Transcript Pictor Ignotus - A Level Literature at Keswick School

Pictor Ignotus
What do we know about this poem?
What does the title tell us?
Context
Set in the Renaissance,
in Florence
(subheading: Florence
15-)
Florence was the
‘birthplace’ of the
Renaissance
14th – 17th century cultural movement
Resurgence of interest in classical Latin
and Greek texts, artwork and languages.
It influenced scientific method, politics,
architecture, art and literature.
Began in Italy and spread out through
Europe.
Art
Patrons: sponsors of art,
•Leonardo
e.g. The Medici in
•da Vinci
Florence (birthplace of
•Botticelli
the Renaissance). Much
•Raphael
of the art was
•Michelangelo commissioned by or in
•Donatello
dedication to the
Church.
The Renaissance
Religion
Reformation: a break with
the RC church (Martin
Luther - 1517 – criticised
its indulgences and
corruption; taught that
salvation could not be
earned or bought but only
given by God)
Science
Development of the
scientific method:
•Copernicus
•Galileo
Art in the Renaissance
Religious art was commissioned on a grand scale, and by private individuals.
‘Patrons’ commissioned artists to produce art regularly, e.g. The Medici family
of Florence. Art patronage was especially important in the creation of religious
art. The Roman Catholic Church and later Protestant groups sponsored art and
architecture, as seen in churches, cathedrals, painting and sculpture. Patrons
would often decide what the paintings were to depict, as well as what materials
were to be used to create them.
This dedication to art meant that painting styles evolved and a greater
understanding of perspective and light was gained, leading to more realistic
pieces being created.
However, the commissioning of religious art for places other than churches,
combined with the influence of the Classical world, meant that iconography
started to change, e.g. the use of Greek and Roman gods in Christian art.
Painting for individuals meant that religious art was becoming, “for garniture
and household-stuff” (51).
Raphael
1483 –1520
Renaissance Painter
Italian ‘Great Master’
“I could have painted pictures like that youth’s / Ye praise so.”
Most of Raphael’s works are in
The Vatican: the frescoed
Raphael Rooms were the largest
work of his career.
Cabinet Paintings:
Small paintings
kept in a small,
private room (a
‘cabinet’) and
shown only to
close friends
He painted altarpieces, frescoes
and other pieces for churches,
as well as ‘cabinet paintings’ for
rich collectors of art. He lived
the last twelve years of his life in
Rome, where he worked for two
Popes and their close associates.
1472 - 1517
Italian, Florentine High Renaissance
painter of religious subjects.
Fra Bartolommeo
Line 41’s ‘voice’
Late 1490s: drawn to the teachings of Fra Girolamo Savonarola,
who denounced what he viewed as vain and corrupt contemporary
art. Savonarola argued for art serving as a direct visual illustration
of the Bible to educate those unable to read the book.
1500: became a Dominican friar and renounced painting until 1504.
1507: became friends with
Raphael. From him, he learned
perspective and the
representation of light over
moving shapes. Raphael, in
turn, improved his colouring
and handling of drapery.
Fra Bartolommeo’s surname
was unknown and he was
often called ‘il Frate’ (the
Friar)
Browning presents the reader
with an image of what a man
such as Fra Bartolommeo may
have been like, stressing his
timidity and portraying him as
considering heaven and
worldly success as two
mutually exclusive ambitions.
‘Pictor Ignotus’
The Victorians and the Renaissance
The Classical period was seen as a reflection of British
society: the political, cultural and social ideal. This
dream was represented through artwork.
What do we know about Victorian art?
• great excess of ornament
• eclectic use of historic styles, including those of the Renaissance
• public and private space separated
• ‘Renaissance revival’ architecture and art
• status symbol: art indicative of wealth and status
• the majority of art in the period was funded and therefore controlled by
patrons; this moved from the church to other institutions such as the Royal
Academy and then between art galleries and wealthy, private individuals
• Art in Victorian Britain was made for and controlled by the wealthy and
powerful
Language and Imagery
Use the questions on your sheet to help you
consider the effect of Browning’s use of
language and imagery in this poem.
