ART IN SOUTHERN EUROPE.

Shannon News, 24 May 1929, Page 4

ART IN SOUTHERN EUROPE.

THE TRANSFER FROM ITALY TO SPAIN. A PAINFUL STAGE OF DEVELOPMENT. In the -sixth lecture of the series delivered by Miss Cadell, 8.A., to the Levin W.E.A. literary class, on the history of painting in Europe, the tutor gave a resume in conclusion of the study of the Renaissance in Italy, and proceeded with an introduction to the'consideration of Spanish art. The meeting of the class, which took place in St. Mary’s Hall on Tuesday evening, was, as usual, well attended, and ire lecture was illustrated with some hue lantern views.

In glancing over the Italian period' from 1300 to .1600, Miss .Cadell stated that the pictures of the three centuries during which the Renaissance flourished in that country showed the astonishing vigour and industry of the artists of that Umc. It was a period teeming with various activity, and much of the abundant energy available was devoted to art; and of-all the arts, painting'held first place in popular affection. The enthusiasm and keen criticism of the people combined with the high ideals of the painters, themselves to maintain a fine standard of quality in the pictures that bloomed like flowers by the wayside throughout Italy. The great versatile geniuses of' the age recognised the supreme importance of the art of painting to the spiritual and intellectual _ progress of mankind. Leonardo da Vinci believed in the quick appeal of pictures to the ■best humanity. Michael Angelo's idcrl cf the art was equally exalted. When this lofty inspiration died, the decline of painting, in spite' of technical accomplishment, was' rapid in Italy. A NEAPOLITAN LEADER,.

TJie Renaissance set gorgeously in Venice at the end of the 10th century, but in Central Italy it did not-survive so long. At Florence and Rome the achievements of Michael Angelo and Raphael overshadowed the art of all others, and after their deaths succeeding painters imitated them instead of studying nature, at first hand, according t 0 the precept and example of the great masters. A school was formed, called the Eclectic, because its members tried to combine the characteristics of all the most famous artists in their pictures. \ They could not (attain to the, sublimity or superb modelling of Michael Angelo, to the grace of Raphael, or t 0 the rich colouring of the Venetians, and as they brought no individual quality to their ruinting, the result was ‘-but uninspired patchwork. In the south, however, there--was revolt against slavish imitation, and Caravaggio (1569-1609), in Naples, chose his models'from the life inythe town about him.; 1 His reaction from the nerveless stylo that had become the fashion was manifested in what a French critic has termed “character underlined to the point of brutality ” “The Card Cheaters ” was - a vigorous example of his methods. He* depicted a group often to be seen in the rough quarters of the city. By means of deep .shadows, -which .exaggerated by contrast the brilliance of lights, be produced arresting effects, that wore later to influence painters of other

generations and regions, Veyasquz and Rembrandt. The force of his art immediately impressed itself upon his .contemporaries. Since Naples was under the rule of Spain, many artists of that country congregated there, and Caravaggio’s influence was the dame that, helped to set alight the torch of the Renaissance in Spain.' Josef Ribera (1588-165,6) Was the chief of Caravaggio’s disciples. Hg was born near Valencia, but came in youth, to study painting in Italy, where endurance of many hardships put him but of sympathy with the. insipid copyists that flourished around him. His temperament was attracted bv Caravaggio’s extravagant vigour, and Ril/era’s line technique and gloomy strength found quick appreciation in his native land;

GRIM ANTECEDENTS OF SPANISH ART.

While the 'character, of most of the countries cf Western Europe was developing in many directions, Spain was absorbed in struggles against the Moors. The tide of victorious Islam had swept through North Africa and across the narrow straits to Spain. It continued to encroach northward until checked by the Prankish general, Charles Martel, at fours in 732 A.I). This memorable battle, waged during a whole week, ‘decided; the fate of Europe, for Mohammedanism was finally pressed back,beyond the Pyrenees. The Western Kaliphate, however, dominated the whole Spanish pteninsula, established its seat of government at Cordova, and became- prosperous and powerful. Among the ifalstnesses of • the northern mountains, a few .small Christian communities survived and very slowly fought their way southwards. Kings arose among them, and little kingdoms -struggled into life. For 700 years the ashes of the people were to uphold their faith and regain their territories. There was no opportunity for material or artistic progress. In the 15th century, when the Renaissance was in full flower, the nation of Spain began to emerge. The numerous little kingdoms of the preceding centuries of -struggle had become consolidated into two, Castile and Aragon. They suceeeeded in due course to their respective thrones, and ten years after their welding followed a. formal union of the two crowns. During this time a holy war had been waged against the enemies of the faith, and it- was this war that brought forth the Spanish nation and the formidable army which afterwards proved its mettle in the Netherlands. By the conquest of the Moorish kingdom of Granada in 1492, Christian Spain came into possession of nearly the whole territory now

bearing that name. In tlie same eventful year, Columbus discovered America, and the gold of Mexico and Peru soon began to enrich the coffers of Spain. She was launched on her short, brilliant caieer as one of the leading powers: of Europe and began to aspire to artistic fame and to learn from countries where life, in all its fullness had long flourished. RESTRICTIONS. ' In spite, or perhaps because, of foreign invasions and influences, the ar! of Spain was born with distinctive features. The unrelenting struggle of the people for their faith had given to their religion - a tierce and fanatical aspect, and this was inevitably reflected in art. A famous French critic has remarked that ‘‘Spanish pain!ing presents a peculiar mingling *of mystic exaltation with brutal realism, jf asceticism with sensuality, of supreme distinction with frivolity, of tenderness with ferocity.” The grim characteristics of Spanish painting might be traced to the Inquisition, which cojuld have thrived nowhere but in Spain. This secret court for the discovery and -uprooting of heresy was-introduced in 1481. Its earliest activities were directed against the Moors aiid Jews, but Christians "were also in danger of falling under suspicion for unorthodoxy.' The Church had boundless power, which was exercised tyrannically afld harshly. Under this ecclesiastical reign of terror the warlike valour of the Spaniard hardened into cruelty and his imagination was darkened by the common sight of heretics suffering violence and torture. Apart from the general severity of its influence, the Church exercised its authority over artists, just as the Byzantine fathers had done, and painters were forced to submit to a number of rules which owed their origin to superstitions thathad grown up. Nakedness was forbidden in any sacred picture, and the dress of the saints had to be strictly in accordance with faets revealed in visions- accredited by the church. The -Virgin must not be painted with bare feet, for one of her shoes ivas the most, precious relic preserved by Burgos Cathedral. Pointers yielded without protest to these decrees and were generally shriven before starting to work upon a< sacred picture. Conditions were therefore in striking contrast to the influences that had moulded the Renaissance in Italy. There the churches encouraged the breaking away, from the rigidity of Byzantine conven-' tions in art, and the scope of painters was enlarged until tlie inspiration of Christian lore was to some extent supplanted by the newly discovered fields of classical mythology. In Spain was found, instead of the tender, comprehensive humanity of St. Francis as the fountain of art,, the ghastly representation of martyrdom, unsparing of any detail that might, increase the effect of pain and horror. The Church tightened rather than loosened the bonds, that crushed her members within a narrow and often corrupt tyranny, until the decline of the Spanish Empire.