Last weekend, our class took a trip to the Art Institute of Chicago for the chance to see some Renaissance paintings in person. It’s been said a thousand times before, but it’s always true: seeing a work in a textbook or on a computer screen doesn’t compare to the real thing. Seeing the size, brushstrokes, and true color of a painting is a great experience, especially if you’ve already spent time admiring a digital copy.
Like with any museum trip, it was a struggle choosing what to see in what feels like way too short a time. Exploring the whole museum would probably take several days, but we did what we could with one afternoon. Upstairs, gallery after gallery was filled with beautiful Renaissance paintings. I think that I could have stayed in that space alone for easily another hour.
I found myself particularly drawn to a series of paintings by Giovanni di Paolo illustrating the life of Saint John the Baptist. Because of the period, place, and artist’s style, I think that these paintings make a great addition to what we’ve been looking at in our class so far. The series contains 12 tempera paintings on wood panel, each made between 1455-60. It’s believed to have originally been part of a structure that contained a relic.
Saint John the Baptist Entering the Wilderness
John the Baptist was a prophet and (surprise) a Baptist. More specifically, he was the one who baptized Jesus and recognized him as the Son of God. The panels displayed at the Art Institute begin with a depiction of Saint John entering the wilderness, and progress through his beheading. Six of these belong to the Art Institute and were on display last weekend; the others are housed in various locations across Europe.
The Head of Saint John the Baptist Brought before Herod
This last painting from the series is particularly interesting (and a little gruesome). It shows the saint’s head being presented to King Herod after his execution. After his brother died, King Herod married his widow, which Saint John openly criticized him for. The new wife’s daughter, Salome, danced for he king, and apparently had some amazing moves. Herod was so pleased that he agreed to meet any request she made. She asked her mother for her opinion on the matter, and she suggested that Salome request John’s head.
Giovanni di Paolo is certainly not known for painting happy scenes, and we can see why here. Not only is the subject matter grim, most of the subjects look completely agonized. Interestingly, two distinct points in time are actually represented in this painting. The same figure is shown carrying the head on a platter through a doorway, and kneeling before the king to present it. Like many artists of his time, Giovanni has laid out a grid for the painting in the form of floor tiles.
Giovanni di Paolo (c. 1403-1482) was a painter from Siena who became fairly well known during his lifetime. It’s likely that he was one of Taddeo de Bartolo’s students. He originally worked as a manuscript illuminator before being commissioned to paint altarpieces for local monasteries. The solemn characteristics in many of his paintings have earned him a reputation as an artist who shied away from the changes of the Renaissance. While some of his choices may be seen as somewhat old fashioned, his overall body of work shows many of the techniques birthed in the Renaissance.
Renaissance Reconsidered 
Woah! St. John the Baptist was a baptist?!? that is some shocking news. Ah, just kidding, but on a serious note, I too was very moved by (and just fascinated with in general) the panel paintings depicting St. John’s life. Its a bit perplexing how the last painting, “The Head of Saint John the Baptist Brought before Herod,” is far less dark than the first painting in the series, “Saint John the Baptist Entering the Wilderness.” Perhaps di Paolo used his chose of color and mood to portray the thoughts and feelings of the people illustrated in these pieces. The use of grays, and dark colors represents the struggles of aloneness and fear St. John felt while in the wilderness. The Bright, crowded, joyful sense of the people depicted in the beheading scene, juxtaposes the horror of St. John’s severed head so casually laying on the table. That painting in particular highlights the pure evil of King Harrod and the effect he had on many innocent lives–more than just Christ. I actually had never heard that story before so thank you for sharing!