to be said about the obscurity of the piece that draws its viewers back in an attempt for greater understanding.
Rolling the Dice of Knowledge
Knowing that such questions exists (and that often times these questions can be answered) creates an element of excitement and intrigue for viewers of Renaissance art. Many times it is the mystery of a work of art that brings the most enjoyment to a viewer, sometimes those mysteries push the viewer away. So, one may be left to ponder one more question: how much does one wish to know about the art that they enjoy (or would like to enjoy)?
One may look at this question the way they would look at rolling the dice in a game of chance. In the tradition of Shakespeare, the answer must be found in the discovery of oneself. Perhaps the knowledge of these mysteries will strip the art of its allure, or perhaps it will lead the viewer in a deeper and more intimate relationship with the piece.
Source:
- 30,000 Years of Art. Phaidon Press, New York. 2007.
Theodore Haddad - Theodore's education and long time interests in the arts have led him toward both fiction and non-fiction writing. He is currently working ...
