Mock Art Exhibition – Pestilence, Priests, and Paintings: Escapism of the 15th Century – Sirena Renfrow

Several of the most influential, prominent art pieces come from the 15th century. Michelangelo, for example, has produced many intricate and well-known pieces, such as The Creation of Adam. While these pieces are acknowledged as great works of intellect, they were created during a time of considerable hardship. A plethora of 15th-century art pieces are known for their surreal, almost comical or fairy-tale, or fantasy scenes. This may appear odd as 15th-century society is usually characterized as less liberated and free than modern society; adhering to strict moral codes. But, the source of these elaborate, fantastical themes may come down to the less-than-favorable social and economical climate of the 15th century. According to the University of Wisconsin-Green Bay, the 15th-century artists “were still considered craftsmen – and therefore socially removed from gentlemen” (Malloy). Along with their low, albeit rising social status, the 15th century faced the impacts from various world events, such as the Hundred Years War and the Black Death. These events had a notable impact on moral and daily life and provide a stark contrast to the scenes depicted in various artworks. Overall, this exhibition aims to explore how the fantastical, whimsical nature of 15th-century artwork was a reflection of and escape from daily life.

One of the first works included in this exhibition is Unicorn in Captivity. Unicorn in Captivity is a rich, vibrant tapestry that depicts a unicorn chained to a pomegranate tree within an enclosure. The background of the piece is a dark forest floor overgrown with various wildflowers (Harris & Zucker). Created sometime from 1495 to 1505, Unicorn in Captivity is from a collection of tapestries known as The Hunt of the Unicorn. They narrate “exquisitely dressed noblemen with a team of huntsmen and hounds who pursue a unicorn through a flowering forest. The creature is found, slain, carried to a castle, and, in the series’ famous final panel, resurrected, resting in a garden within a circular fence” (Jow). The true meaning of the piece is unknown, but historians speculate that it may have been created to commemorate a marriage. The unicorn remains the most critical symbol in the tapestry; a unicorn represents a pure, elusive creature and in some instances, Christ. The unicorn may represent some higher ideal the artist wished to capture– a pure, holy, and jubilant creature. According to Tiffany Jow from Artsy, the chain connecting the unicorn to the pomegranate tree is a “symbol of true love” (Jow). Often, Unicorn in Captivity is interpreted to mean love and unity– the unicorn is surrounded by fertile, blooming soil and seems to be happy in its enclosure. As the 1400s came in the wake of catastrophe, the artist may have wanted to accentuate the greater ideals of love and fruitfulness. Notably, the entire series of tapestries documents the hunt for the unicorn; perhaps a sort of allegory for the metaphorical hunt for salvation and love during a dark time. The last tapestry in the series, Unicorn in Captivity, is the final paradise: the unicorn is successfully caught, flowers bloom, and the background appears serene. Obviously, though, the unicorn is not an existent creature and Unicorn in Captivity serves as a reminder that the hunt for peace remained in vain.

The next piece, The Garden of Earthly Delights, is an elaborate triptych from Hieronymus Bosch that reflects the tumultuous period and search for pleasure. Commissioned sometime from 1490 to 1500, Bosch’s piece is complex and features an overabundance of symbols and themes; briefly, Earthly Delights symbolizes “wild ecstasy and weirdness of lust” (Gotthardt). The inside of the triptych is separated into three sections: the first section shows God introducing Eve to Adam in a lush garden surrounded by animals and strange creatures. The second section illustrates “the offspring of Adam and Eve, gamboling freely in a surrealistic paradisiacal garden” (Hickson). The final section portrays Hell, a dark, tortuous landscape where the offspring from the utopian sections are now punished by strange, demon-like creatures. In the second section of the piece, a group of nude figures tangle themselves together and feast upon an oversized strawberry (Hickson). This scene, along with the rest of the imagery in Bosch’s piece, is a clear symbol of lust and fertility. Gotthardt explains that the “paradise” side of the piece embodies “God’s Old Testament instructions to ‘be fruitful and multiply’’” (Gotthardt). The Hell section further shows Bosch’s references towards lust and other sins; a large pair of ears stabbed with a knife can be interpreted as “a powerful allusion to the deceptive lure of the senses” (Hickson). As the previous Black Plague had eradicated Europe’s population, there’s the possibility that Bosch was relating this to God’s instructions. Moreover, Bosch has also included a “dusky, humorously bizarre hellscape” in the final panel (Gotthardt). Bosch was ultimately referencing how hedonism and bliss lead to suffering; that the folly of man is the pursuit of pleasure. In a way, Bosch’s piece gives off a sense of bitter cynicism; a disdain for something unattainable during this period. Perhaps the only way to comfort oneself from the lack of something is to hate it.

Next, Adoration of the Mystic Lamb further reveals the struggle for hope during the 15th century. A piece of the larger work, the Ghent Altarpiece, finished in 1432 and commissioned by a wealthy merchant for the church. Adoration of the Mystic Lamb tells the story of salvation: the lamb, a personification of Christ, bleeds into a sacred chalice while angels watch and ‘quote’ (Crouch & Stökl). The lamb stands on an altar with the phrase, “Here is the Lamb of God, who takes away the sins of the world” (Hickson). The setting of the piece is New Jerusalem, a sacred place discussed in the Bible where streets are jeweled and its citizens experience true salvation (Crouch & Stökl). A delicate fountain is situated at the bottom of the piece, often thought to be a depiction of The River of Life (Crouch & Stökl). The entirety of the piece represents optimism or hope; the desire for a revelation and the lamb remains a vessel unto tranquility. The title of the piece, adoration, evokes the impression of fearful awe. The artists and the audience during this time may have desired for salvation and higher power to provide relief. New Jerusalem could provide therapeutic escapism, allowing the viewer to dream of a place where the issues of the 15th century were absent.

Lastly, The Torment of Saint Anthony by Michelangelo also lends to the idea that much of the art created during the 15th-century was a product of suffering. The Torment of Saint Anthony was one of Michelangelo’s first pieces and depicts Saint Anthony the Great as he is tempted by a group of demons (Michelangelo.net). Saint Anthony floats, suspended in air, while a collection of nefarious creatures pull at him. Michelangelo’s piece is based on a print from Martin Shnonguar, and the story of Saint Anthony the Great is not a recent one (Michelangelo.net). But why Michelangelo chose to depict this story specifically when a print already existed can be related to the social climate of the 15th-century. The title and subject matter of the piece can reflect how Michelangelo may have been feeling–tormented. Saint Anthony appears burdened while a group of demons weighs him down, but he looks forward with “deep empathy and a sense of hope that he will reach his destination” (Michelangelo.net). Similar to the sentiment of other pieces from this time, The Torment of Saint Anthony depicts instant suffering, being unhappy with the current situation presented, as Saint Anthony is tormented by the apparitions of the Devil. Yet, the message of hope continues to linger, Saint Anthony and the artist look forward and daydream when the adversity and hardship may pass.

In conclusion, much of the light-hearted, jovial artwork of the 15th century was a form of projection and escapism. Firstly, Unicorn in Captivity symbolizes the hunt and capture of true love and comfort. Next, The Garden of Earthly Delights reflects the desire and eventually contempt for pleasure and excess. Then, Adoration of the Mystic Lamb provides a sense of justice and hope towards a better existence. Finally, The Torment of Saint Anthony furthers the sense of torment felt by the artist and citizen of the 15th-century. Keywords in the titles of each piece seemed to echo the search for a greater existence: captivity, desires, adoration, and torment. Consider the possibility that the great artists of the 15th-century held onto much darker emotional turmoil than what their art displayed to the world.