My Kid Could Paint That

The Suicide, Alexandre-Gabriel Decamps, 1836

Here we shall drag them, and through the mournful wood
Our bodies will be hung: with every one
Fixed on the thornbush of its wounding shade. 
-- Inferno, Dante, Canto XIII

Suicide is the tenth leading cause of death in the United States as of 2007, right after, oddly, nephritis (an inflammation of the kidneys), but it certainly receives more press than kidney disease. The ranks of the suicides in Dante’s Inferno are growing year by year, and more thorny trees sprouting in the seventh circle. Here, Alexandre-Gabriel Decamps’ The Suicide depicts an artist who decided to end it all, his face shrouded in shadow. The dark, gloomy atmosphere of the painting weighs heavily on the viewer’s mind, calling to mind the dark consequences of such an act.

Christian theology firmly opposes suicide. In Corinthians, potential suicides are admonished with “Do you not know that your body is a temple of the Holy Spirit... You are not your own, you were bought at a price. Therefore honor God with your body” (1 Corinthians 6:19-20). Dante’s famous contrapasso method for determining sin and punishment gives the suicides’ fate as becoming trapped within thorny, tough trees and bushes, boughs constantly broken by nesting harpies. The sinners they share the circle with the profligates, as they run from the black dogs that hound them through the forest. The dark, brooding atmosphere of the ring echoes the mindset of gloom and self-doubt that leads many to self-harm. As a final punishment, when the souls regain their bodies on the day of judgement, they may not inhabit them again, “for justice must forbid / Having what one has robbed oneself of." Instead, the corpses will hang from the trees and bushes of the macabre wood, like a particularly tasteless haunted house.

Decamps was perhaps inspired in this work by the death of his contemporary Léopold Robert, whose paintings were harshly criticized and who took his own life in 1835. The painting, in shades of sepia and brown, gives a mere suggestion of detail in the background, and brings the shoulder of the dead man forward in stark, chiaroscuro-like contrast. A shelf of art supplies is visible, including a palette, and the gun used to do the deed sits in a weak patch of sunlight from an unseen window, with the artist’s outflung hand leading the eye to it in an almost accusatory fashion. The gloomy, brooding nature of the painting, as well as the events inspiring it, provoked a wave of discourse on the harshness of artistic criticism and the melancholy tendencies of artists, perhaps partly as a result of said harshness.

So, please be nice to artists. We need not have them transforming themselves into shrubbery.

Alexandre Cabanel, Morte di Francesca da Rimini e di Paolo Malatesta, 1870

Thomas Hart Benton, Figure and Boats, 1920

I came into a place mute of all light,
Which bellows as the sea does in a tempest,
If by opposing winds 't is combated.

The infernal hurricane that never rests
Hurtles the spirits onward in its rapine;
Whirling them round, and smiting, it molests them.
-Inferno, Dante, Canto VII

As a local painter from a town outside of Kansas City, Missouri, Thomas Hart Benton grew up in the 1880s. His father did not approve of his painting, so he sent him off to military school. Benton's mother, on the other hand, was artistically inclined. He ended up devoting the majority of his life to art, obviously not taking his father's side. His work caused much controversy. Many people praised him for creating pieces that were realistic to the time period. Others thought of him as a drunk hillbilly or even an "okie baroque."

Benton regularly paints scenes of small town mayhem, which could be a product of his parents' relationship, or his own dealings with his parents. His father wanted Benton to follow in his footsteps and become a politician. Benton's mother supported him 100 percent She was totally invested in his life, emotionally and economically, at least until the day he married at the age of 33. Benton studied art at the Chicago Art Institute, and eventually moved to New York. Even as he established himself as an artist, Benton was still considered a drunken hillbilly.

In this piece, everything pulls and flows to the center. The circular patterns of the waves moves the eye in circles, like a whirlpool. Ending up at the person in the left hand corner. As one looks further into the piece, there is a house, standing on what seems to be a cliff. In Canto VII, Dante talks about a tower. In comparing the two works, the tower and house match up. This composition correlates with Dante's Inferno a great deal. With the winding river and the canoe at the base of the cliff, along with the figure depicting one of the many shades that are described in the text. Figure and Boats adds to the mystery and eeriness of Dante's Inferno.

