Saint Sebastian: Guido Reni vs El Greco
I've focused on the theme of Saint Sebastian, choosing two paintings with this subject: Reni’s "St Sebastian" (1619), and El Greco's "St Sebastian" (1610-1614). During this period, Saint Sebastian was a prevalent theme among artists. The narrative involves his torture, depicting him tied to a tree and subjected to repeated arrow shots due to his unwavering faith. Within this storyline, artists found a compelling avenue to explore the depiction of the male nude form.
In Reni's depiction of St. Sebastian, the saint's skin is portrayed as exceptionally smooth in texture, color almost a translucent alabaster. A single puncture wound, located just below his rib, is depicted with minimal blood. Sebastian is surrounded by a subtle and almost imperceptible halo as he gazes towards the heavens. Notably, there is a pronounced use of a bright coral hue on his ears, cheeks, nose, and lips, complementing the prevalent blue undertone throughout his form. This warm coral tone is skillfully incorporated into various highlights across his physique.
Apart from Sebastian and the linen draped around his hips, the overall tonal value of the painting is quite dark. Although there is a hint of light on the horizon line, the space surrounding Sebastian remains in shadow. This darkness creates a dramatic contrast with the pale figure of Sebastian bound to the tree. In the lower right corner, three uniformed figures are visible, with one seemingly giving instructions. In the upper right corner, a solitary cloud balances the composition alongside the illumination on the horizon. Sebastian's body dominates the left side of the canvas, with his knee seemingly pointing towards the uniformed figures in the bottom right and the arrow aligning in the same direction. However, Sebastian's gaze is directed upward, towards the heavens.
The color palette of the composition is predominantly cool, with warm tones reserved for the skin highlights and the uniformed soldiers. This deliberate use of warm tones guides the viewer's attention to these focal points. While the overall painting is aesthetically pleasing, I don’t appreciate the coral tones on Sebastian's skin, they appear somewhat jarring. This effect may be influenced by the computer screen, potentially distorting the true colors and giving the impression of an enhanced, almost Technicolor-like quality.
El Greco's portrayal of St. Sebastian is distinctly unique. The initial observation that stands out is the undulating rhythm of the saint's figure. Sebastian's limbs and torso are elongated, and even his neck exhibits notable length. This rhythmic flow guides the viewer's eye across the canvas, seamlessly complementing the surrounding scene of trees and mountains, which also possess their own rhythmic grace. There is a pronounced contrast between the arrows and the rest of the painting; everything else exhibits a more organic, curvilinear appearance, with the arrows acting almost as punctuation marks with their rigidity.
El Greco employs space in an intriguing manner. While the lower portion of the canvas creates depth through perspective and fading hills, the upper portion appears somewhat more two-dimensional. The predominant color palette is a range of cool tones, with St. Sebastian's skin depicted as a pale white with hints of cool-toned red and a subtle gray-blue undertone. The painting itself has undergone alteration, with the legs being severed from the original, which features the landscape in the background. It’s suggested that the landscape reflects the location of the commissioner's intended scene behind St. Sebastian, seeking his blessing for the territory, however it is said that Sebastian had never visited the area.
The values in the painting are broad, featuring bright white highlights on Sebastian's skin in stark contrast to the dark tree to which he is tied. His figure seems outlined with a darker color, emphasizing both his form and the overall curvilinear aesthetic. Texture is evident throughout the canvas, notably in the background with trees, leaves, rocks, and mountains. The linen wrapped around Sebastian's waist exhibits a tactile quality, adding to the overall impasto style of the painting. Despite the loose, painterly brushstrokes, there is a softness in the depiction of Sebastian's skin.
The scale of Sebastian in relation to the canvas is notably large, providing him with a heightened sense of importance and intensity. The composition strategically directs all focus onto the main subject, St. Sebastian. Personally, I found this rendition particularly engaging. The curvilinear rendering of the form and the rhythmic flow of lines create a captivating visual journey up and down the canvas, adding to the overall appeal of El Greco's unique interpretation of St. Sebastian.
