The Goldsmith- More Advertisements

To be honest, I am becoming very tired of blogging about Christian art. Scouring chapters nineteen and twenty in Gardner's Art through the Ages for something secular but not 'boring', I have decided to write about Petrus Christus' A Goldsmith in His Shop. Unfortunately (for me) this painting still has religious ties. The goldsmith has often been argued to be Eligius, the patron saint of goldsmiths. Ironically, there was once a halo around the goldsmith's head, but was discovered to be added by someone other than the artist, so was removed by art historians.
During the Northern Renaissance, many wealthy men wanted important events in their lives to be depicted in an oil portrait. This painting could have been a couple buying their wedding ring from Eligius or a scene that Christus thought would make a lovely portrait, there is really no way of knowing. As in every Flemish painting, all "everyday objects [have] symbolic reference". The belt next to the women in the painting represents chastity, the scales represent the Last Judgment (and are used to measure the rings).

The object in this painting that intrigued me most was the coral. Most of the paintings we have seen so far do not include natural objects. The coral, along with the precious stones, beads and crystal, are to show the audience what materials the goldsmith had in his possession to turn into jewelry. The pewter pitcher, placed for offerings, almost exemplifies the use of this painting for propaganda. The painting, placed inside a church, showed how extravagant the goldsmith's work was and how every couple wanted a piece of it-- another couple is depicted walking towards the goldsmith's shop in the convex mirror (although not as well articulated as van Eyck's mirror in Giovanni Arnolfini and His Bride). As I see it, this painting is no more of an advertisement than a commercial seen on TV today-- everything strategically placed to capture and entrance the viewer.

Merode Altarpiece

Painted by Robert Campin in the early 15th century, Merode Altarpiece depicts the angel Gabriel telling Mary about the birth of her son. With the invention of Oil paints, Robert Campin was able to add detail to his paintings that he other wise wouldn't have been able to depict with tempura paints. Oil paints allowed for a revolution in art. Small metaphorical details showed allowed subtle representation of religious figures.
The 3rd triptych on the right, shows Joseph, alone, working as a carpenter. The triptych also shows a mousetrap-- representing Christ is destined from reincarnation. The bait in the mouse trap represents Christ who lures the devil, who seizing the bait, is destroyed. The room that Joseph is in, is much less lavish than the room that Mary resides. Mary's room is elegant to enthrone the mother of Christ.
The light cast upon Mary represents birth and an open book and lily's represent the Virgin. Mary is lying in front of a fireplace and is being greeted by the angel Gabriel who is telling Mary of her new child. The room that Mary is in is the most famous of the three triptych because it shows the Annunciation.


The final of the three triptychs shows the man who has paied Robert Campin to paint this watching the Annunciation. Wealthy Dutchmen often wanted to have themselves represented at noble religious scenes. The Dutchman is in the wake of Gabriel with his wife opening the door to Mary and Josephs house to hear the miracle.

Many critics point out that little is mentioned of Joseph and Mary's marriage in this triptych. Indeed the painting shows Joseph in what looks like another house entirely. Joseph and Mary's marriage is not the point of the Annunciation and should not be represented with weight. The Annunciation is clearly shown, as Gabriel tells Mary of the birth of Christ (just in time for Christmas).

The Birth of Propaganda: Saint Francis Alterpeice

Bonavantura Berlingheri lead the Italo- Byzantine Style by combining Byzantine art and highlights some of St. Francis's most noble achievements in a naturalistic style. Why a piece of propaganda? Bonavantura Berlingheri highlights the miracles St. Francis preformed during his lifetime, but his altarpiece was created 9 years after his death.

Completed at a time when the Papal states were in disarray (The Great Schism, MEndicant Orders, and Confraternities), the St. Francis attempted to persuade Christian's to devout their life to the Church, as St. Francis had. The life of a monk meant being completely stripped of all pleasures in life. St. Francis exemplified this belief by going to such an extent as stripping in public, a register that is shown on his altarpiece. 

There are six registers on St. Francis's altarpiece. The top left register shows St. Francis receiving the stigmata (the wounds placed on his hands to shows his devotion to God). The register below this one shows St. Francis preaching to the birds. The register below him preaching to the birds shows him preaching to townspeople, possibly the poor, from a carriage, while he was on a pilgrimage. The top and bottom registers on the right hand side show him helping others, possibly the poor again. The middle register on the right hand side shows him stripping in a public square proving his devotion to God. 

At a time when the church seemed to be failing, their attempt to recruit followers seems a bit stretched. Although St. Francis's gestures towards the poor and devotion to God are noble acts, his sacrifice to God and self inflicted wounds make the life of a monk not appealing.