Art Appreciation: The Martyrdom of Saint Sebastian Painting - Essay Example

?To begin with, the theoretical background in the field of aesthetic awareness and sensitivity presupposes a large scope of issues to be taken into account. In this respect the researchers rely on different flows in the art which can be precisely outlined into the three groups of theories. Formal, sociocultural, and expressive theories – all of them are to be taken into consideration once an observer is going to carry out his/her own research of a particular work of art. However, it is necessary to identify each set of theories in order to get an idea why each of them is so vital for nurturing artistic values and getting the message embodied in an artwork rightly. First, formal theories serve to detect the way in which the work was painted (Prebles' Artforms 5). In this respect formal theories touch upon the overall structure of the artwork in its relation to the oeuvre of the artist. Moreover, it constitutes the theoretical and philosophical trends significant and influential for a definite period of time when the work was done. All in all, formal theories also constitute how the work may have depended on the earlier works by the artists (Prebles' Artforms 5). Second, sociocultural theories tend to describe the artwork as a result of the cultural and social flows dominating on the artistic thought at large (Prebles' Artforms 6). Sociocultural diversity takes notice of how cultural development along with social innovations supports the versatility of themes and ideas imposed by the artist into a work of art. Certainly, this set of theories requires an observer to take a close look at the way in which the artwork reflects on the societal structure and social peculiarities at the time. Third, expressive theories are, perhaps, the most sacred as they point out the artist’s worldview in an attempt to express his/her feelings respectively. That is to say, it is a way to depict the personality of an artist easily taken out of the expressive means and devices he/she uses in painting (Prebles' Artforms 7). This is why expressive theories include the finishing stroke in the aesthetic sensitivity and passion of a viewer. The painting The Martyrdom of Saint Sebastian (completed in 1475) by Antonio del Pollaiuolo and Piero del Pollaiuolo is an outstanding work of the early renaissance art. Right from the start, it is obvious that the artists were inclined to describe the legend about Saint Sebastian and his martyrs once he was discovered a Christian (The National Gallery 1). The work itself sparks huge interest in relation to the theories mentioned above. First and foremost, the painting is composed symmetrically with oil on poplar (The National Gallery 1). It is a reflection of time when form served for function. On the other hand, the artists were well influenced by the biblical themes so popular at the moment. Works by other eminent artists were also devoted to the biblical motives in the light of high expression touching deeply upon a viewer’s feelings. Funeral of St Jerome (1460), Adoration of the Child with Saints (1460-65) and the like were well-polished in keeping with the best traditions of the early renaissance. However, brothers Pollaiuolo had succeeded in following the same theme but with the main attention to the martyrdom of the main hero. Their formal representation of the legend is enriched by the topic of martyrdom in a symmetric implementation. Thus, the artists made a great attempt in making the renaissance art more diverse. Needless to say, Antonio del Pollaiuolo was very accurate in the structural part of the painting under analysis: “In his paintings he favored sweeping landscapes teeming with figures and a high horizon line, inspired by Flemish examples” (Bodart 95). Thus, in terms of the formal theories, the work by the artists is logically influenced in accordance with the mainstream flows in the art at the time. To say more, the sociocultural factor was also predominant looking at the picture. The thing is that the power of the official church was still very high, especially in Italy. However, the description of the biblical themes had become more poetically and stylistically attractive and live with the point on the third dimension in the renaissance paintings. The cultural value mostly shared in the epoch of renaissance was turning back to the antique ideals. The picture is executed with the direct implication on the way Italian social and political milieus united for the sake of the artistic thought, so to speak. In other words, The Martyrdom of Saint Sebastian was exactly done for the “Pucci Chapel in the church of Santissima Annunziata” (Britannica Educational Publishing 118). Definitely, it was commissioned by the papal convocation and for the sake of the cultural and religious growth and sound-mindedness (righteousness) of the society at the time. It goes without saying that the painting itself underlines the tragedy of St. Sebastian getting through the martyrdom of numerous arrows in his body. In turn, it amplifies the overall impression on the viewers. The worldview of the Pollaiuolo brothers can be split into the way they imagine the social world which stands on the endeavors of the self-sacrificing people whose torture symbolizes a step toward enlightenment and peace, thereafter. On the other hand, the deeds of St. Sebastian give grounds to increasing the extent of faith among believers. However, it is ostensible that the artists tried to pay everybody’s attention to that when the luminaries are tortured the whole cities appear in decay. It is especially seen on the background of the picture and on the barbarian deeds of the archers. Hence, the artists were well devoted to the topic of righteousness and aesthetic sensitivity with its function to make people more enlightened and alive toward peaceful and culturally high development of the society. In addition, there is a message of the informative nature stating that The Martyrdom of Saint Sebastian took place to make the living of current people better. Pollaiuolo brothers masterly use the techniques of reflecting the colors and lines in a more vivid manner so that to show it expressively. Works Cited Bodart, Diane. Renaissance & Mannerism. New York, NY: Sterling Publishing Company, Inc., 2008. Britannica Educational Publishing. One hundred most influential painters and sculptors of the Renaissance. New York, NY: The Rosen Publishing Group, 2009. Prebles' Artforms. "Flashcards: Prebles' Artforms Chp. 5." 2011. Quizlet. 22 September 2011 . The National Gallery. "The Martyrdom of Saint Sebastian." 2011. The National Gallery. 22 September 2011 . Read More