Art history concepts and methodologies

Baroque Art

An examination of "Virgin and Child with St. John the Baptist" by Jacopo del Sellaio, 1480-85 and "St. Sebastian Attended by Holy Women" by Nicolas Regnier (called Nicolo Renieri) 1615-1626 reveal the differences between early and later Renaissance painting in Italy. Jacopo del Sellaio's word dates to the late fifteenth century, and Renieri painted more than a century after that. The historical context of their work also signals the differences between Sellaio and Renieri. Sellaio studied under Fra Filippo Lippi and his style inevitably reveals his connection with the Lippi school. Sandro Botticelli studied under Lippi at the same time; Renieri and Botticelli influenced each other and this is especially evident in "Virgin and Child with St. John the Baptist." For instance, Botticelli's style is evident in Sellaio's work "in such traits as the texture and color of hair, the tilt of the Virgin's head and the elongation of her hands," (Castelvecchi 1). On the other hand, Regnier's "St. Sebastian Attended by Holy Women" bears a far more dramatic homage to Caravaggio in the use of extreme chiaroscuro, or tenebrism. Therefore, the eras in which they painted is directly related to the differences in style between Sellaio and Regnier.

The subject matter and symbolism in Sellaio's "Virgin and Child with St. John the Baptist" is also different from that in Regnier's "St. Sebastian Attended by Holy Women." Although both focus on Biblical symbolism, the actual subjects chosen and their composition differ significantly. Sellaio's earlier work is a devotional painting not dissimilar from the religious iconography of earlier eras. The painting of Mary and the Christ child sends a message concurrent with the early Renaissance, emphasizing "rebirth" in a literal manner. On the other hand, Regnier's depiction of the wounded St. Sebastian speaks more of tragedy, hope, and redemption. The symbolism in Regnier's painting of St. Sebastian is unavoidably like depictions of Jesus coming down from the cross, underscoring the universality of that symbol. In Sellaio's "Virgin and Child with St. John the Baptist," the latter is depicted as a child, too. John the Baptist is integral not only to the subject but also to the painting's composition. John the Baptist's halo aligns neatly with Mary's fingertips, and both occupy the same horizontal plane. The hands of John the Baptist form a prayer position, as do those of Christ. The similarities between the hand positions of Christ and John the Baptist further links the two Biblical figures, in addition to their both being depicted as children, replete with innocence. Sellaio includes three figures in the painting also to represent and symbolize the Holy Trinity. Other indications that Sellaio consciously includes symbols of the Holy Trinity include the depiction of Jesus looking directly at the orb of light on Mary's shoulder; there is a second in line with her forehead.

The subject of Regnier's "St. Sebastian Attended by Holy Women" also, interestingly, contains three figures and therefore references the symbolism of the Holy Trinity, central to Christian doctrine. However, the composition and subject matter are completely different in Regnier's painting vs. that of Sellaio. In Regnier's painting, the horizontal line is more important than the vertical, whereas the reverse is true in Sellaio's. In Sellaio's, the canvas is longer than it is wide; and it is the other way around for Regnier. Regnier depicts his figures along the horizontal plane, with St. Sebastian's reclining body the central motif. Moreover, Regnier includes nothing in the background of the painting. The black background is stark, forcing the viewer's eye to rest on the triangulation created by the holy women and the saint. Sellaio, on the other hand, incorporates a naturalistic background behind the subjects, similar to what DaVinci would later do in "La Gioconda." Whereas Sellaio uses no chiaroscuro, thus imparting a rather flat illumination, Regnier's painting is as much a painting of light as it is a painting of human figures. Tenebrism allows the figures of the two women and St. Sebastian to leap from the canvas.