Monday, December 4, 2017

Art History: Women's roles during the Renaissance


Art History: Women's roles during the Renaissance


Context and Iconography: The Male Gaze


The series of images at the left are almost major landmarks in understanding the Renaissance conception of the difference between male and female roles.  Images such as these and the writings of Reniassance authors, such as those by Castiglione and Christine de Pizan are in some ways representative of the "ideal" roles for each gender.  Since images like this were primarily commissioned by male patrons and made by male artists some historians have named this phenomena the "male gaze."


Leonardo and his contemporaries literally believed that, "Man is the measure of all things."  In this drawing we see that Leonardo takes this idea almost quite literally and scientifically.  Leonardo, consistent with classical thinking, chooses to represent the nude male figure rather than the nude female.  This choice is quite deliberate because much of the thinking concerning classical humanism revolves around the specifically male experience of the world.  In fact, authors like Castiglione specifically look on men who have, 


. . .such a countenance as this is, will I have our Courtier to have, and not be so soft and womanish as many procure to have: that do not only curl the hair, and pick the brows, but also pamper themselves in every point like the most wanton and dishonest women in the world. One would think that in the way they walk, stand, and in all their gestures so tender and weak, that their limbs were ready to fall apart. Their pronunciation and language are effeminate. These men, seeing that nature has not made them women, ought not to be esteemed in place of good women, but like common Harlots to be banished, not only out of princes’ courts, but also out of the company of Gentlemen. To come therefore to the quality of the person,
Catiglione, Excerpt from the "Courtier"

Images of Mary can almost always be traced back to the Gothic depiction of Mary as the "Throne of Wisdom."   In most images, such as in these by Giotto and Leonardo, she not only serves as a mother but as a platform or throne for her child.  Stokstad refers to this as symbolic of the old testament references to the Lion Throne of King Solomon who is known as a wise and fair ruler and judge, but it is also a communication of the male conceived ideal of what the perfect woman should be.

Even when the Renaissance artist breaks with tradition and begins to think critically about the new roles of men and women, as in the Arnolfini wedding portrait and Christine de Pizan's writings, we still can see that both support the concept that there are appropriate roles for males and females in the world. 


God has similarly ordained man and woman to serve Him in different offices and also to aid and comfort one another, each in their ordained task, and to each sex has given a fitting and appropriate nature and inclination to fulfill their offices. Inasmuch as the human species often errs in what it is supposed to do, God gives men strong and hardy bodies for coming and going as well as for speaking boldly. And for this reason, men with this nature learn the laws - and must do so - in order to keep the world under the rule of justice and, in case anyone does not wish to obey the statutes which have been ordained and established by reason of law, are required to make them obey with physical constraint and force of arms, a task which women could never accomplish. Nevertheless, though God has given women great understanding 

Christine de Pizan's The Book of the City of Ladies 1405


In the case of the Arnolfini portrait, the role is that of the good wife.  Notice that being a wife is also being a good mother and we can see this symbolically in Giovanna Cenami's swelling belly and bunched up drapery which symbolizes pregnancy according to Panofsky.

Both Castiglione and de Pizan seem to warn us off of changing the male and female roles and sticking to what we know or is prescribed in the Bible.  In fact, many images of females who break out of these traditional roles, such as the biblical women, Eve, Judith, and Suzanne and the not so biblilical Phyllis are responsible for our down fall and in this case of Eve for our "original sin." 



Form:  This is a simple sketch in pen and ink that was probably a preliminary drawing for an engraving or a painting.  The anatomy is rather stiff and less gestural than those of his contemporary Italian counterparts.
Space is created through a size scale relationship of foreground to background and a variation of marks in the background buildings indicates a use of atmospheric perspective. 

Grien uses cross contour lines (lines that literally follow the direction across the curves of the trunks) to indicate the texture of the tree and cross hatching to develop the value structure of the figures and their drapery in the foreground.  These linear techniques would have been important for a printmaker to master.

