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Baroque painter Caravaggio’s St. Francis in Ecstasy (ca. 1595) is lush and fully toned, showing the often-painted moment of St. Francis receiving the stigmata, or the same physical wounds inflicted upon Christ as he was crucified. Caravaggio’s version depicts an intimate connection between St. Francis and an angel, and the expression on St. Francis’ face is dreamlike. He seems healthier and almost sensual, caught up in the full power of his special pain.
Anonymous Beauty and Modern Views
Beyond early Renaissance artists Cimabue and Giotto’s depictions at the Basilica in Assisi (circa 1280), fellow Italians Benozzo Gozzoli and Caravaggio each painted their own versions of St. Francis. Gozzoli (1421-1497) was a pupil of Fra Angelico, and his series of scenes in the life of St. Francis can be seen at the Church of Montefalco in Italy. Gozzoli shows us an almost fine-boned St. Francis with a thin but spirited face. This image may very well have been true to life as St. Francis was reportedly a slight man, and while he was energetic and determined coach baby bags, he did suffer from occasional health problems and due to his vows fasted often and denied himself comforts.
SourcesCatholic Encyclopedia: St. Francis of AssisiSt. Francis in Ecstasy: Caravaggio -- Wadsworth Atheneum cheap Coach Satchel, Hartford coach diaper bag, ConnecticutSaint Francis of Assisi in His Tomb: Francisco de Zurbar
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Summary of Romance and Reality
Art Galleries of Madrid
Renaissance Artist Nicknames
Spanish Impressions
Saints have always been significant subjects for visual artists—especially artists of the past—and St. Francis of Assisi in particular has inspired many interesting and diverse works. St. Francis is also generally the favorite saint of most non-Catholics or even agnostics, who tend to focus more on the man himself and his passion for life, as well as his love of animals and nature. Born to a wealthy Italian merchant in 1182, young Francis grew up in a very comfortable manner, went to war and was quite fond of wine, women and song, but around the age of twenty he experienced a conversion that compelled him to dedicate himself to a wholly spiritual existence and to establish the Franciscan Order. The Franciscans believed in a life of poverty and humility and in helping the less fortunate.
The Italians
Spaniards José de Ribera (1591-1652), Francisco de Zurbarán (1598-1664) and El Greco (1541-1614) painted their visions of St. Francis, generally with the same hooded robe and skull elements. Both de Ribera and Zurbarán show strong passion in the facial features and the physical presence. El Greco applies his usual hollow-cheeked and elongated style to the saint, although again in reality St. Francis was probably no taller than five foot seven. El Greco’s version of St. Francis receiving the stigmata also seems more detached and rapt than the exhausted ecstasy of Caravaggio’s painting.
Of universal appeal, St. Francis inspired artists Albrecht Dürer, Jan van Eyck, Peter Paul Rubens, and many others. This early 19th century textile work is an anonymous piece showing St. Francis and his beloved birds. The woven, painted and embroidered depiction was most likely done by a woman, not for any particular glory, but the love for the subject and the skill of the craft come through beautifully. And finally, Robert Frank’s photo of St. Francis overlooking a bleak view of Los Angeles shown below may not seem like a very holy setting, but with the saint’s constant desire to be in touch with the true issues of the world, this picture puts St. Francis where he himself might have wanted to be most.