Raphael, Rudolf Steiner and Secret Art History

My blog on Moreau has generated an interesting post and discussion over at Three Pipe Problem. In a discussion of the biographical and art history, under the umbrella of the psychosocial, TPP asks an interesting question about Raphael’s focus on images of children and mothers, wondering if it reflects a personal quality of Raphael.  Perhaps, but this exchange coincided with me reading about the Theosophist Rudolf Steiner, in a book given to me recently. The person who gave me this tome must have thought it was an art history book as The Secret History of the World: As Laid Down by the Secret Societies is lavishly illustrated with many images from art history. This work is by no means conventional itself; it claims to tell the secret history of the world with such ideas as religion as astral, an occult history of art and the symbol- well, you get the gist. The Sceptic should have dismissed it instantly, but the Art Historian was intrigued by the very interesting images, so I decided to read the book, which seems to be heavily dependent on the ideas of the theosophist, Rudolf Steiner. Steiner was, in fact, a great admirer of renaissance artists, especially Raphael. Steiner had a novel theory about Raphael’s consistent use of the mother and child image, and no, it wasn’t Freudian, or dependent on an obvious psychoanalytic model. It might be called incarnational, because Steiner believed that Raphael was the incarnation of John the Baptist, who was the incarnation of Elijah etc. Raphael painted the mother and child image frequently because it usually featured John the Baptist, his previous self. I found this cool site on Raphael’s School of Athens, which has an extract from a lecture on the painter that Steiner gave in 1912.

  “Raphael both heralded and established a new impulse in Christianity although, to begin with he was not understood. Occult investigation finds that the same Individuality who once worked in Elijah and later in John the Baptist, lived again on earth in Raphael. This helps us to understand how the forces develop in the same soul from life to life, and to discern the effects of earlier causes. The Baptist was beheaded; his work came to light again in the achievements of his great successor. The new proclamation of the Baptist in the Raphael life was for long ages forgotten. It came to life again in what Spiritual Science teaches concerning the Christ-Impulse. What a light shines in our understanding when we gather up the threads leading through the single personalities, and in what vivid perspective the single personality stands there before us!”

Of course this is nonsense, but Steiner seems to be deadly serious about this theory: he went on to explain that the incarnation of John the Baptist in Raphael was why certain subjects such as the Crucifixion and the Mount of Olives didn’t figure in his output because John didn’t live through them as he had been beheaded.

“What is it that Raphael did not paint? He painted no scene on the Mount of Olives, no Crucifixion. True, he painted a “Bearing of the Cross,” but it was a very poor picture and gives the impression of having been done to order. Neither did he paint any of the scenes leading directly to the Crucifixion. His creative genius begins to reveal itself again only when he portrays the figure of the great successor of John — the figure of Paul in “The School of Athens”; or when, passing over the other events in the life of Christ, he paints “The Transfiguration.” What Raphael has not painted helps us to understand that it was alien to him to portray those events on Earth (not events in the spiritual world) which took place after he was beheaded in his previous life. We realise why it was that Raphael painted fewer pictures of these particular events. When we look at the pictures, we feel that all those which portray events subsequent to the Beheading of John the Baptist, are not, like the others, born of earlier remembrances.” Note, Steiner doesn’t accept that it is Plato in the School of Athens- he thinks it’s St Paul.

I first came into contact with Steiner when doing my Phd on Poussin. The Poussin (and Raphael) scholar Konrad Oberhuber had curated an exhibition at Fort Worth in 1988, and I was obliged to read his catalogue of that event.  Oberhuber was a lifelong devotee of Steiner, and that had inspired him to formulate a model of Poussin’s stylistic evolution based on Steiner’s ideas of space and rhythm.  Nothing to do with the occult this time, but Steiner’s research on biorhythms, which seem to be an essential part of his philosophy.  I’ll say more about that another time, but briefly, Oberhuber used Steiner’s schema based on evolution theory and theories of child psychology to explain Poussin’s development within  a seven year arc. I thought it was an interesting approach, but the Poussin inquisition got to hear about it, and intent on stamping out this new heresy, turned their thumbscrews on Oberhuber. I was “advised” not to read Oberhuber, and he chose to avoid the auto da fe by abandoning Poussin studies forever. I’m not as familiar with his work on Raphael as I should be, so I don’t know if he used Steiner’s ideas there. I’d be interested in seeing it done though.

As for Steiner’s secret history of Raphael? Well, I’d want more evidence of reincarnation, or a more scientific approach to such claims. Still, I am intrigued by this overlap of art history and the occult. On my Moreau post I did compare interpretation of images to a kind of initiation into secrets. The most famous example of linking initiation with art history is Edgar Wind’s discussion of ancient mystery religious ceremonies in the context of renaissance paintings.

“Iconography, is always, as Focillon observed with regret, un detour, an unavoidable round-about approach to art. Its reward, in the study of Renaissance mysteries, is that it may help to remove the veil of obscurity which not only distance in time (although in itself sufficient for that purpose) but a deliberate obliqueness in the use of metaphor has spread over some of the greatest Renaissance paintings. They were designed for initiates; hence they require an initiation.”