Iconography:  The them of an "ill matched couple," which usually depicts a young and beautiful maiden in the company of an older man is a common them in Renaissance art of the North.  In many images the younger woman has her hand on the purse of the older man but in this case the subject matter of the image is a young beautiful woman dressed in Renaissance clothing of the Northern style riding around or taming an older man. Images like this were meant to be a warning to men of the power of inappropriate passion and a warning against the sexual powers of young woman.

Context: More specifically this relates to the story of Aristotle, the Greek philosopher and Phyllis, the wife of his pupil Alexander the Great.  According to the Brittanica, 

"in late 343 or early 342 Aristotle, at about the age of 42, was invited by Philip II of Macedon to his capital at Pella to tutor his 13-year-old son, Alexander. As the leading intellectual figure in Greece, Aristotle was commissioned to prepare Alexander for his future role as a military leader. As it turned out, Alexander was to dominate the Greek world and defend it against the Persian Empire."
This union of older philosopher master was the beginning of a nearly lifelong advisory position for Aristotle. 
Alexander respected the superior intellect of Aristotle in all things and felt that Aristotle represented the ideal intellectual who represented a total mastery of the intellectual over the physical self.  (Remember the Apollonian Dionysian conflict?) 

Phyllis questioned Aristsotles absolute control and according to legend made a bet with Alexander that she could show him that passion was stronger than reason.  She began to flirt with Aristotle.  After inflaming Aristotle with lust, he began to beg for a sexual trist.  Phyllis informed Alexander that she had the proof he sought and instructed Alexander to hide in the bushes and watch while she literally mad an "ass" out of Aristotle. 

In order to get what he wanted, Aristotle had to agree to do whatever Phyllis wanted.  She instructed Aristotle to get down on all fours and allow her to ride him around the courtyard. 

Form:  In this variation of the theme, the two figures are nude and the total environment is much more worked out.  This image indicates a fairly good use of anatomy and perspective and shows more of a development of the mark making discussed in Grien's drawing.  The development of the vocabulary of marks would have been important for Grien to be able to make a high quality engraving. 

Engraving 

In engraving, the design is cut into metal with a graver or burin. The burin is a steel rod with a square or lozenge-shaped section and a slightly bent shank. The cutting is accomplished by pushing the burin into the metal plate. The deeper it penetrates into the metal, the wider the line; variations in depth create the swelling tapering character of the engraved line. After the engraving is finished, the slight burr raised by the graver is cleaned off with a scraper. The engraved line is so sharp and clean that it asserts itself even if cut over a densely etched area. In the print, the engraved line is notable for its precision and intensity. In engraving, the hand does not move freely in any direction but pushes the graver forward in a line; a change of direction is achieved by the manipulation of the plate with the other hand. Although copper, zinc, aluminum, and magnesium plates are used--and in the past soft iron and even steel were used--the best all-around metal is copper. It has the most consistent structure and is neither too soft nor too hard.
Encyclopædia Britannica, Inc.


Context: In the North, places like Germany, France and Holland, the art market was a bit different than in Italy.  Although the Reformation did not officially begin until 1518, there were stirrings of it earlier than that. 

In Northern towns and cities, there was a different distrubution of wealth and probably a larger upper middle class than in Italy.  In addition to these factors, the main patron for the arts was in Italy in the Churches of Rome, Padua and Florence.  Since individuals could afford to buy work for smaller prices many artists sought out this different market. The print market allowed artists to sell multiple copies of the same images to a larger number of people and make as much money from it as the sale of one or two paintings.

This also freed some of the artists from the typical more Catholic or overtly religious iconography of much of the art of the South and allowed them to explore other kinds of imagery and subjects.

Iconography:  Stokstad describes the iconography of this image as a "moral lesson on the power of evil" but more than that, Stokstad discusses the use of images of witches in his images as an expression of evil.  It is interesting that this is one of the roles that older, perhaps unattractive woman were accused of during the Renaissance and well into the 1800's.  In some ways, the depiction of witches in the art of the Renaissance represents the anti-ideal for a woman.  In this way, woman are still provided with a role model of what not to become. 

