But does it? No, it is merely much closer to our own time and free from
references drawn from anything outside itself.
The pleasure that we feel in this painting comes from Renoir’s own joy in
the scene and his mastery of color, characterization, and composition—a
composition that leaves a place at the table for us, the concave opening in
front. Everything combines to convince us that we, too, are included in this
long-ago gathering of friends. The red-orange color throughout the painting
is used like a thread to weave the scene together into a tapestry. The grouping
of ¿ gures also makes as feel us if we are a part of this world.
We have been using these examples of European art to provide a foundation
for looking at the hundreds of works of art that this course will present. I
have tried to suggest what pleasures lie in store for us, and in the process,
I hope that I have hinted at my conviction that art is important, something
that when properly seen and considered and felt, can change our lives
for the better. Ŷ
St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims (The
Épernay Gospel), c. 816–835, ink and colors on vellum, 10 ¼ x 8 ¾”
(26 x 22.2 cm), Bibliothèque Municipale, Épernay, France.
Bernini:
Apollo and Daphne, 1622–25, marble, 8’ H (24 m H), Galleria Borghese,
Rome, Italy.Caravaggio:
St. Matthew and the Angel (destroyed), c. 1600–01, oil on canvas,
7’ 7 ¼” x 6’ (2.31 x 1.82 m), for the Contarelli Chapel, Church of S.
Luigi dei Francesi, Rome, Italy.
St. Matthew and the Angel, prob. 1602, oil on canvas,
9’ 8 ¾” x 6’ 2 ½” (295 x 195 cm), Contarelli Chapel, Church of S. Luigi
dei Francesi, Rome, Italy.Works Discussed