Blog - Sylvain Reynard

Art – Fra Filippo Lippi “Madonna with Child and Two Angels”

May 17, 2011

Dear Everyone,

In one of the scenes in “Gabriel’s Inferno,” two of the characters visit the Royal Ontario Museum in Toronto in order to view a visiting exhibition of Florentine art.

(Parenthetically, it should be noted that the snarky narrator does not like the recent renovations to the ROM and he says so, in his own inimitable way.)

The painting I chose to highlight in that scene is Fra Filippo Lippi’s “Madonna with Child and Two Angels,” which was painted in 1465.

Fra Lippi, (1406-1469), lived a very colourful life. After he was orphaned, he was placed under the care of the Carmelites and eventually became a friar. At the height of his career, Fra Lippi enjoyed the patronage of Cosimo de’ Medici. The Medici were, perhaps, the most powerful family in Florence. Fra Lippi’s most famous student was Sandro Botticelli.

The life of a friar did not appeal to Lippi and he caused a great scandal by running off with a nun, Lucrezia Buti. His seduction of the young and lovely Lucrezia began when he asked her to model for a painting of the Virgin Mary. Despite the attempts of her father to recover her, Lucrezia remained with Fra Lippi and bore him a son, Filippo (c. 1457-1504). Filippo the younger became the great artist known as Filippino Lippi, who was an assistant to Botticelli.

(It’s possible that Filippino is mentioned obliquely in “Gabriel’s Inferno.”)

Look at the painting. One of the first things to notice is the way in which the artist has painted Mary’s halo and veil. They’re transparent. Note also the way in which the figures are situated in layers – Mary and the Child and angels appear to be sitting outside the picture frame, while a landscape looms behind them. The figures, the frame and the landscape provide perspective and dimensionality to the painting.

But what is far more interesting is the way in which Mary is positioned. Her head is bowed in reverence.

Follow her eyes. Is she staring at her child?

No. She’s bowed in reverence and staring at one of the angels, who smiles knowingly at someone outside the painting. Perhaps he’s smiling at the artist, himself.

Why isn’t Mary looking at the Christ child?

Some have hypothesized that the model for Mary was Lucrezia, Fra Lippi’s lover, and that the model for the smiling angel was Filippino, their son. One could theorize that the reason why Lucrezia isn’t focused on the Christ child is because her true son is in the picture. Her attention and focus is on him. (I’m sure one could make much more of this by pointing out that Lucrezia eschewed the life of a nun and a nun’s attachment to Christ in order to pursue a life with Fra Lippi. Her shift in attachment is signified in the painting.)

In future posts, I’ll take a closer look at some of the literary references in “Gabriel’s Inferno.”

All the best everyone and thanks for reading,

www.sylvainreynard.com

Art – Rembrandt’s “The Return of the Prodigal Son”

May 10, 2011

Dear Everyone,

As I mentioned previously, art plays a very important role in my novel, “Gabriel’s Inferno.” Without posting spoilers, I’ll simply point out that sometimes the mention of a particular painting carries with it either a back story or an element of foreshadowing.

There is a scene, for example, in which I mention Rembrandt’s The Return of the Prodigal Son. Rembrandt’s painting illustrates a story from the Bible – Jesus’ parable of the Prodigal Son, which is told in the Gospel according to St. Luke 15:11-32. There are at least two interpretations of the parable. In the most common reading, the focus is on the Prodigal, himself, and how he wastes his inheritance indulging in sin until he is humbled completely. When he returns to his father, his father welcomes him and forgives him. The second reading focuses on the Prodigal’s brother, the son of constancy. While the Prodigal is wasting his inheritance on prostitutes and indulging (no doubt) in all seven deadly sins, the son of constancy is working faithfully on his father’s farm. His reaction to the Prodigal’s return is less than warm. The story closes with his father’s admonishment to join in the rejoicing over the Prodigal’s return and not to demand rough treatment for the brother, who no doubt justly deserves it.

The parable is short but powerful and it provides a twin message for all human beings, regardless of religion: the message of forgiveness for those who seek it and the message of mercy for those who need to do the forgiving. Yes, the son of constancy’s impulse was toward justice – the just punishment of his brother’s moral failings. But it is the impulse of the father – forgiveness and mercy – that is praised in the story. Sometimes it is better to forego justice for mercy, even though such a choice is inherently difficult.

Rembrandt captures a key moment from the parable and although the painting is static, it vibrates with emotion. He doesn’t retell the story frame by frame. He chooses a single instant, but in so doing he tells you what he thinks is important in the parable.

A writer can do the same thing by including art in a novel. The artwork doesn’t have to retell the story, it only has to highlight a key message or moment. Once again, I’ll allow the readers to decide for themselves what those moments are.

The response to the release of my book has been overwhelming. Thank you. And thank you to those who are sharing the story with friends and family. I treasure book recommendations from friends and so I’m honoured that you would recommend my book to others.

All the best and thanks for reading,

www.sylvainreynard.com

PS. If you’re interested, I’m on twitter. I’m also on Facebook.

Some of the readers over on Goodreads have begun a discussion group for “Gabriel’s Inferno.” Anyone can join, at any time.

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