Nicholas Ligon

Honors Art Heritage of the Western World II

February 10th, 2015
Renaissance Term Paper

Comprising a wonderful collection of Post-Impressionist, Modern, and Old Master

art pieces is the Barnes Foundation which was established in 1922. The main campus
houses an impressive inventory of some of the finest works. Exemplifying the epitome of
Venice Mannerism is Baptism of Christ by Veronese. This work was painted in the mid16th century and was created with oil on canvas. Within the piece are several key
characteristics of the Mannerist style that also incorporate elements of High
Renaissance art as well.
Now it is a well known fact that Venice was marked for its Byzantine art. It is a
colorful city on the water. The Mannerist style is sort of the bridge between the High
Renaissance and Baroque Period. While we may associate this city as an integral part
of Italy, it must be remembered that Italy as a state didnt become formalized as such
until the 1860s. It becomes rather easy to identify this period of Venice Mannerism
because a majority of the works of art created conform to the characteristics of this

style. Giorgione is a good example of an artist within the Venice Mannerism that, like
Veronese, has a highly decipherable style.
One of the key components of Baptism of Christ is a staple of Byzantine art and
also Venetian Mannerism is the portrayal of Christ. This is obvious in the painting but
the subtly of his presence is paramount. Many Biblical translations describe the baptism
of Christ by John the Baptist in a different light than is depicted here. Jesus, as much of
this tradition goes, had his head dunked into the water by John. However, in Veroneses
painting, the flesh of Jesus is not touched at all. As per the custom of the time in
accordance with Church doctrine, this is not uncommon. John instead uses a bowl to
pour the holy water over the head of Christ. This symbolic ritual is furthermore made a
holy event by the presence of the dove which represents the third aspect of the Holy
Trinity; the holy spirit.
Another interesting aspect of this painting is the focal point. Notice how the eye is
initially drawn just right of center. This uncentered focal point is another characteristic of
Venice Mannerism. Even more curious is the brilliant light embodying the dove which, as
we said, is the Holy Spirit. It is a blatant stylistic device that ensures the audience
understands the importance of the Church in this painting. Naturally the eye begins to
descend on the painting down to the head of Christ who is engulfed by a halo of light.
This use of light also creates a wonderfully soft glow on Christ. Even John gets a bit of a

halo which represents his important role in this holy ceremony; although with not as
much of importance of Christ has of course.
The Baptism of Christ employs a great deal of rich color in this ceremonial piece.
While definitely a staple of the Venetian Mannerism but also one the Veronese used to a
great deal in his pieces. Apart from the colorful fabric clothing the figures in the painting,
the background provides an elegant contrast and really sets the scene in a serene,
peaceful, and holy environment. The trees and other greenery almost appear to give
way and separate in order to provide light for this holy ceremony of baptism.
Notice also that Christ and Saint John the Baptist are painting with a great deal of
musculature. This feature shows Veronese carefully studies the High Renaissance art
style and the admiration of the human form. Other variations of the Baptism of Christ
dont include as much of the muscularity of Christ and Johns body. This gave the
audience the understanding that Christ had entered into this human form and thus
reflect humanist elements. They were supposedly created in his image and thus were
encouraged to feel a much stronger connection to the Church.
This piece in particular was a return for Veronese to the classic characteristics of
this Mannerist period. More importantly, portraying Christ in the manner that the Church
intended. As we know, Veronese got into a bit of trouble with his Christ in the House of
Levi in the attempt to stick one to the Inquisitors. The large majority of criticism this drew

was how Veronese included commoners and social outcasts in the same space as
Christ. The Baptism of Christ certainly returns to the more classic portrayal of Christ in a
holy setting surrounded by angels and a serene landscape.
The Mannerist style employed by Veronese, at its core, envelop the importance
of the Church as well as the holy portrayal of Christ. In Baptism of Christ, focal point,
light, and color play key roles in the painting. Being slightly off-center, the focal point
works in concert with the light in carefully directing the eye to the main content of the
scene. Gentle hues of an earthly color palette grace the composition. Strong use of
musculature define the figures and certainly serve to accentuate the humanist quality of
Christ. Veronese epitomizes the Mannerist style while drawing upon influence from the
High Renaissance period.