Transformations of the Image of St Joseph in Early Modern Art

TRANSFORMATIONS OF THE IMAGE OF ST JOSEPH IN EARLY MODERN ART JANET ELIZABETH HOPE A thcsis submittcd in partial fulfilmcnt ofthc requirements of Birmingham City Univcrsity for thc degrcc of Doctor of Philosophy Birmingham City University Birmingham Institute of Art and Design Volume I Text Junc2011 BIRMi/\'r w l\V1 CITY I!'" '-qSITY 80(1'< I '36~ 1 311'2 Subject nl~"R ~ 10 1;. 'J /f.'isb 3 Ucy> LIBRARY ii ABSTRACT On studying the frescoes in the Convent of San Marco in Florence, similarities were observed between a fifteenth century image of St Joseph and contemporaneous images of the merchant banker Cosimo de' Medici. Due to the complete lack of any comprehensive research into the representation ofSt Joseph in Christian art no explanation or inference could be ascertained for the resemblance. Furthermore no inclusive work was found that specified, explained and chronicled the changes in the different styles of representation ofSt Joseph. This investigation will determine and chart the transformations in the image of St Joseph from the earliest occurrences up to the present day, concentrating on the medieval period to the conclusion of the Council of Trent as being the most dynamic phase in the changes. With the intention of contextualising and understanding the implications ofthe transformations, religious, cultural and societal factors and, where known, the circumstances of individual commissions, will be evaluated. Therefore the two aims of the thesis arc to fill a gap in art historical knowledge concerning images ofSt Joseph; and to prove that his growing importance to the Church can be seen and comprehended in the transformations the image ofSt Joseph has undergone. III iv To my husband Peter, my children Duncan, lain and Paulina, and my grandchildren Christopher, Susannah, Madeleine, Joseph, Hannah and Naomi. v vi Acknowledgements I would like to take this opportunity to express my gratitude to all those who enabled me to write this thesis and bring it to fruition. In particular I would like to thank my two tutors whose knowledge and expertise has inspired me throughout the eourse:- Emeritus Professor George T Noszlopy of the Birmingham Institute of Art and Design, Birmingham City University; and Fr Dermot Fenlon of the Birmingham Oratory, Hagley Road. I would also like to thank all those experts I have contacted for their interest and help:- Dr. Chara Armon of Comell University, Caroline Atkins at the National Art Library, Dr Anthea Brook at the Witt Library, Dr Jane Bridgeman, Professor David D' A vray, Droitwieh Library for their ability to find (with a smile) whatever book or article I have required; Professor Colum Hourihane of Princeton University, Professor John Lowdon at the Courtauld Institute, Paul Taylor of the Photographic Department of the Warburg Institute, Dr Peter Windows at Birmingham City University, and Sr. Ennio Gajo for not only allowing me the opportunity of viewing his private collection of seventeenth and eighteenth century paintings but also suggesting that I took a further look at work ofCima da Conegliano. Last but not least I would like to thank Dr Sue May for her encouraging emails! I would also like to express my gratitude to LYH Coatings Ltd, Birmingham for yet again allowing me full access to their computer and printing facilities; and last but not least to my husband Peter for financially and emotionally supporting me in this effort. VII viii Preface The mid fi fieenth century image of St Joseph in the fresco of the Adoration ofthe Magi (pI. I ) in Cosimo de' Medici's cell in the Convent of San Marco in Florence is striking in its novelty of location and in its resemblance to Cosimo. l Whilst investigating the possible reasons for the peculiarity of this particular painting it became apparent that there were many lacunae in the history of the image ofSt Joseph. Therefore investigating the images ofSt Joseph to determine if the Adoration of the Magi in San Marco was an isolated case or part ofa wider use of Joseph's image as a pictorial metaphor for cultural and spiritual issues was judged to be grounds for original research. There has been some analysis of the iconography of individual images ofSt Joseph since the inception of the Church but in general it has been a comparatively recent phenomenon and it has tended to be piecemeal. Concentration has been on discrete sections, whether paintings, mosaics, or sculptures. There has been no overall description or analysis of the developments in the portrayal ofSt Joseph. In fact few have examined the role ofSt Joseph from an artistic perspective and none have examined and charted his evolutionary development taken as a whole from the humble figure in the earliest inclusions to that of the iconic cult figure of Christ's earthly father and father