Mixed Emotion and Spiritual Perfection in Abraham Bloemaertâs Sylva anachoretica of 1619

Walter S. Melion

Chapter 12 Mixed Emotion and Spiritual Perfection in Abraham Bloemaertâs Sylva anachoretica of 1619

äºMotus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500â1700

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Walter S. Melion

Walter S. Melion
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DOI:: https://doi.org/10.1163/9789004694613_013

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Abstract

The affective conjunction of fear and joy, and the complex layering of other discrepant emotions, are characteristic of the eremitical life of the desert Fathers, as portrayed by Abraham Bloemaert in the series of fifty desert Fathers and Mothers that illustrate Joannes Risius (Ryser), S.J.âs Sylva anachoretica (Anachoretic Woodland) of 1619. Ultimately based on Heribert Rosweyde, S.J.âs ât Vaders boeck (Book of the Fathers) of 1617, Bloemaertâs pregnant images, like Risiusâs textual digests, distil the complex emotional life of the Fathers, their constant struggle to control multifarious, often contrary feelings, and their heroic efforts to subdue these emotions as they strive to achieve a state of contemplative repose. Engendered by the many trials and tribulations they encounter in the desert â a hell on earth that their hard-won sanctity converts into a foretaste of paradise â their bodily expression of mixed emotion signals the precise moment when fear of the Lord turns into joy and, in the words of Psalm 125, what is sown in tears is harvested in felicity. In bodying forth the admixture cum transposition of sorrow into joy, Bloemaert adapted the criteria for portraying sorrow codified by Karel van Mander in his Grondt der edel, vry Schilder-const (Foundation of the Noble, Free Art of Painting): Van Mander presents sorrow as a compound of pity, fear, and heaviness of heart shading into desolation of the spirit like unto sickness or death. And yet, Bloemaert also follows another of Van Manderâs figural canons, assimilating every anchorite to that graceful form of serpentine contrapposto which the Grondt canonised as the most perfect of bodily attitudes. The affective complexity of the Sylva anachoretica, in that it exemplifies the struggle to attain spiritual perfection, jointly exemplifies the perfection of Bloemaertâs art.

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Motus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500â1700

ä¸ç¼ï¼ Intersections, å·ï¼ 90

ISBN:: 9789004694613

åºçç¤¾:: Brill

å°å·åºçæ¥æ:: 08 Nov 2024

Subjects

Front Matter

Part 1 Portraying Mixed Emotions in the Literary Arts

Section A Mixed Emotions in Dutch and Latin Drama

Section B Mixed Emotions in Neo-Latin and French Poetry

Section C Mixed Emotions in Prose Literature

Part 2 Portraying Mixed Emotions in the Visual Arts

Section A Mixed Emotions in Image-based Spiritual Exercises

Section B Heuristic and Sanative Images of Mixed Emotions

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Chapter 12 Mixed Emotion and Spiritual Perfection in Abraham Bloemaertâs Sylva anachoretica of 1619

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Motus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500â1700

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Chapter 12 Mixed Emotion and Spiritual Perfection in Abraham Bloemaertâs Sylva anachoretica of 1619

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Motus mixti et compositi: The Portrayal of Mixed and Compound Emotions in the Visual and Literary Arts of Europe, 1500â1700

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