Form and Context: 

Woodcut is the technique of printing designs from planks of wood. . . It is one of the oldest methods of making prints from a relief surface, having been used in China to decorate textiles since the 5th century AD. In Europe, printing from wood blocks on textiles was known from the early 14th century, but it had little development until paper began to be manufactured in France and Germany at the end of the 14th century. . . In Bavaria, Austria, and Bohemia, religious images and playing cards were first made from wood blocks in the early 15th century, and the development of printing from movable type led to widespread use of woodcut illustrations in the Netherlands and in Italy. With the 16th century, black-line woodcut reached its greatest perfection with Albrecht Dürer and his followers Lucas Cranach and Hans Holbein. In the Netherlands Lucas van Leyden and in Italy Jacopo de' Barbari and Domenico Campagnola, who were, like Dürer, engravers on copper, also made woodcuts.

As wood is a natural material, its structure varies enormously and this exercises a strong influence on the cutting. Wood blocks are cut plankwise. The woods most often used are pear, rose, pine, apple, and beech. The old masters preferred fine-grained hardwoods because they allow finer detail work than softwoods, but modern printmakers value the coarse grain of softwoods and often incorporate it into the design.



The printing of woodcuts is a relatively simple process because it does not require great pressure. Although presses are used, even hand rubbing with a wooden spoon can produce a good print. The ink used to print woodcuts must be fairly solid and sticky, so that it lies on the surface without flowing into the hollows. The printing ink can be deposited on the relief either with dabbers or with rollers. Thinner papers are particularly suitable for woodcuts because they make rich prints without heavy pressure.

Encyclopædia Britannica, Inc.



TIZIANO Vecellio (Titian) The Venus of Urbino 1538 Oil on canvas, 119 x 165 cm 
Galleria degli Uffizi, Florence, Italian Renaissance


In the background of Titian’s painting entitled "The Venus of Urbino" (1538) are two women looking inside or placing things inside a chest. This chest or cassone is most likely a dowry chest, in which case the women are then preparing the chest with gifts for the upcoming nuptials. Venus, the goddess of beauty, nude in the foreground, presides over the event, but there’s something wrong with this picture. Venus is really the Duke of Urbino’s courtesan (mistress) and the title of the painting is just a disguise to make a nearly pornographic portrait palatable. This kind of double meaning in a painting is common during the Renaissance especially in portrayals of women.

What is also interesting about this images is that the artist chose to juxtapose the eroticized female form with commodities or luxury items.  By playing the textures and body of the female against expensive fabrics, fur, fruit, and dowery chest containing the family jewels and porcelain, the artist is also making the human female form another commodity which can be bought and sold.  In this way, the wealth of the patron is also eroticized.  This device is played off again and again throughout the history of art.

The cassone is a familiar object in the upper class Renaissance home. Provided by the bride’s family and kept throughout her life the chest is symbol of her marriage. The decorations on the chest are designed to educate the woman who owns it. The images that adorn cassoni relate familiar classical and biblical narratives concerning the lives of great women. For example, San Francisco’s "Legion of Honor" has a panel from a cassone by Jacopo del Sellaio that depicts the "Legend of Brutus and Portia," circa 1485. Both Plutarch (AD 46-119), a Greek historian, and Shakespeare (1554-1616) in his play "Julius Caesar," depict Portia as a strong and loyal wife. In Shakespeare’s "Julius Caesar," Portia exclaims, "Think you I am no stronger than my sex, Being so fathered and so husbanded?" (Act 2, i, 319-320) and stabs herself in the leg to prove to Brutus that she can bear any discomfort for him. After she learns of Brutus’ defeat, she kills herself by swallowing hot coals. Another cassone from the Louvre depicts the Old Testament story of Queen Esther and her self-sacrificing patriotic acts that saved the Jewish people. The subtext of these tales is not just loyalty but self-sacrificing loyalty in the face of adversity.