of the Church. To appreciate who Joseph is it is necessary to have some acquaintance with the stories as told in the literary sources. St Joseph was the betrothed spouse of the IX Virgin Mary and the putative father of Christ. He appears in specific circumstances in two of the gospel accounts taken from the New Testament. These re late to the Ii fe of Christ. The Gospel ofSI Matthew recounts Christ's genealogy from King David and to Joseph2, Joseph's espousal to the Virgin Mary and the revelation of her pregnanc/, the angel of the Lord appearing in a dream telling Joseph to take Mary as his wife and to name the child Jesus4, the Nativity in Bethlehem and the Adoration of the Magi', the angel of the Lord appearing to Joseph in another dream telling him to take his family and escape the wrath of 6 King Herod by fleeing to Egypt , and a further dream in which the angel tells Joseph that Herod is dead and that he Mary and Jesus can safely return to 7 Nazareth • The Gospel of SI Luke relates that Mary is espoused to a man named 9 Josephs; it reports their travelling from Nazareth to Bethlehem , the Nativity in JO J J2 Bethlehem , the Adoration of the Shepherds J, the Presentation in the Temple , the Passover celebration in Jerusalem twelve years later when Jesus was lost and i3 eventually found by Joseph and Mary in the temple discoursing with the priests , and lastly in the reverse order to that given by St Matthew Joseph's genealogy from Joseph through to "Adam, which was the son ofGod"J4. Joseph can be found also in a number of Apocryphal accounts of Christ's life including the J5 J6 Protoevangelium of James , the infancy Gospel of Thomas , the Gospel of the H Pseudo-Mallhev.P, the Gospel of the Nativity of Mar/ , the History ofJoseph the J9 Carpenter , and the Arabic Gospel of the infancy of the Saviour2o. The Gospels and the Apocryphal texts were the two major sources of inspiration for artists though the writings of saints, doctors of the church and theologians influenced the manner in which the accounts summarized above were interpreted. x The construal of St Joseph in art is both remarkable and problematical. From the evidence the artistic awareness of the magnitude of his role was gradual. Initially St Joseph would be included as a modest figure at the Nativity crowded in at the edge of the scene: the humble man who could be easily mistaken as one of the shepherds. Or he would be shown in diminutive form seated somewhere along the base line of the picture usually facing out towards the viewer. As thc years passed and Joseph's station gained in credence and prominence and his position became more central to the teaching and spirituality of the Church accordingly his size, pose, location and demeanour altered. There are specific differences in the understanding ofSt Joseph's role and function; these are signalled through the manner of his artistic interpretation: St Joseph the humble spouse and putative father, St Joseph the carer and provider, St Joseph the exemplar and eventually St Joseph the cult figure. On 8th December 1870 when Pope Pius IX declared St Joseph to be Patron of the Universal Church the Catholic Church officially acknowledged the authority of St Joseph as universal father, protector and mediator. By this time representations of Joseph had come to depict him as a man to espouse devotion, a man of importance, a man of great gentleness and a man of authority. The designation 'Early Modem' has been employed in the title of this thesis to eradicate confusions ofnomenclature and enable contextualisation of the eventual conclusions. However where the term Renaissance is used it will be in reference to the period from Giotto's active phase starting around 1300 to the death of XI Michelangelo in 1564. This period is significant to this investigation as it will be argued that it includes some of the major transformations in the manner of representing Joseph. A study ofSt Joseph within European culture during the period under examination requires an expansive approach; for as much as religion is a cultural phenomenon, affected by and affecting every a~pect of daily life, Joseph's position and function has to be similarly treated and its effect expressed within a broad cultural, social and economic context. During the two hundred and sixty four year period delineated above a~ the pivotal period for the research there were many upheavals in Europe of which some manifestation was wrought on the artwork of the time. Not least the Chureh underwent major dislocations including the Great Western Schism of 1378 - 1417; and its move from Italy to France resulting in there being rival popes in Rome and Avignon.21 The Anglican Church was established during the early years of the fifteenth century as was the Protestant Church in Germany.

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