The Human Condition as Seen Through Art Work - Coursework Example

The Human Condition as Seen Through Art Work Much about the human condition can be discerned through the examination of art work. Though one might at first be hesitant to exclaim that a painting portraying an imagined version of hell, purgatory, and heaven says much directly about the real world, further examination of these types of work show this to not be true. In examining the two paintings “La Comedia Illumina Firenze” by Domenico di Michelino and “Abelard and His Pupil, Heloise” by Edmund Leighton, the theme of life-affirmation can be drawn from both of these works. The two paintings might not seem to have much in common upon initial viewing, but an examination of themes and motifs in both of these works shows similarities. The purpose of this paper is to artistically explore and analyze two separate art works in order to utilize artistic application to better understand the element of humanity within each. Michelino was an Italian painter from the Florentine school. He was also a close follower of Fra Angelico. In the dome of Florence’s church of Santa Maria del Fiore, one can find his most famous piece of work known as The Comedy Illuminating Florence or The Divine Comedy. Virtually all of Michelino’s works were based on Biblical tales and stories. This particular piece depicts purgatory, hell, paradise on earth (the Garden of Eden where Adam and Eve lived) and the earthly spheres. Michelino took the name of his teacher and used it as his own. This particular work is specific more to understanding the almost otherworldliness which Dante’s writings contained. This writing was then translated into numerous forms of medium and are still assimilated with religion today. Understanding the premise for Dante’s views allows the observer to discern more detail and meaning in the recreation of Dante’s world done by Michelino. The piece can very much be seen as a product of its time, considering that the Heavenly Spheres upon which the planets were supposedly thought to rest are depicted at the top of the painting. Considering that this aspect of the scientific thought of the times was reflected in the work, it is not a difficult stretch to state that the religious views of the time are also reflected in the work. Take for example the depiction of the demons in the picture: “They too are designed in the conventional manner, with their usual bestial features, horns, fangs, bat-like wings…claws, tails, hideously grinning mouths, huge ears, etc.” (Altrocchi 39). Hell and its creatures are depicted as terrible, cruel, and monstrous, none of which of course actually come from biblical sources. In fact, the modern conception of hell as being a place of torture and fire all come from Dante. Considering the time period during which the Inferno was composed, it is easy to discern why this was done, and then this reason merely needs to be transferred to Michelino’s painting as sort of merely an update of ideas found in Dante. The lives of people during Dante’s era were filled with dread and death, especially considering the bouts of plague that the city of Florence had to deal with during Dante’s time. If life was so terrible and dangerous, then it was assumed that there had to be some sort of reward for actually dealing with all of this strife. When viewed in this context, we can see how the message of the painting, as well as the poem, can be viewed as life-affirming. It seems to be saying that though there might be suffering in one’s life, if one follows the word of God then that person will be rewarded with paradise and an everlasting existence. It was quite necessary for any sort of religious-based works to be life affirming, considering that the life of the average citizen of Florence was less than desirable. While the depiction of hell and purgatory might not initially appear life affirming, there are ways in which depictions of such places can be. Michelino’s depiction of Dante’s work shows that he was attempting to visually recreate the poem as possible: “That Michelino, in painting Purgatory, read very carefully Dante’s Purgatorio, is especially manifest in the second circle, that of the envious” (Altrocchi 45). In Dante’s conception, characters such as Aristotle were given the least harsh treatment in Hell first and foremost because Dante respected them so much. Of course, real-life figures are not the only figures in The Divine Comedy: “The vast majority of characters from and allusions to classical mythology in the Divine Comedy derive form the works of Virgil and of these writers, primarily Ovid and Lucan” (Ruffa14). Other characters did not receive such an easy time, such as merely being envious. For this Dante relegated them to Purgatory, and Michelino followed suit. Not reaching Paradise for just being envious seems harsh and not life-affirming, but there is another way to view it. If these characters had not been envious, then they would have reached Paradise. This is stating that every life is good and is worth enough on its own so that Paradise can be reached. By being envious of others, one is losing sight of the worth that one’s own life has. By forcing people to value their own lives by punishing them for being envious, the work takes on a very life-affirming aspect to it. Paradise in and of itself should be considered a life-affirming quality to the work itself. As Dante as the narrator of the poem was easily able to traverse hell and purgatory with angelic help, this gives the readers hope and affirms that it is not too difficult to live one’s life in such a way that heaven is attained. Dante himself is depicted hovering at the very forefront of the painting holding a book. Whether this is his own work or the bible, it seems apparent that it is meant to be the guide through the dangers presented in the piece so one may