Luca Signorelli and His Work at Orvieto - Essay Example

Luca Signorelli and His Work at Orvieto Early Renaissance period saw the works of art of Luca Signorelli, an artist during that period. He did a lot of paintings in different cities including Arezzo, Orvieto, Florence, Rome, and Perugia. As a painter, Luca gained recognition for his capacity to use foreshortening. The most recognized work of Luca Signorelli involves the massive work in Orvieto Cathedral. Though Luca had done other works, the works at Orvieto Cathedral made remarkable appreciation of all the work done by Luca. He worked in Rome from 1478 to 1484; he helped in the painting of the Sistine Chapel. In addition, the testament of Moses can entirely be associated with him. In his painting, Luca brought out themes clearly. This assignment will focus on the themes, layout, and theology of Luca and his work; specifically his work in Orvieto. Themes of Luca Signorelli In art, every artist reveals a certain theme in any given work. From the works of Luca, themes such as strength of youths, the strict austerity of middle life, and the resolute seriousness of the old age were depicted (Henry 43). He showed dignity in appreciating human life. Among the remarkable works of Luca, only two were executed before Luca approached forty years. These are the Madonna and Flagellation. The execution of Flagellation though done skillfully, it depicted the strength in youths. This vital work inspired the youths and encouraged them to bring out the power in them. Later works showed strict austerity in middle age, and the resolute seriousness of the old life. The theme of inspiration came out of all the work that Luca did. For example, in some of the decorations, in the Chapel, Luca showed several famous poets and scenes taken from their work; to clarify the theme of inspiration. In his work, in Orvierto, Luca portrayed themes chosen for decoration of the chapel (Gilbert 52). The main themes chosen were ruling of the antichrist, last judgment, redemption, damnation, and the resurrection of the dead. These themes helped other artists and readers to fathom the culture of Renaissance. Luca Signorelli Work Layout Luca is known to have done numerous paintings in different cities. It may not be possible to mention all the works that he did, but some of his principal works can be analyzed. Luca worked in Cortona, where some paintings, which he painted, remains still. He began painting in the Cathedral of Perugia, then Monte Oliveto before being commissioned to undertake the decoration of Cappella Nuova in the Cathedral of Orvieto. In the Cathedral, he represented the prophetic series story of the Anti-Christ; End of the World; Resurrection of the body, Paradise; Inferno, and the Divine comedy (Henry 45). The inferno scenes about End of the World scene indicate tortures of Hell. This layout of work influenced many artists in the field of painting. His later work ended in Vatican, where he sacrificed to make way for Raphael’s work. Luca returned to his native land, Cortona, after the Vatican contract where he continued to do his paintings, but in small bits. His painting career ended in his native land of Cortona (Henry 46). Theology of Luca Signorelli Through the Church art work, an artist portrays religious views or teachings. Most of the art work done by Luca portrayed his views regarding Christian teachings. He seemed dedicated in knowing the truth about Christ’s teachings, and described the truth teaching through the paintings, which he created. His desire to enquire the truth about Christ can be seen when he got a contract to paint the Cathedral of Orvieto. In this contract, he sought theological advice from masters of theology. In most of his paintings, he created images representing the true view of the religious books. According to him, true representation of religious matters was a crucial aspect in helping people to discover the truth (Gilbert 55). He represented in art form, the consequences or the end results of preaching and embracing antichrists. In his paintings, he started with preaching of antichrist, then proceeded to doomsday, and ended with the resurrection. In all these paintings created, the paintings revealed that the Christian teachings from Luca’s point of view were the true teachings. Luca’s other works that represented how he viewed Christ were found in the Angelico’s ceiling. The ceiling contained paintings of Christ judging; led by John the Baptist. These paintings also included Apostles, Martyrs, and Virgins. These were created as per the scripture readings of the Roman liturgies (Henry 51). There is no artist who can create paintings without fully understanding the intended message. In order to understand the message that is intended to be portrayed in a painting, the artist has to undergo some teaching. Hence, Luca had undergone theological lessons, which made him understand the true teaching of Christ. His understanding of the message intended through