Synthesis concepts and applications

Women and Spirituality in the Creative Works of Two Eras

While reading the history of a time period or geographical location often gives many insights into its composition, a better understanding of the culture is often gained through an examination of that period's art and literature. From the Middle Ages through the Jacobean period, Europe is no exception. Many times, symbolism often gives away key themes that transcend time periods, and one of these key themes often has to do with women in society. A careful comparison of Durer's The Four Apostles with Janssens van Ceulen's Arthur Capel, 1st Baron Capel, and his Family and "Eve's Apology in Defense of Women," suggests that themes of women and spirituality in art and literature had many similarities in both the Middle Ages and Renaissance.

Carefully painted by renown artist Albrecht Drurer, The Four Apostles uses vivid colors and a smooth texture to augment this intriguing painting on two panels. Drurer breaks up the apostles into groups of two, with one in the foreground and the other peering at a Bible held by the former. Careful not to portray them as having idle hands, Drurer's apostles pairs are heavily engaged with their Bibles. John and Peter appear to be studying out of their Bible, and Drurer's light and shadow is used to illuminate the Bible almost completely, while Peter is encased in much shadow, suggesting it is the Bible -- not the apostolic conduit, that is of most importance in the portrait. In the right panel, light again illuminates the closed Bible, and Mark and Paul, although not locked in a stare, appear to be discussing the material in a studious manner. A user of sumbols, Drurer not only uses light to suggest the importance of the Bible, but also pairs each apostle with his or her key symbol, used to alert readers as to which apostle is which.

Compared to Drurer's work, which was painted at the end of the Middle Ages, van Ceulen's family portrait, a late renaissance work, uses considerably more light, bathing the family in brightness, which suggests a lighthearted theme. Like Druer's portrait, however, the position of those pictured is quite important. The Baron sits to the right hand of his wife, implying leadership and power, and his two sons are posed at his knee, implying that they will inherit the title. To the left of the Baron is his wife, who glances both adoringly and submissively at her husband, and the daughters, suggesting that they will not be inheritors of land. This is furthered by the fact that the daughter closest to the infant, who perches on her mother's lap, holds that baby's hand, implying an ascent to motherhood. Behind the family, the picture window showing grand gardens and mansion details implies wealth. Indeed, the smooth texture and use of dark colors further suggests royalty. While both Drurer's and van Ceulen's portraits use light and dark and positioning as symbols, then, Druer's work is focused on the Bibles -- spirituality -- while van Ceulen's painting is quite clearly focused on the earth -- economics, royalty, inheritance, and family.