Fra Angelico and the Gothic

5 07 2010

When I first decided that I’d like to try to paint in the service of the Church I decided I wanted to paint like Fra Angelic (or perhaps Duccio). I suppose you might as well aim high! Fra Angelico, who worked in the 15th century, had the balance of naturalism and idealism that appealed to me. It seemed just right for prayer. It’s just an anecdotal observation, but when I meet people who have the same outlook in regard to the liturgy and orthodoxy in the Church, it seems that invariably they feel the same about him; and John Paul II described him in his Letter to Artists as one whose painting is ‘an eloquent example of aesthetic contemplation sublimated in faith’.

Unfortunately, the late-gothic style of Fra Angelico is not a living tradition and I couldn’t find anyone who painted that way who could teach me. I decided that as it appeared to sit stylistically between the Romanesque (which is an iconographic form) and the baroque and these were forms that are taught today, to some degree, I would learn both and try to work out how to combine the two. I am still working on that now!

What is it that characterizes gothic figurative art? We start to see a change in figurative art around 1200AD. The departure from the iconographic prototype occurred due to a different sense of the reliability of human experience. Information received through the senses was seen much more as a possible means of the grasping of truth. Tied in with this is the belief that the world we live in, although fallen and imperfect, is nevertheless good, ordered and beautiful. So there may be evil and suffering in the world, and it may not be as good and beautiful as it ought to be, but it is nevertheless God’s creation and still good and beautiful.

This change caused both the rise of naturalism in art and the development of science fostered by the Church. I have read of two main reasons for this. One is the incorporation of the philosophy of re-discovered works of Aristotle (who trusted the senses more than his teacher, Plato) into Christian thinking, by figures such as Albert the Great and Thomas Aquinas. This provided the intellectual basis for the development. Second is the spirituality of St Francis of Assisi. He loved nature as the work of God and as Franciscan ideas spread so did an enthusiasm for, and curiosity about, nature.

I have mentioned elsewhere (see articles The Principles of Traditional Art Education for Today and Make the Form Conform in my other website, how the traditional training of artist based upon a combination of direct observation of nature, and the imitation of the works of masters. It is through this latter aspect of the training that the stylistic elements are transmitted. So as the Old Masters that preceded these new artists were iconographic, the greater naturalism of the new artists was fused onto a substrate of the iconographic style. As a result, artists introduced less rigid poses and saints would now be portrayed in profile rather than being restricted to either full face or three-quarter profile. We also see greater portrayal of emotion (although still muted in comparison with the baroque). Crucifixions have a greater emphasis on the suffering Christ for example. We also see, under certain circumstances, the portrayal of cast shadow.

Let’s look at a very famous fresco by Fra Angelico of the Annunciation on the walls of a cell at San Marco in Florence. He consciously employs some of the developments of the new naturalism: there is cast shadow, there is single-point perspective creating a sense of depth in the covered cloister; the archangel is in profile. But there are also stylistic aspects that we are accustomed to seeing in iconography: the figures are painted in the middle distance, the edges of each shape are all sharply defined and the colour is evenly applied (unlike the baroque which has selectively blurred or sharp edges and selective use of colour or monochrome, usually sepia, rendering).

If we examine the further, we can see that the light source that is casting shadow is from the left. If cast light were the only source, the face of the Archangel would be dark, yet it is bright. Fra Angelico is showing the face of the Archangel glowing with the uncreated light of holiness, which is what we are used to seeing in the Byzantine iconographic form.

I was giving a lecture once about this painting and a student asked me about the shadow. He pointed out that Our Lady is a saint, he could see that her face wasn’t in shadow and there was strong halo, representing he uncreated light coming from her. But also pointed out that there is a strong cast shadow on the wall behind her. Wouldn’t you expect her radiance to obliterate that, he asked? I agreed with him, you would. But I couldn’t say why Fra Anglelico had painted it like this. I speculated that perhaps it was due to the fact that there were two light sources from the left – the natural light and the uncreated light from the angel and that the combined intensity of light would cause the shadow against the wall. I had to admit even as I said it that my answer sounded contrived. Nevertheless, it did seem deliberate. Another Annunciation, shown below, has the same shadows.

He suggested an answer: Fra Angelico was a Dominican, and not a Franciscan. At this time the question of her Immaculate Conception had not been decided and the Dominicans did not accept the Immaculate Conception and were in dispute with the Franciscans over the issue. Perhaps Fra Angelico was making a theological point to the Franciscans, he suggested by dimming her light ever-so slightly. This was an ingenious suggestion, and I couldn’t say that it wasn’t what Fra Angelico had in mind. I certainly preferred it to my answer!

PS – I would like to draw people’s attention to a blog run by two Thomas More College students, which I think is interesting. It is called Incarnate Sensibilities. They write about things that stem from their studies here so delve into philosophy, theology and literature for example. They have just started an interesting series on the liturgy that might interest you, here.




6 responses

5 07 2010

Who is the figure standing over to the left? Clearly a Saint but which one?

5 07 2010

My guess is St Dominic. Fra Angelico was a Dominican and so he usually figures in there somewhere.

5 07 2010
jim janknegt

Thanks for choosing Fra Angelico for a post. I admire him greatly and hope to get to see San Marco in person some day. As an artist, I chose him for my patron saint when I converted to Catholicism. I always ask for his intercession before I begin to paint.

3 09 2010
The Symbolism in the Content of Fra Angelico’s Frescoes « The Way of Beauty

[…] This is the third short article about Fra Angelico and the gothic that have been written for the New Liturgical Movement. The second was last week, already referred to and the first is archived here. […]

24 10 2010
LC Weaverling

I was interested to encounter your posts on Fra Angelico. I am also an artist interested in this style of painting (and other work) that is neither quite Medieval nor quite Renaissance as a basis for my own work, seeking to reaffirm joy and beauty consciously and emotively rather conceptually or intellectually.

Keep on writing!!!

22 01 2011

Yesm Fra Angelico was an angelic painter and lived up to his name Brother Angelic in Italian.

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