Assumption Art Series: Titian

 

Here is Titian's 16th century artwork Assumption of the Virgin.  It is oil on panel, measures approximately 22 feet by 11 feet, and is found in the Church of Santa Maria Gloriosa de Frari, Venice, Italy.

This painting shows the departure of Western religious art from Eastern iconography.  The departure can be seen when Titian's work is compared to Giotto's artwork of the Assumption earlier in this series. Giotto still retains some elements of traditional Eastern iconography (e.g. the deathbed and Jesus holding Mary as an infant).  Titian focuses on Mary in her glorified body joyfully being assumed into heaven.

The Eastern iconography which Giotto still retains to some extent can be seen in the icon by Theophanese the Greek earlier in this series.

There is a tremendous amount of theology packed into the differences between these artworks and between Western and Eastern religious art, going to core differences regarding the Immaculate Conception as well as the Assumption.

What is important for Roman Catholics to bear in mind is the doctrinal statement issued in 1950 in the Apostolic Constitution Munificentissimus Deus defining the doctrine of the Assumption.  In short, it declares that Mary was assumed body and soul into heavenly glory.  It leaves open the question of whether she died first.

Assumption Art Series: Theophanese the Greek

 

This is the 14th century Icon of the Dormition of the Theotokos by Theophanese the Greek.  It is found in the Tretyakov Gallery in Moscow.

This icon depicts the Eastern Orthodox view of the end of Mary's life.  It is posted here both for its beauty and for comparison with later Western images that present the Western view of Mary's Assumption.

As I understand it, the Eastern view is that Mary died and Jesus immediately took hold of her soul (depicted as a newborn infant) as she enters eternal life.  Then three days later Our Lord will assume her glorified body into heaven. 

Assumption Art Series: Italian Renaissance

Catholics understand that at the end of the Virgin's earthly life, Our Lord assumed his Mother into heaven, body and soul.  We understand that this is different from what occurs with other saints.  That is, the saints' love is perfected such that their souls do not need to go to purgatory.  Accordingly, their souls go to heaven while their bodies await the Resurrection of the Dead.  But Mary is different.

 

In these beautiful images by 13th-14th century Italian Renaissance artists, one sees something unusual:  surrounded by angels, saints and others, Our Lady is lying on a bed with her Son nearby.  Jesus is holding a small figure of an infant or very young girl.  It is easy to understand that this relates to Jesus taking Mary to heaven. 

 

What is not clear is the theological meaning of this imagery.  More about this later in the series.

Images:

Top: Giotto's Assumption

Middle: Duccio's Assumption

Bottom:  Fra Angelico's Assumption