Sir John Everett Millais, Christ in the House of His Parents, 1849-50발음듣기
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Sir John Everett Millais, Christ in the House of His Parents, 1849-50
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Sir John Everett Millais, Christ in the House of His Parents, 1849-50
We're in Tate Britain and we're looking at John Everett Millais's really important early Pre-Raphaelite painting, Christ in the House of his Parents.
The Pre-Raphaelites wanted to strip away all the traditions of painting that had accumulated, almost like heavy layers of varnish, on painting since the Renaissance, since Raphael.
And nowhere is that more clear than in this painting.
What we see here is Christ as a child.
He's wounded himself.
We see a drop of blood, clearly foreshadowing the Crucifixion.
We see Mary, his mother, comforting him and also, I think, being comforted by him.
And then we also see Saint John the Baptist and Saint Joseph, also tending to Christ.
He's showing us Christ not in an idealized environment, but in a workshop that reminded contemporary viewers of what a carpenter's workshop in mid-nineteenth-century England looked like.
A kind of specificity that showed that he was really looking.
So it's not idealized at all, it's not softened, it's not made more beautiful.
All of that really went against traditional treatments of the Holy Family, of Mary and Christ and, say, Joseph and Saint John.
Since the time of Raphael and Leonardo, those figures were truly idealized, in a way that reflected their divine status.
By taking that idealization away, I think it felt to Victorian viewers as though Millais had undermined the spirituality of these figures.
All of that is true, but there are some exceptions.
If we think back to the work of Carravaggio, we have an artist, that is taking spiritual figures and placing them in a world that was concrete, that was low, that was real.
But he was still ensconcing them in a kind of spiritual darkness.
Here it's as if Millais has turned the lights on, in a Carravaggio.
He's giving us this brilliant spotlight on the specifity even of the dirt under the fingernails.
And that was certainly something that was recognized by Victorian viewers.
This painting was attacked by Charles Dickens, of all people, who wrote: "In the foreground of that carpenter's shop is a hideous, wrynecked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness that she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England..."
It's so interesting to hear Dickens actually turning against the kind of specificity that the artist is rendering, since it's so much a part of his own literature.
But it does speak to expectations of the 19th century about what art should be, at this moment when the Pre-Raphaelite Brotherhood was trying to remake those expectations.
If you look at the painting carefully, you can see that the figures have angularity.
They move in ways that feel very different from the gracefulness and elegance of Renaissance figures.
There's a linear hardness to the way that Millais has created their contours.
And that hardness reminds us of Flemish painting from before Raphael, from, say, the early 15th century.
This is really the self-conscious reviving of those ideas, and just like in that Northern Flemish painting, we also have borrowed this notion that one can imbue ordinary objects with symbolism.
This is a painting that is full of symbolism.
For instance, if we look just over the young Christ's head, we can see how at the back wall there is a carpenter's triangle.
Just over Christ's head, that triangle means something - it means the Trinity.
And we might look at the ladder in the background and think about the ladder that we see in images of the Descent from the Cross, where the followers of Christ climb a ladder in order to remove the nails and bring him down from the cross.
We can see those nails, but also, on that ladder there's a dove, a reference to the ultimate Baptism of Christ, where the Holy Spirit will appear, who's always represented as a dove.
And we see Saint John the Baptist actually on the right, carrying a bowl of water.
So there is this kind of vivid rendering of all these forms, of all these people, with a kind of particularity that is not idealized, that makes them all the more true, all the more vivid.
And so we can immediately imagine why the Victorians had such problems with this painting.
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We're in Tate Britain and we're looking at John Everett Millais's really important early Pre-Raphaelite painting, Christ in the House of his Parents.발음듣기
대기중
The Pre-Raphaelites wanted to strip away all the traditions of painting that had accumulated, almost like heavy layers of varnish, on painting since the Renaissance, since Raphael.발음듣기
대기중
He's showing us Christ not in an idealized environment, but in a workshop that reminded contemporary viewers of what a carpenter's workshop in mid-nineteenth-century England looked like.발음듣기
대기중
All of that really went against traditional treatments of the Holy Family, of Mary and Christ and, say, Joseph and Saint John.발음듣기
대기중
Since the time of Raphael and Leonardo, those figures were truly idealized, in a way that reflected their divine status.발음듣기
대기중
By taking that idealization away, I think it felt to Victorian viewers as though Millais had undermined the spirituality of these figures.발음듣기
대기중
If we think back to the work of Carravaggio, we have an artist, that is taking spiritual figures and placing them in a world that was concrete, that was low, that was real.발음듣기
대기중
He's giving us this brilliant spotlight on the specifity even of the dirt under the fingernails.발음듣기
대기중
This painting was attacked by Charles Dickens, of all people, who wrote: "In the foreground of that carpenter's shop is a hideous, wrynecked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness that she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England..."발음듣기
대기중
It's so interesting to hear Dickens actually turning against the kind of specificity that the artist is rendering, since it's so much a part of his own literature.발음듣기
대기중
But it does speak to expectations of the 19th century about what art should be, at this moment when the Pre-Raphaelite Brotherhood was trying to remake those expectations.발음듣기
대기중
They move in ways that feel very different from the gracefulness and elegance of Renaissance figures.발음듣기
대기중
And that hardness reminds us of Flemish painting from before Raphael, from, say, the early 15th century.발음듣기
대기중
This is really the self-conscious reviving of those ideas, and just like in that Northern Flemish painting, we also have borrowed this notion that one can imbue ordinary objects with symbolism.발음듣기
대기중
For instance, if we look just over the young Christ's head, we can see how at the back wall there is a carpenter's triangle.발음듣기
대기중
And we might look at the ladder in the background and think about the ladder that we see in images of the Descent from the Cross, where the followers of Christ climb a ladder in order to remove the nails and bring him down from the cross.발음듣기
대기중
We can see those nails, but also, on that ladder there's a dove, a reference to the ultimate Baptism of Christ, where the Holy Spirit will appear, who's always represented as a dove.발음듣기
대기중
So there is this kind of vivid rendering of all these forms, of all these people, with a kind of particularity that is not idealized, that makes them all the more true, all the more vivid.발음듣기
대기중
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