AND THE MOON BECAME AS BLOOD, Howard Finster, 1976

But keep your eyes below us, for coming near

Uncle Jimmy Green and Student, Daniel Chester French, 1924

Martini Madonna and Child, 1326

Unknown, Christine de Pizan Writing in Her Study, 1344

Duccio, The Betrayal of Christ in the Garden of Gethsemane, 1308

Perugino, Christ's Charge to Peter,  c.1481

Perugino's painting tells three stories: one in the foreground and two in the middle ground. The former displays the story of Jesus bestowing to Peter the keys of heaven. The story is taken from Matthew 16:19, where Christ says to Peter, "I will give you the keys of the kingdom of heaven, and whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven". Henceforth, the idea that Peter awaits in the afterlife, keys at the ready, granting or denying entry into heaven. The middle ground displays two scenes: the Rendering of the Tribute Money on the left, and the stoning of Jesus on the right. The Rendering of the Tribute Money comes from Mark 12:13-17, where the Pharisees question Jesus on taxes. The Stoning of Jesus comes from John 10:31: "Then the Jews took up stones again to stone Him."

Perugino painted this with symmetry in mind. The key sits at the exact center of the foreground, with equal amounts of followers gathered behind Jesus and Peter. The background has three buildings: the temple of Solomom, situated directly in the center, and two arches to either side of it. Perugino divides the ground into tile-like sections, adding to the symmetrical nature of the painting.

Limbourg Brothers, Les Très Riches Heures du Duc de Berry: October, 1413

The book of hours, as seen in Shrek, is a prayer book that came in to popularity in the early 15th century. The most common type of surviving illuminated transcript, books of hours normally consisted of prayers, psalms, and meditations. Being an illuminated manuscript, in addition to the text, the book contained decorations. The decorations required highly-detailed work, especially with the miniatures - small-scaled medieval paintings that were popular at the time of illuminated manuscripts. The most impressive surviving book of hours is Les Tres Riches Heurs, painted by the Dutch Limbourg brothers. They began the work in 1413 and left it incomplete at their deaths in 1416. They were still in their thirties, and their cause of death most likely due to the plague that was ravaging Europe. The book of hours was completed seventy years later by a French painter Jean Colombe around 1485.

The Limbourg brothers painted the Tres Riches Heures for Jean de France, Duke de Berry, who was the third son of John II and an important member of nobility in 15th century France. He was a connoisseur of visual arts of the medieval period, and loved art and literature. His collection consisted of castles, gems, and a magnificent collection of books, which included the Tres Riches Heures. The Limbourg brothers painted on 206 vellum leaves, the highest quality available at the time. Vellum is the highest quality of parchment, which was normally reserved for important manuscripts, and lasted far longer than papyrus.

The painting for the month of October gives the most accurate and complete view of the Louvre of Charles V. The Louvre, originally a fortress in the 12th century, underwent several alterations before becoming the museum we know today. It was altered by Charles V in the 14th century, then converted into a residence in the early-16th century under Francis I. In the early 18th-century there was wide spread talk of creating a gallery, to showcase the Royal collection. The Royal museum became reality under Louis XVI and became free to the public, with 537 paintings, three days of the week after the fall of the monarchy. The museum's collection would continue to increase through Napoleon’s military conquests.

Ulm Minster, 1377-1880

Originating in France during the High medieval period, Gothic architecture had begun to spread across Europe. Comprised of flying buttresses, pointed arches, and ribbed vaults, Gothic architecture is most commonly seen in Cathedrals, abbeys, and churches of Europe, such as the Ulm Minster in Ulm, Germany. Construction began in 1377 under Ulrich Ensingen. It’s Gothic style battled the popular Romanesque style that had already existed around Europe. Often known as a Cathedral due to its impressive size, but it was never seated by a bishop.

The Ulm Minster abandoned the symmetrical balance of a two-tower cathedral to a single spire and tower, which reached a height of 620ft. The spire was supposed to be shorter but the height was increased in the plans to surpass the Cologne Cathedral, also in Germany, which was the tallest building in the world from 1880-1884. The Ulm’s tower was designed in 1482 and the spire was constructed in the nineteenth century, when the use of cast iron could be implemented into the construction. It surpassed the Cologne Cathedral and became the tallest building in the world for 11 years, from 1890-1901.

