On the representation of emotions
Year mention: 1564
Subject:
Conversion of St. Paul ; Emotions ; Transfiguration
Conflict:
Judging art
Criticism:

Representation of emotions

Agent:
Gilio, Giovanni Andrea
Master of the Die, after Raphael, The Transfiguration of Christ who appears upper centre, below him various figures including the Apostles, 1530–60
Metropolitan Museum of Art, New York, www.metmuseum.org

In this section of the text, the participants talk about the polymorphic representation of emotions. In doing so, the artist can draw on creative means such as colours, gestures, and habitus. In addition to some ancient examples, he also cites two contemporary works as successful models. One is Raphael’s “Transfiguration” (1516/20), and the other is Michelangelo’s “Conversion of Saint Paul” (ca. 1542/1545). (Gilio 2018, fig. 10,14,15)

“Speaking again, M. Silvio said: ‘[…] Although these are precepts intended for poets introducing various characters into their comedies or tragedies or other poems, nevertheless, if rightly considered, they’ve fit painters too; because with their colors (painters) can represent all the natural effects in face, gestures, in every other human actor the poets can represent with their pens. […] To the painter it will perhaps seem difficult to use his colors to express joy, melancholy, lanquor, audacity, shyness, laughter, tears, and other passions of the soul in his figures. But if he thinks about the matter correctly, taking into account the power of the art of painting, he will find that this can be done both pleasingly and easily. […] But why do I go on borrowing examples from the ancients when there are so many by Michelangelo and Raphael in Rome? Raphael, in the Transfiguration, which is now to be seen in San Pietro in Montorio, painted an old man who brings his possessed son to the Apostles. (The old man) appears hardly able to work and shows in his face the great suffering he is going through on the account of his son’s illness. And the son himself, with his strained movement [atto sforzato], swollen throat, and distorted hands, as is characteristic of those afflicted in this way, appears to refuse to approach the Apostles. What can one say about Michelangelo’s bearded Saint Paul? Does he not appear to show ecstasy, terror, stupor and to be out of his mind following the great event that has happened to him? And in order not to go on recounting every example, it is enough to finish by saying that the excellent painter will easily know how to express the appropriate gestures suitable to every passion and every occasion. But any painter who represents dose just as clumsily will be mediocre, then it would be appropriate to apply to him Horace’s description of those who cannot convey well the emotions of the characters they introduced to their fables: […] Everything I have said belongs so much to the substance of a history that the artist who does not take notice will produce works more worthy of derision than of admiration’. “

“Ripigliando il parlare, M. Silvio disse: ‘[…] Ancor che questi sieno precetti dati a’ poeti, i quali ne le loro comedie o tragedie o altri poemi introducono diverse persone, convengono nondimeno, se rettamente sono conside rati, a’pittori ancora, perché possono coi colori quelli naturali effetti ne la faccia, ne’ gesti et in ogni altro atto umano mostrare, che dimostrano i poeti con la penna. Et a questo propogito l’istesso poeta poco di sotto soggionge: […] Parrà per aventura al pittore grave di fare isprimere a le figure coi colori l’allegrezza, la malenconia, la languidezza, l’audazia, la timidità, il riso, il pianto e l’altre passioni de l’animo. Ma se rettamente considera il caso e la forza de l’arte, troverà che vagamente et agevolmente far si possono. […] Ma che vo io mendicando gli esempi degli antichi, avendone in Roma tanti di Michelagnolo e di Raffaello da Urbino? il quale ne la Trasfigurazione ch’ora si vede in San Pietro Montorio dipinse un vecchio che mena il figliuolo indemoniato agli Apostoli, che par proprio che condurre nol possa e dimostra ne la faccia e negli atti la pena grande che ha del male del suo figliuolo; et il fanciullo con atto sforzato, con la gola gonfia, con le mani storte, come sogliono fare i vessati da simil male, par che refiuti gire agli Apostoli. Che diremo del San Paolo abbarbagliato di Michelagnolo? non par egli che dimostri l’estasi, il terrore, lo stupore e l’essere fuor di sé, per il grande accidente che occorso gli era? E per non ire raccontando tutti gli esempi, basta a concludere che il pittore eccellente facilmente saprà isprimere i gesti convenevoli e proprii ad ogni passione et ad ogni fortuna. Ma quel pittore che goffamente dimostrerà quei gesti, sarà da dozzena e se li converrà quello che Orazio diceva di coloro che mal sanno isprimere le passioni a le persone che introducono ne le lor favole: […] Tutto questo ch’io ho detto è tanto convenevole a la sostanza de l’istoria, che quello artefice che di osservarlo non si curerà, farà le sue opere più tosto degne di riso che di maraviglia’.”

Quoted Authorities

Horace, Ars Poetica
Cicero, Orator
Pliny the Elder, Naturalis Historia

Model to follow

Horace, Ars Poetica
Timanthes
Aristides the Theban
Raphael, Transfiguration, 1516-20
Buonarroti, Michelangelo, Conversion of St. Paul, 1542-45

Keywords
Conversion of St. Paul, Representation of emotions, Transfiguration

Artist
Raphael
Buonarroti, Michelangelo
Beatrizet, Nicolas

Date mention
1564

Date artwork
1516/20; ca. 1542-1545
Historical Location

Vatican City, Vatican Palace
Rome, San Pietro in Montorio


Current Location
Vatican City, Vatican Palace; Vatican City, Vatican Museums
Type of Object
painting
fresco


Iconclass Number
73C71; 73F221; 56

Source
Gilio, Dialogue on the errors and abuses of painters (2018), 117-119; Gilio, Dialogo. Nel quale si ragiona degli errori e degli abusi de’pittori circa l’istorie. In: Due dialogi di M. Giouanni Andrea Gilio da Fabriano (1564), 26-30
Literature

Gilio 2018, 117-119, n.94-100, fig. 10, 14, 15

Permanent Link
https://www.sacrima.eu/case/on-the-representation-of-emotions/