The next artistic approach that is helpful after formal and stylistic analysis is iconology. Iconology is what will seem most familiar to us - it is how we can determine the meaning of things in art. It explains how and why the imagery is chosen, also how the culture influences what is in the art pieces. The goal is to tell the why and what of the piece and connect it to the cultural, religious, and artistic significance. Another part of iconology is understanding the meaning as the artist intended it. This is an important difference, especially when we talk about more modern art pieces. What the artist means and wants to portray may be different than what is actually seen. You can also recognize it in older paintings, such as ones with saints and their patrons. The meaning of the piece may be about the saint and showing their holiness. But there is an underlying meaning that the artist wants to portray of how the patrons were devoted to this saint and also holy because of their presence in the painting.
The German-Jewish art historian Erwin Panofsky was the man who significantly developed iconology. In this development, he identified three levels of meaning in art: primary, secondary and tertiary. The first (primary) level focuses on what is visible in the artwork, such as figures and objects. Your own practical experience is the best tool for these level. Especially in sacred art it is important to know the Scriptures and Tradition in order to understand and identify objects and people. The secondary level goes into the cultural and historical context that informs the symbols present. The tool for this is tied to stylistic analysis in how it is a dive into the theme, style, and time period of the art. Being able to identify what was going on at the time in history is helpful to understand why they chose the symbols they do. An example is that in the time after the Protestant Reformation, there were several Catholic artworks that showed the reality of the saints, sacraments, and other things that the Protestants denied. The third (tertiary) level delves into the philosophical and ideological implications and meanings behind the artwork. This is a deepening of the second level because it explores why they chose what symbols they did in response to what was happening in the culture at the time. It is helpful to break it out into these different levels in order to uncover and interpret the complex layers of meaning that connect the art to its historical meaning, background, and context.
Determining the meaning of things is important and what our minds go to first when looking at an artwork. Starting at the basis of "What do you see?" and being able to describe it is a tool that will help us in all aspects of our life. Being able to understand who or what is in the painting other than just reading the title is such a great tool. We can start to identify why we identify things as such and what are core symbols that are connected to a specific person, place or thing. In sacred art it empowers us to know what is in artworks and we can constantly grow in understanding of the meaning. Just take the Scriptures as an example - Jesus gave us so many parables and taught so many lessons but without understanding what they mean they are just empty stories and sayings. The meaning that is intended and imbued within Scriptures, Tradition and sacred art will only bring us closer to Jesus Christ if we only search to understand it.
Now that we have dived into iconology, here are some questions to ask in regards to this method:
Primary Level:
-What do you see in this painting? What objects are present?
-Who do you see in this painting?
-How do you know what and who is in this painting?
Secondary Level:
-What was going on historically at the time?
-What was the culture climate that led to this artwork being created?
-What was the purpose of the artwork?
Tertiary Level:
-What do you think the artist intended by this artwork?
-Why would the artist have intended as the meaning?
Lets apply these questions to the Penitent Magdalene.
Penitent Magdalene, Artemisia Gentileschi, 1622-25. Seville Cathedral, Seville, Spain.
Primary Level:
-What do you see in this painting? What objects are present? I see a woman who is slouching in her chair, with her head rested on her hand. She is sitting in a well constructed wooden chair. There is red drapery that is behind her. Although hard to see, it seems as though there is a table next to the chair that holds a lit lamp.
-Who do you see in this painting? I see a woman, which I already identified above. The woman has a beautiful bracelet on her wrist and with that hand she is holding her hair. She is wearing a gold dress with white sleeves, one which is falling off of her. There is a gold shawl covering what would be her bare shoulder and cleavage from her sleeve falling.
-How do you know what and who is in this painting? I know from the title of this painting that it is Mary Magdalene, a disciple of Jesus Christ.