Rapture: intense pleasure
Garniture: set of decorative vases
Travertine: limestone
Trump: trumpet
I could have painted pictures like that youth’s
Ye praise so. How my soul springs up! No bar
Stayed me—ah, thought which saddens while it soothes!—
Never did fate forbid me, star by star,
To outburst on your night, with all my gift
5
Of fires from God: nor would my flesh have shrunk
From seconding my soul, with eyes uplift
And wide to heaven, or, straight like thunder, sunk
To the centre, of an instant; or around
Turned calmly and inquisitive, to scan
10
The license and the limit, space and bound,
Allowed to Truth made visible in man.
And, like that youth ye praise so, all I saw,
Over the canvas could my hand have flung,
Each face obedient to its passion’s law,
15
Each passion clear proclaimed without a tongue:
Whether Hope rose at once in all the blood,
A tip-toe for the blessing of embrace,
Or Rapture drooped the eyes, as when her brood
Pull down the nesting dove’s heart to its place;
20
Or Confidence lit swift the forehead up,
And locked the mouth fast, like a castle braved,—
O human faces! hath it spilt, my cup?
What did ye give me that I have not saved?
Nor will I say I have not dreamed (how well!)
Of going—I, in each new picture,—forth,
As, making new hearts beat and bosoms swell,
To Pope or Kaiser, East, West, South, or North,
Bound for the calmly satisfied great State,
Or glad aspiring little burgh, it went,
Flowers cast upon the car which bore the freight,
Through old streets named afresh from the event,
Till it reached home, where learned Age should greet
My face, and Youth, the star not yet distinct
Above his hair, lie learning at my feet!—
25
30
35
Oh, thus to live, I and my picture, linked
With love about, and praise, till life should end,
And then not go to Heaven, but linger here,
Here on my earth, earth’s every man my friend,
The thought grew frightful, ’twas so wildly dear!
But a voice changed it. Glimpses of such sights
Have scared me, like the revels through a door
Of some strange house of idols at its rites!
This world seemed not the world it was, before:
Mixed with my loving trusting ones, there trooped
. . . Who summoned those cold faces that begun
To press on me and judge me? Though I stooped
Shrinking, as from the soldiery a nun,
They drew me forth, and spite of me . . . enough!
40
45
These buy and sell our pictures, take and give,
Count them for garniture and household-stuff,
And where they live needs must our pictures live
And see their faces, listen to their prate,
Partakers of their daily pettiness,
Discussed of,—“This I love, or this I hate,
This likes me more, and this affects me less!”
50
55
Wherefore I chose my portion. If at whiles
My heart sinks, as monotonous I paint
These endless cloisters and eternal aisles
With the same series, Virgin, Babe, and Saint,
With the same cold calm beautiful regard,—
At least no merchant traffics in my heart;
The sanctuary’s gloom at least shall ward
Vain tongues from where my pictures stand apart:
Only prayer breaks the silence of the shrine
While, blackening in the daily candle-smoke,
They moulder on the damp wall’s travertine,
’Mid echoes the light footstep never woke.
So, die my pictures! surely, gently die!
limestone
60
65
O youth, men praise so,—holds their praise its worth?
Blown harshly, keeps the trump its golden cry?
Tastes sweet the water with such specks of earth?
70
Imagery: Religion
Browning uses lots of religious imagery throughout the poem.
This is also reflected in the image he creates of celebrity in lines 4243.
“Glimpses of such sights
Have scared me, like the revels through a door
Of some strange house of idols at its rites!”
What religious imagery is used here?
How can we link this to the contextual information you were given?
What effect/theme does this create?
Form
Dramatic monologue: the silent listener is there
for the speaker to construct his argument against
How does the poem develop as we read it?
What is the effect of the final few lines on our
opinion of the speaker? (i.e. what is the form of
the dramatic monologue revealing to us?)
Structure
• Iambic pentameter
• Regular rhyme scheme: ababcdcd
Why is this effective? What does it suggest about
the speaker?
• Half rhymes: e.g. ‘blood/brood’ (17/19)
‘regard/ward’ (61/63)
What effect do these have? What do they suggest
about the speaker?
Final Judgement
Browning presents a coward who has failed and is trying to
justify his failure.
and/or
Browning presents a creative man who appears to have
failed but has made a moral choice.
and/or
Browning is writing about himself.