Simone Martinis and Robert Campin's Annunciation - Essay Example

Comparison of Two Art Works THE BEGINNING Comparing two artworks from different periods is like travelling back in time to meet two cultures and history. It is a look at the past with both stillness and curiosity, a journey worth taking. In this paper, I travel through the 13th period in the European countries of Italy and France with Simone Martini’s Annunciation, a painting reflective of a late gothic art. I weave into its character and style, its rich history, its essence and purpose and its symbolism. In the end, I attempted to understand the story of its existence. To understand the differences in time, I made an effort to examine a 15th century painting labored by Robert Campin, still on the subject of Annunciation. I again, immersed into its history, its subject matter, purpose and its symbols, with a careful investigation of its vast geographical and historical background in Netherlands. In the end I was able to summarize how time has changed the art of painting when I was able to compare and contrast the two art works. THE HISTORY BEHIND THE ART Simone Martini is one of the second generation Sienese artists, being a student of Duccio di Buoninsegna (Module 12, Session13). They both belong to the school of painting that flourished in Siena, Italy between the 13th and 15th centuries (Wikimedia Foundation, Inc.). The Sienese art has rivaled the Florentine art and its main figures are Duccio di Buoninsegna, Simone Martini and Pietro Lorenzetti among others (Wikimedia Foundation, Inc.) The Annunciation was created by Simone Martine in 1333 just a year before his death. The artist has had French influence since he spend time in the Avignon. The state at that time was enveloped with trouble, when the Great Schism was happening, with three men claiming to be pope at the same time (Module 12, Session13). Simone Martini was undoubtedly influenced by the Northern artists as he met them when he was in service and the Avignon (Module 12, Session13). On the other hand, Robert Campin is a Flemish artist during the fifteenth century when he was called the "Master of Flemalle”. (MODULE 13, SESSION 9). “Flemish painting flourished from the early 15th century until the 17th century” when “Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from neighboring countries” (Wikimedia Foundation, Inc.). These artists had the experience of doing painting works in the foreign courts giving them a Europe-wide influence. (Wikimedia Foundation, Inc.). He is considered the great Master of early Netherlandish painting in the Early Renaissance Period. THE STYLISTIC CHARACTER The Sienese school of painting where Simone Martini was groomed was characterized by a more conservative art, inclined towards “the decorative beauty and elegant grace of late Gothic art” (Wikimedia Foundation, Inc.). Simone Martini has the international style of painting, being able to serve in the Avignon in France and being influenced by the Northern artists (Module 12, Session13). It is believed that there is a mystical streak in the Sienese Art, because its common focus is on miraculous event such as this work by Martini and that there is less attention on proportion, distortions of time and place and with often dreamlike coloration (Wikimedia Foundation, Inc.). As seen, Simone Martini was keen on using the gold flat background and “the Gothic frame reflects French taste and is also a medieval element” (Module 12, Session13). The painter” has created a small shallow box-like space with the use of perspective” which “hints at an increased awareness of the natural world and the natural appearances of things” (Module 12, Session13). Robert Campin’s The Annunciation Triptych reveals the hallmarks of the emergent Early Netherlandish style (The Metropolitan Museum of Art). It displays dominance of the fascination of the natural world and “the smallest details are meticulously rendered to reflect reality on a two-dimensional plane” (The Metropolitan Museum of Art). As with other works of Robert Campin, “Illusionistic effects are enhanced by the technical innovation of overlaying thin translucent oil glazes on opaque layers” so that “the resulting luminous, enamel-like surface achieves apparent depth, rich gradations of light, and a broad distribution of color values” (The Metropolitan Museum of Art). Robert Campin has mastered the use of oil in this panting The Annunciation Triptych. In this work, he had the “naturalist conception of form and a poetic representation of the objects of daily life” (Encyclopædia Britannica). In The Annunciation Triptych “the Virgin is portrayed in a setting of bourgeois realism in which interior furnishings are rendered with the frank and loving attention to detail” (Encyclopædia Britannica). THE SUBJECT MATTER Both works on the Annunciation reveal the story in the bible about the choosing of Mary as the would-be mother of the Christ. Specifically, it is the scene of the Angel talking to Mary that she was about to conceive a Son, not of natural descent and of flesh but out of the work of the Holy Spirit. The scene is a conversation between the Angel sent by God to Mary to reveal His plans. Mary, an ordinary lass, engaged to be married to a man named Joseph, received this great revelation from God, which challenged her submission to the Divine plan. Without “being known” by Joseph, she will become pregnant to a Son. The story in the bible narrates that the angel had to talk to Joseph as well so that he should not secretly sever the engagement. This is the beginning of the conception of Jesus in Mary’s womb. The two paintings display the interpretation of the authors as to the emotion of the scene. Both of course have different interpretation and this will be discussed on the latter part of this paper. FUNCTION AND MEANING Simone Martini’s painting was on a gold flat background. The marble floor seems to recede only slightly so that the eye does not wander too far from the central scene. The central figures are Mary and the Angels. A vase of lilies is noticeable in the Annunciation of Simone Martini as it was located at the center of the painting. This is believed to symbolize the purity and virginity of Mary (Module 12, Session13). “The Angel Gabriels garments flutter with movement as if he has just alighted. In pose, he is genuflecting before Mary, who is impregnated with the Son of God. The Virgin Mary turns away slightly from the Angel indicating the moment that Simone Martini depicted, "How can this be, since I do not know man?" (Module 12, Session13). There is also a vase of white flower in the painting of Robert Campin. This is again to symbolize the purity of the Virgin Mary. The painting also included the picture of Joseph doing his carpentry, which reveals that they are doing the ordinary tasks of life when the angel visited them. Mary is drawn as if reading something which tells about her devotion to God through the reading of the scriptures. THE COMPARISON AND CONTRAST Both the works of Simone Martini and Robert Campin have religious backgrounds. It actually reveals the common artistic theme during their times. Both have depicted the same subject matter with clarity, as seen by the symbolisms that they have employed in their arts. Specifically, they have used the white flower as a symbol of Mary’s purity and virginity. They have also used the white robe of an angel to depict its holiness divine authority. As stated in the bible, the angel was sent by God himself, revealing the Divine purpose of the conversation. The painting style and even the depiction of emotion are different between the two artists. Simone Martini’s work was not as colorful as Robert Campin’s but it exudes more narration and emotion the latter. Specifically, the drawing of Mary’s face and her reaction was meaningful in Martini’s work. Martini’s painting was brighter in terms of color, which helps it transcend stronger emotions. In contrast, the painting of Campin was less bright but not necessarily dull. In terms of clarity of the whole picture, I can say that Campin has the absolute advantage. The clarity of the image and the use of color were so excellent that it can be likened to a product of a digital camera. The use if oil is superb and the illumination were properly done. CONCLUSION Both art works depict the influence of their time. Martini’s late gothic was evidenced by his painting on a gold flat surface while the Early Renaissance style from Northern Europe was displayed by Campini’s style on oil use and illumination. Although the two works are on the same subject matter, the setting of the story appeared to be different because of the different interpretations and styles of the two artists. Works Cited "Robert Campin and Assistant: The Annunciation Triptych (56.70)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/ho/08/euwl/ho_56.70.htm (October 2006) "Robert Campin." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 15 May. 2009 . Wikimedia Foundation, Inc. http://en.wikipedia.org. 14 May 2009. 16 May 2009 . Wikimedia Foundation, Inc.,. http://en.wikipedia.org. 13 March 2009. 16 May 2009 . Read More