attain Paradise. If this is the case, then the piece is very life-affirming, as it seems to be attempting to show people how to reach heaven. Even with all the depictions of demons and people suffering in hell and purgatory, overall the poem and the painting as an extension of the poem is very much life-affiming Leighton was the son of an artist by the name of Charles Blair Leighton. Edmund was born in London and was known in his adult years for his extremely skillful craftsmanship. The central medium of use was paint and he mainly focused on works depicting regency and medieval subjects. His particular piece known as “Abelard and His Pupil, Heloise” depicts a taboo encounter between an instructor and his pupil. The painting shows a beautiful Heloise leaning slightly into the left side of her seated master Abelard. The body language is the indicator of the manner of their relationship. This particular love story is said to be the saddest love story to ever be told. By understanding this love affair and who these individuals were, one can better grasp and appreciate the artistic rendering of them by Leighton. Though the story behind the piece is thought to be the saddest love story ever, the fact that these two people were in love can be taken as life-affirming in the first place. Above all else, perhaps it is love that should be considered to be what makes life worth living, and seeing as these two, though separated, had a love that endured all sorts of hardships, that alone should be considered life-affirming. There is much to be interpreted from the painting itself. First, the position the two are in should be noted. While the initial relationship between these two was of student and teacher, we can see from the painting how this relationship has changed. The teacher is a person that is in a superior position in relation to the student, but in this painting Abelard is kneeling next to Heloise; their relationship has changed to the point where Abelard feels comfortable putting himself in an inferior position in relation to Heloise. This sort of reversal in relationships should be considered life-affirming as the relationship between student and teacher has been so ingrained into society as to seem unchangeable; the love between Abelard and Heloise is so strong as to reverse a societal convention. Also to be considered is the expressions on their faces. Abelard’s expression is of great concern. It is obvious that they are beginning to experience some of the hardships that are to come. Heloise’s expression almost seems blank even as Abelard gently holds her hand. As love is the most life-affirming attribute of human existence, it also follows that the loss of that would be the most tragic event that could happen. Though Abelard and Heloise are eventually separated physically, they end up keeping up a correspondence through letters, and it is the record of these letters that lets us know that though separated physically, they could not be separated from their emotions. The two are outside at a bench with a book open. It is obvious that this was supposed to have been a lesson, but what is going on between them is obviously more powerful than the pursuit of knowledge. Their love is so strong, in fact, that it will lead the to risk their careers and their future in order to be together. It should be considered that Abelard was one of the most important thinkers of his time, yet for years to come after his death he was almost exclusively known for his love for Heloise: “Great as was the influence exerted by Abelard on the minds of his contemporaries and the course of medieval thought, he has been little known in modern times but for his connexion with Heloise” (Snell). From this we can learn that all people in general view love or the pursuit of love as a more important endeavor than the pursuit of knowledge, and as this painting, though at the same time portraying a tragedy, also affirms that life is worth living since love exists. Though both of these pieces are life-affirming, they are very different in the ways that they are life-affirming. Michelino’s piece depicts a life that must be suffered through in order to reach paradise, which in this world view is what all of a person’s life is really about. This is not to detract from a person’s actual life that is being lived on earth; this is merely the case considering the quality of life that most people had during the time that the original poem was written. It is saying that the inherent worth is there the whole time, though it can only be properly enjoyed at the end of one’s life. Leighton’s painting came from a different era, one in which it was acceptable to value one’s life while still on earth. It is only through this sort of world view that the sacrifices that Abelard and Heloise made would have been acceptable and would not have resulting in either person finding themselves in wither a circle of hell or a level or purgatory. The worth of life is always apparent and not merely inherent and waiting as potential between Abelard and Heloise. The way in which they are similar is in the way that both paintings portray seemingly harsh or negative realities (suffering through purgatory for being envious or being separated from a loved one), yet they still, upon close examination, show that life truly is worth living. They both remind us that there are hardships that must be suffered through, but I don’t think that anyone would say that Abelard regretted his actions as he has been remembered for having such an intense love for another person. Works Cited Altrocchi, Rudolph, “Michelino’s Dante.” Speculum, vol. 6, no. 1, pp. 15-59. Raffa, Guy P. Dante World: A Reader’s Guide to the Inferno. Chicago, University of Chicago Press, 2007. Snell, Melissa. “Peter Abelard: Article from the 1911 Encyclopedia.” The New York Times, 2008. Available from Read More