But it is obvious that this rather unconventional approach to religious art was hardly likely to get him commissions, so his later works tend to work within conventions rather than outside them.Ī few years later he returned to the SFX church to paint two pictures (dated 1921) in the chapel which commemorates the dead soldiers of the 1914-1918 war - one presumes of the parish - and his sons are listed on the memorial in the chapel. We are to see this again in his unconventional portrayal of the Sacred Heart after the first world war. So we can see from this that Pinta was not afraid to depart from the accepted conventions of religious art. However, the monster has a rather marginal role in Pinta's painting: the central focus of the picture is a beautifully painted nude who is being embraced by the Saint. Typically these portray the Saint protecting the people or town by restraining the beast ( the Tarasque). If we look at his painting alongside the standard image of the subject we can quickly understand why it was considered to be somewhat irreligious. In 1887 Sainte Marthe et La Tarasque was criticised for the way in which it departed from the conventional way in which the story was portrayed in religious art. Despite these criticisms he later went on to paint another picture which challenged the accepted modes of representation. I have yet to see a copy of this painting, but it is evident from the title that he is stepping outside the artistic conventions. One painting - Le Christ pleurant sur l’inutilité de son sacrifice - was actually considered to be somewhat heretical. With a rather unconventional approach to religious art. Early on in his career he got a reputation as someone And his portrait is perhaps one of the most well-known images of the composer. In 1886 he was lucky enough to be resident at the Medici at the same time as Claude Debussy. Between 1885- 1888 he was resident at the Villa Medici in Rome.
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