Anthony Van Dyck's St. Sebastian --Reimagining the Death of a Martyr
David Salter
Anthony Van Dyck's St. Sebastian—Reimagining the Death of a Martyr David Salter (bio) There are few saints who exerted such powerful hold over artistic imagination fifteenth-, sixteenth-, and seventeenth-century Europe as Sebastian, tremendous popularity he enjoyed during Renaissance must to very great extent be related astonishingly vivid instantly recognizable iconographical characteristics that were conventionally attributed him. For although Sebastian was portrayed in wide variety different settings contexts Renaissance, almost always depicted beautiful young man whose near-naked body had been pierced with arrows; visual trope recalls not simply his martyrdom but intense physical vulnerability well. The clearly religious narrative deeply touched Flemish artist Dyck (1599–1641) it is subject which repeatedly returned at beginning career, when undertook number studies episode. depictions this subject, however, constitute radical break tradition, dispensed some Sebastian's conventional [End Page 145] attributes saint's preparation for martyrdom. And shift focus—away from depicting torments showing instead mental anguish its fearful anticipation—profoundly alters both aesthetic mood paintings their broader spiritual significance. This subtle change scene led transformation presentation martyr's spirituality. Moving chronology briefly backwards time enabled reconceptualize nature sainthood. One principal aims article, then, will examine how act reimagining external circumstances brought about fundamental portrayal subjective emotional states. Dyck: English Court Culture Catholic Spirituality In many ways may thought rather unlikely creator images—particularly ones innovative Sebastians—since best remembered today painter portraits, especially those portraits royal family nobility after 1632 moved Antwerp London entered service King Charles I.1 Indeed, so brilliantly capture evoke elegance, refinement, sophistication aristocratic subjects they have come seen definitive. Our understanding I's reign has shaped by representations we now cannot help view era through eyes.2 Nevertheless, terms posthumous reputation, connection Carolingian court something mixed blessing. While influence on tradition portraiture 146] profound (a debt acknowledged particularly work Thomas Gainsborough [1727–88]), critical concentration tended exclude consideration important works earlier only also other genres mythological, historical, painting. To certain extent, forays into these fields overshadowed fellow Peter Paul Rubens (1577–1640) whom acted an assistant early career. But comparative neglect due—at least English-speaking world—to matter discomfort, even embarrassment, commentators felt addressing artist's intensely religiosity.3 poise, composure, urbane charm seem world away emotionally raw febrile atmosphere evoked Sebastian. Yet ability master these...
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