Secondary Level:
-What was going on historically at the time? This one has been linked to being inspired and informed by previous paintings and different styles. One style parallel is to the Spanish artist Simon Vouet’s complex style. The relationship and influence of Vouet is evident in their works, most specifically the fact that Vouet himself painted a portrait of Artemisia. It was high in naturalism, dramatic lighting, compositions, and subjects of Caravaggism. It also was informed by the Bolognese style that was a demonstrative expression of passions with tailored and colorful costumes. It was an oversimplified Baroque and classicism styles. In this Mary Magdalene, she is slumped backwards, obviously alive but preoccupied with things not of this world. This painting by Gentileschi shows new heights of her technical mastery. There is an incredibly high standard of quality that she displays within this painting of Mary Magdalene. This time in European history there was an increase in trading with the wider world. Italy was not the place of Renaissance and glory that it used to be, although it continued to have luxury and opulence due to the Baroque art, generational wealth, and cultural resources it did have.
-What was the culture climate that led to this artwork being created? At this time, Artemisia was having a hard time finding patrons in Italy but she had greater success in this time with a wider patronage network outside of Italy. She was able to use patronage networks in France, Spain, England, Italy, and more. She was able to use her identity as a woman painter to fascinate a wider patronage network. This enabled her to make connections with the Spanish ambassador to the Holy See who acquired Mary Magdalene as Melancholy. In Rome he acquired two more paintings by Gentileschi, both of which have been lost. Later in her life, the ambassador bought three more of her works to bring back to Spain. The ambassador was an extension of the Spanish King, Philip IV.
-What was the purpose of the artwork? She is obviously disheveled and slightly slumped in her chair, with her head resting on her hand. Her dress is slipping off her shoulder and the viewer can imagine it falling further. She is lost in deep thought and sorrow and cannot attend to the dress or even discourage others from looking at her lustfully. She is completely vulnerable to the world and onlookers. Her shoulder showing was interpreted by slight provocativeness, which lead to the addition of the brown scarf by a later hand. This was most likely added when it left Casa de Pilatos in Spain to go into the Sevilla Cathedral, where it still is today. There is also an emphasis on Mary Magdalene’s hair. This hair was the same hair that washed Christ’s feet with her tears and oil. There is visible guilt and penitence on her face which is exhausting her to the point of looking like she is sleeping. These facial features could be attributed to mourning her own sins or even mourning the death of Jesus Christ on the cross. The enormity of her grief is physically weighing her down, leading to the extreme tilt of the head. The lamp in the background can be seen as the light of Christ burning within her while she contemplates and searches her soul. This is a great example of the visionary that is Mary Magdalene as the melancholic seer, knowing the depths and weight of her sin but the light of the Lord. I believe that this artwork is supposed to show how Mary Magdalene was penitential and that is part of what made her a saint. She rebuked her sinful ways and followed the Lord the very best she could. She loved Jesus Christ so incredibly much that she would do anything to be united with Him in glory.
Tertiary Level:
-What do you think the artist intended by this artwork? Artemisia was a professional businesswoman who capitalized on her technical prowess and her womanhood. She could capture the look and feel of things within her paintings. She also was willing to consider the patron preference, which was quite desirable. The Spanish were quite excited to have access to Italian painters and share in the artistic and cultural wealth that Italy had been harboring for many years. I believe that she intended to provide an exceptional painting of Mary Magdalene to a new patron of hers. I think that she wanted to show that Mary Magdalene was a woman to look up to for holiness and penance.
-Why would the artist have intended as the meaning? Artemisia painted several biblical women, including Mary Magdalene. Her interest in painting women I think stems from her having a unique understanding of what it means to be a women. Her paintings always show a beautiful insight into the woman mind, which is definitely true in this painting. Mary Magdalene could be crying over the death of Christ, her past sins, questioning her future, or general anxiety. The tiredness that is seen is something that I believe every woman has felt at some time from the mix of emotions that is always present. Even when painting for male patrons, Artemisia wanted to show the beauty and depth of womanhood. Mary Magdalene is a model to follow in the way of penance, true devotion to Christ, and conversion of life.
Let us pray -
Lord, you gave us our meaning, our dignity, our very being. Thank you for the gift of meaning that you imbue into everything you create and that you inspire. Unveil my darkened eyes to the light of your love and meaning. I willingly submit myself to your Everlasting Wisdom, bringing me closer to you each and everyday. Forgive me for the times I ignore your eternal plan and wisdom, help me to be convinced that your plan is better than mine.
Amen.
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