The Timeken Museum of Art

at heart the Timken M implementum of Art there is a video, a house picture that represents the dilemma within the life of a saint. Giovanni Girolamo Savoldo calls this painting The confuse of Saint Anthony. Savoldos painting is framed along a skirt of put down and dark red arrows with artificial and natural light from above. Within this airy space deemed The Walter Fitch III Room this painting is surrounded by various art tacks from around the world most of which ar religious art pieces. Though each of these paintings are very erratic and have much to offer the focus of this essay will be on that of the painting known as The Tor ment of Saint Anthony.Starting his painting in 1508 Savoldo set out to create an indication of St. Anthonys chew up in his own unique way. This 27 3/847 in. painting describes St. Anthony fleeing from the torment of demonic instruments and evil spirits as he attempts to reach a land of pleasantry and peace. These Treacherous instruments in the in good order attribute of the painting are depicted similarly to the demonic creatures in Hieronymus Boschs painting, The Garden of Earthly Delights. In the bottom salutary shell out of the painting there are ii creatures inside a amphitheater near a boiling kettle that contains a human topic inside it.This could be a representation made by Savoldo of a possible result of what happens if one does not repent ones sins and cannot break these demons. The entire right portion of this art piece is a representation of Hell and all it has to offer. The burning civilization or town in the right background displays the confines in which demons, evil spirits, and those who must suffer with them dwell. The right foreground seems to be a possible gate to this demonic place and this is the part of the painting with the most action victorious place.Bird Creatures are eating humans, a half bull, half bird creature is carrying another creature with a sack of human body parts, and a sh ip in an illuminated hollow tunnel has burning men all over it. While all these creatures loath, eat, and suffer, St. Anthony is trying desperately to escape the confines of these demons and evil spirits. Saint Anthony, a man who gave all his riches away to devote his life to prayer, was tormented for much of his life by these demons and evil spirits sent to him by the Devil. Savoldos painting represents Anthonys constant truggle in great artistic detail and is a painting that brings those struggles to life. In the bottom left portion of this painting St. Anthonys work force are clasped in prayer as he moves to a agricultural land where light shines in. He seems to have escaped yet the emotions on his face depict a fear or uncertainty that he will be unable to escape the torments completely. In the middle f number part of the painting a cave dwelling ape creature points a spear towards St. Anthony. This could represent the inescapable reality that St.Anthony will never truly be free of these demons and creatures. In the background of the left portion of the painting Savoldo uses atmospheric perspective to create depth to the painting. In the distance, tail end St. Anthony, there is a monastery. This monastery is said to be a reminder that St. Anthony is the receive monasticism. Savoldo used many colors given the fact that his painting consisted of two very different scenes with a very interesting middle transition. His use of light is very effective and he shows some true science when creating his painting.The cave tunnel with the ship, for example, was very difficult to create an illumination of light yet Savoldo did it outstandingly. His use of light from the left portion of the painting to the right proves his professionalism and his ability to create effective transitions. The piece is framed at plaza level and the best place to stand is directly in seem of it in order to see the entire piece for what it is worth. I chose this piece by Savoldo bec ause when I saw it, it immediately grabbed my attention. Seeing this piece in person made me looking at as if I could stay in the museum all day and stare at it, think about it, and applaud it.I enjoy this piece because it creates a physical, visual event that otherwise wouldnt be seen by reading the story of St. Anthony. Author of the article, Savoldo and zero(prenominal)thern Art, Michael Jacobsen in the book, The Art Bulletin, stated that, the right half of the Torment of Saint Anthony represents a Hellscape much in Boschs manner, while on the left, beyond the pile of earth that divides the picture, is a more conventional northern Italian landscape. St. Anthony flees into this practice world, with a backwards glance at the spectral scene he leaves behind. In the book, Timken Museum of Art, it is stated that, Savoldos painting is a free interpretation of the physical account of Anthonys Temptations. The literature further explains, He seems to reinterpret the sure source so that the event takes place, not in the original cave setting, but in the natural world he so relished to be depict. With these alterations Savoldo creates a unique vision that catches a many attention and creates a piece that differentiates itself from the many other depictions of St.Anthony by many artists. I feel that actually visiting a museum and looking at art helps to take account it more. Seeing these art pieces that have withstood time is interesting and this unique painting by Savoldo shows that though the world is constantly changing there are some things that live forever. With my visit to the Timken Museum of Art I have survive more appreciative of the world of art. Bibliography Michael A. Jacobsen, Savoldo and Northern Art, The Art Bulletin Vol. 56, No. 4 (Dec. , 1974), pp. 530-534, http//www. stor. org/stable/3049299 Hal Fischer/Fonia W. Simpson, Ed. , Timken Museum of Art European Works of Art, American Paintings, and Russian Icons in the Putnam Foundation Collec tion (San Diego, CA Putnam Foundation, Inc. , 1996) 53-57 David Alan Brown Sylvia Ferino Pagden Jaynie Anderson Barbara Berrie, Bellini, Giorgione, Titian, and the Renaissance of Venetian painting (Washington National Gallery of Art Vienna Kunsthistorisches Museum, in connection with Yale University Press, New Haven and London, 2006) 136-139