Titian's painting has been the subject of much observation.  It's interesting that so much positive "press" has been associated with this image considering how much it has been vilified in the past.  Mark Twain, in his biography Tramp Abroad, recorded his response to his encounter with the Titian painting:


You enter [the Uffizi] and proceed to that most-visited little gallery that exists in the world --the Tribune-- and there, against the wall, without obstructing rap or leaf, you may look your fill upon the foulest, the vilest, the obscenest picture the world possesses -- Titian's Venus. It isn't that she is naked and stretched out on a bed --no, it is the attitude of one of her arms and hand. If I ventured to describe that attitude there would be a fine howl --but there the Venus lies for anybody to gloat over that wants to --and there she has a right to lie, for she is a work of art, and art has its privileges. I saw a young girl stealing furtive glances at her; I saw young men gazing long and absorbedly at her, I saw aged infirm men hang upon her charms with a pathetic interest. How I should like to describe her --just to see what a holy indignation I could stir up in the world...yet the world is willing to let its sons and its daughters and itself look at Titian's beast, but won't stand a description of it in words....There are pictures of nude women which suggest no impure thought -- I am well aware of that. I am not railing at such. What I am trying to emphasize is the fact that Titian's Venus is very far from being one of that sort. Without any question it was painted for a bagnio and it was probably refused because it was a trifle too strong. In truth, it is a trifle too strong for any place but a public art gallery.

Now that you know how Twain felt about this work.  This poem by Browning discusses a similar painting.   It is used by the narrator of the poem as a point of departure to discuss how he feels about his last wife and how he feels women should behave.  As you read it, try to relate the painting above to it. 

"My Last Duchess" - Robert Browning - 1842

  1   That's my last Duchess painted on the wall, 
  2   Looking as if she were alive. I call 
  3   That piece a wonder, now; Frà Pandolf's hands 
  4   Worked busily a day, and there she stands. 
  5   Will't please you sit and look at her? I said 
  6   "Frà Pandolf" by design, for never read 
  7   Strangers like you that pictured countenance, 
  8   The depth and passion of its earnest glance, 
  9   But to myself they turned (since none puts by 
10   The curtain I have drawn for you, but I) 
11   And seemed as they would ask me, if they durst, 
12   How such a glance came there; so, not the first 
13   Are you to turn and ask thus. Sir, 'twas not 
14   Her husband's presence only, called that spot 
15   Of joy into the Duchess' cheek; perhaps 
16   Fra Pandolf chanced to say, "Her mantle laps 
17   Over my lady's wrist too much," or "Paint 
18   Must never hope to reproduce the faint 
19   Half-flush that dies along her throat." Such stuff 
20   Was courtesy, she thought, and cause enough 
21   For calling up that spot of joy. She had 
22   A heart - how shall I say? - too soon made glad, 
23   Too easily impressed; she liked whate'er 
24   She looked on, and her looks went everywhere. 
25   Sir, 'twas all one! My favor at her breast, 
26   The dropping of the daylight in the West, 
27   The bough of cherries some officious fool 
28   Broke in the orchard for her, the white mule 
29   She rode with round the terrace - all and each 
30   Would draw from her alike the approving speech, 
31   Or blush, at least. She thanked men, - good! but thanked 
32   Somehow - I know not how - as if she ranked 
33   My gift of a nine-hundred-years-old name 
34   With anybody's gift. Who'd stoop to blame 
35   This sort of trifling? Even had you skill 
36   In speech - which I have not - to make your will 
37   Quite clear to such an one, and say "Just this 
38   Or that in you disgusts me; here you miss, 
39   Or there exceed the mark" - and if she let 
40   Herself be lessoned so, nor plainly set 
41   Her wits to yours, forsooth, and made excuse - 
42   E'en then would be some stooping; and I choose 
43   Never to stoop. Oh, sir, she smiled, no doubt, 
44   Whene'er I passed her; but who passed without 
45   Much the same smile? This grew; I gave commands; 
46   Then all smiles stopped together. There she stands 
47   As if alive. Will't please you rise? We'll meet 
48   The company below, then. I repeat, 
49   The Count your master's known munificence 
50   Is ample warrant that no just pretense 
51   Of mine for dowry will be disallowed; 
52   Though his fair daughter's self, as I avowed 
53   At starting, is my object. Nay, we'll go 
54   Together down, sir. Notice Neptune, though, 
55   Taming a sea-horse, thought a rarity, 
56   Which Claus of Innsbruck cast in bronze for me.


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