In 1944 the town of Ulm was severely hit by air raids during World War II. The town suffered massive damage, nearly all the buildings in the town square were destroyed. Near the town square the Ulm minister suffered minimal damage. The spire standing and looking over the town to this day as one of Germany’s most visited landmarks.

Duccio, Raising of Lazarus, 1310

Lazarus has been dead for four days, but now he stands in his burial shroud leaving the tomb with his eyes wide open. The smell must have been pretty bad because the onlooker in black dress socks covers his nose from the smell. Lazarus somehow defies physics by hopping to an upright position with his hands and feet tightly wrapped in linen cloth, sort of like a winning a two-legged burlap bag race at a family picnic without falling over. All we see of Lazarus is his ashen face, while the rest of the painting jumps out in vivid colors. Clearly, this guy was once dead.

Maybe when Duccio painted The Raising of Lazarus in 1310 people were accustomed to seeing this scene. The crowd on hand does not look particularly happy or eager to see poor Lazarus. Jesus, however, with his outstretched arm and a large decorative plate around his head, looks determined and compassionate. Duccio portrays Jesus as sure of himself, understanding the future meaning and significance of this miracle. The only person in the painting, a woman in a bright red robe, understands what has just happened. She, alone, directs her attention to Jesus, not to the smelly, wrapped, former corpse in the tomb.

Here, dozens of witnesses who had come to mourn the death of Lazarus instead witness the dude standing and breathing. How could this be anything but the awesome power and divine intervention of a benevolent God trying to make a point?

Cimabue, Santa Trinita Madonna, 1280-90

The foundations of Christ's kingdom is portrayed in Cimabue's Santa Trinita Madonna. Originally hung in the high alter of the Santa Trinità church in Florence this painting exemplifies fine byzantine style. Here Madonna and her child rest atop a throne surrounded by angels. This pattern is commonly referred to as a maesta, which was used by painters to portray the virgin as the queen of paradise.

Cimabue paints this Madonna, which greatly resembles Duccio's Rucellai Madonna, while retaining the Byzantine elements of the painting. The large, golden elaborate throne envelops the painting, with the angels pressing inwards to frame Madonna. The same framing is seen below the throne as the four prophets support her, Jeremiah and Isaiah on the far ends while Abraham and King David sit directly underneath the throne.

The painting rests on a gold background, further emphasizing the Byzantine heritage and style. Although some elements remain true to fashion, the architectural beauty of the throne is used to create a feeling of depth. A tension is felt in the painting as the angels on the outside force weight onto either side of the throne. This spatial theme is used to almost present a three dimensional element to the painting, as the movement flowing downwards toward the base. Cimabue provides intense emotion within the subjects of his paintings, this vitality characterizes much of Cimabue's work creating a unique style.

St. Francis seems utterly too big for the world that surrounds him. The houses and trees resemble nothing more than dollhouse figurines. Giotto memorializes St. Francis in the painting by allowing him to consume the canvas; even Christ seems to appear miniature in comparison to Francis. He kneels before an all powerful Jesus takes over the other part of the canvas. Giotto’s cloudless sky needs no sun for Jesus, and even though he may appear smaller, he still holds a pivotal place in the canvas. The gold in Saint Francis Receiving the Stigmata painted in 1295 would be illuminated in the glow of candles in a church. The painting allows the viewer to remember what has been sacrificed for the passage into Heaven. People who search out the canvas all know the story of Jesus’ sacrifice, and St. Francis’ faith, yet Giotto reinvents the story. While the story and words may have lost their meaning, the painting touches people still. However hard the life of a Christian may be and whatever hardships they encounter, they have heavenly figures looking out for them.

The bottom of the painting serves a more practical purpose, giving the viewers a chronological view of St. Francis’ life. To the far left, there sleeps the Pope who is visited by Saint Peter. While, in the middle of a deep sleep he dreams of an unknown monk who is saving the collapsing church. The middle image is of the Pope welcoming St. Francis and a number of his followers. In the meeting he blesses the new Franciscan order. The last image to the right portrays Francis doing what he loves most, being one with nature. The birds point to the left while the church falls to the right, all point to the middle scene that shows the orders obedience to the church.

St. Francis as righteous as he is, never veers far from his path. His halo shows his divinity and separation from others, but do not hesitate to approach him. His frock, the color of the ground, still shows his connection to Earth.