painting had been emphasized through theology. Literary sources influenced most of his works, which include the Golden Legend, Apocryphal Gospels, and Dante’s Divine comedy (Braziller 41). Luca Signorelli Work in Orvieto Luca worked in different cities where he left remarkable marks. One of the cities where Luca worked included Orvieto. Decoration of San Brizio Chapel in Orvieto Cathedral was commenced in 1447 by Angelico and Gozzoli, who did not finish the decoration. By then, the fame of Luca had grown fast and was appointed to revive the work started by the two artists. Within a period, of three years; from 1499 – 1502, he had finished the decoration in Orvieto Cathedral. This painting was done with efficiency, which was unique in Italian art history (Henry 54). In Orvieto cathedral, Luca made decorations of the Last judgment, considered as his masterpiece. Most of the scenes of the decorations got inspiration from the Divine Comedy of Dante. He displayed mastery of the nude in an extensive variety of poses surpassed during the time only by Michelangelo. During this time, Luca assisted in bringing out the most crucial subject of Christian iconography, which was extremely relevant at the time (Gilbert 57). In Orvieto, Luca executed ceiling frescoes originally started by Angelico. Although the basic subject of the frescoes on the Cathedral’s side walls needed interjection of the cathedral administrators and theologians, Luca brought out the decorations as required and planned earlier through his fertile imagination (Braziller 43). The side walls of the cathedral are covered with seven enormous scenes, which include; deeds and sermon of the Antichrist, the resurrection of the flesh, the destruction of the world, the damned, the elect, Hell and Paradise. On the lower portion of the wall, Luca created grotesque patterns showing philosophers, poets and monochromes commenting on their works. In the cathedral, sermon and deeds of the Antichrist became the masterpiece of the entire cycle of the works of Luca. Signorelli himself must also have discovered his originality and creativity in creating the decoration since he decorated his image on the left side of the decoration. Hence, it was in Orvieto where Luca made his ever best fantastic decoration; amongst all the decorations that he created. Still in Orvieto, Luca created other three enormous apocalyptic scenes. It was in this entire work that Luca gave free rein to his creative genius. His invention made different individuals give him credit. For instance, Berenson compared Luca with other artists and referred to him as the best of all modern illustrators. This is the reason why most of art works done by Luca still exist as part of figurative heritage (Gilbert 59). Luca will be remembered in the hearts of many because of the works that he presented in Orvieto. Despite, the critics raised by modern artists and his limitations in the use of color, history will always be there illustrating the works of Luca as the most outstanding art works, in the entire Italian history. There is no man, in the entire history of Italy, who had used creativity used by Luca. Added up together, the work in Orvieto chapel can be said to create an impression of supremacy in the art work of Luca. Luca depicted his imagination well enough, and helped different people to recognize Christian iconography (Braziller 65). The art work in Orvieto chapel displayed Luca as an inventor and illustrator. For example, the decoration showing resurrection of the flesh depicted Luca’s creativity in creating imaginary pictures of human skeletons emerging from cracks and regaining their normal bodies. Conclusion Luca Signorelli did a lot of work in different cities, which include Orvieto, Rome, Arezzo, Florence and Perugia. In all of his art works, Luca was recognized for his use of skill of imagination and invention. In all the cities that he worked, his works in Orvieto displayed the skill of creativity and marked his masterpiece. In all his art work, Luca brought out the theme of inspiration to the entire life of individuals. He seemed to use literal sources such as Gospels and Divine Comedy of Dante. He became an inspiration to many artists who took over after his death. Luca brought out Christian iconography clearly during the ages of Renaissance. Luca displayed his knowledge in theology through the works that he did in Orvieto. In his work, for instance, Luca did not depend on the interjection of the cathedral administrators in order to know the original planning of the seven scenes he decorated. Instead, he showed skill in theology and creativity, and brought out the decorations as planned. Works Cited Braziller, George. Luca Signorelli: the San Brizio Chapel. New York: Wiley & Sons, 1995. Print. Gilbert, Creighton. How Fra Angelico and Signorelli saw the end of the World. University Park: Penn State Press, 2003. Print. Henry, Tom. Luca Signorelli: the complete paintings. London: Routledge, 2002. Print. Read More