(Pagan Mysteries in the Renaissance, p. 15).

Towards the end of the Secret History of the World, the author (Mark Booth or Jonathan Black) refers to an unnamed, mysterious art historian interested in the esoteric; and it does strike me that there are parallels between being in a secret society and practicing some aspects of art history. Somebody looking in at art history from the outside could be forgiven for regarding it as arcane, or the conversation of mystics, especially renaissance art history, which as Wind suggests entails a kind of initiation. The public see the pop side of this with the Dan Brown Da Vinci code phenomenon, conspiracy theory of religions; but there’s an even more hidden thread running through history from Leonardo to Steiner, if the Secret History of the World is to be credited. I’ll probably share some of this hermetic art history on future posts. I’m not saying I believe it- I baulk when I read that Veronese’s incarnation was known to “Hidden Masters”, and this stuff seems really “out-there” at times, the sort of erudite occultism that Umberto Eco sent up mercilessly in Foucault’s Pendulum, which I heartily recommend. Still, it strikes me that the Secret History of the World is relevant because it shows how closely art history and the occult are connected, in the minds of some people, both outside and inside the profession.

Comments

[Alberti's Window]

Interesting post! I especially to how you connected this idea to be both within and outside the art historical discipline.

On a related note, I experienced some of the secretive/conspiratorial approach to art history just last week. In one of my lectures, a student spoke up who strongly believes that the inclusion of a compass in a Renaissance work of art is directly related to the Masons. This student is definitely entitled to her opinion, but I also tried to explain how the compass was a symbol for the arts (and the liberal arts) at the time. Anyhow, I immediately wondered if Dan Brown novels had preconditioned this student to have such a response.

I look forward to your forthcoming hermetic posts.

[David Packwood]

Hi Monica,

Yes, I've had similar experiences in my teaching. I definitely think the Dan Brown explosion has weighted interpretation towards the hermetic, esoteric, at least for some.

[[c]@penbrushneedle]

Oh, I just love the part where Steiner says "Occult investigation finds that..." - I must remember that line for my next conference paper, I'm sure it'll come in handy ;-)

@ Monica: The episode you describe sounds vaguely familiar. I remember something similar happening back when I myself was an undergraduate student which, however, was several years before Dan Brown even wrote the Da Vinci Code. (Man, I feel old now...) So I guess that, to a certain extent, Masonic and other esoteric interpretations have always been popular. Then again, I believe it's quite plausible that due to the Da Vinci Code phenomenon things have gotten worse in recent years....

[Francis DeStefano]

I guess the spirit of John the Baptist didn't imbue the young Raphael with ascetism. It's also interesting that John's untimely death made him unaware of subsequent events in the life of Christ but not of Paul. Perhaps they were both members of the Compagnie della Decapitati.

Seriously, in a 2003 Botticelli exhibition catalog Alessandra Galizzi Kroegel noted that "the spread of practices of individual devotion to be carried out primarily in the home…" led to the emergence of a new trend that "tended to identify the mystery of the Incarnation with the Redemption itself, focusing on the Passion with much less fervour than in the past: whence the growing popularity of ‘incarnational’ iconographies celebrating the word made flesh, such as pictures of the Infant Jesus in his mother’s arms…while the demand for images with Christ on the Cross, very common in the fourteenth century was drastically reduced.”

[David Packwood]

Thanks pen and needle. I like the idea of appealing to the occult during a conference!

Frank- That's really fascinating. That narrative would give a rationale for the frequent appearance of the mother/child image as opposed to stark crucifixion imagery. The intimacy and maternal quality of these images might be explained by Kroegel's point. I find that more plausible than the Secret History's appeal to Gnostic texts in which Mary sees a child that she mistakes for Christ, the double supposedly being the Baptist, who has both connections to the quattrocento and the hermetic.

[H Niyazi]

Interesting post David, and thanks for the mention! One aspect that should be mentioned perhaps is that certain elements of knowledge and investigation shift in perception and category with time.

What may have be looked down on as mysticism now would have been more acceptable in a previous era as a valid scientific pursuit. The historical obsession with alchemy is a nice example of this, represented in the many paintings in Francesco I de' Medici's studiolo for example, and a topic obsessed over by the likes of Newton.

I cant say I fully subscribe to Steiner's insights into reincarnation, but sometimes even sources one is least agreeable with offers some interesting tidbits! Why indeed did Raphael not paint those subjects? Were they increasingly unpopular, or something else? What resonated in me when reading that is that I have yet to find a Raphael image that depicts wrought emotion and anguish in a convincing way. Even 'Fire in the Borgo', as intersting as it is, does not have the emotional power of something by Michelangelo, or later artists such as Tintoretto or Caravaggio. Raphael's depiction of *positive* emotions are far more convincing.

Whether this is related to something biographical, or a factor of Raphael's training is hard to say definitively - though it is important to point out, and very much an example of the need to consider the internal + external factors contributing to an artists output - which is the essence of what a jargony term like "psychosocial" is driving at.

As for Dan Brown, I am far less bothered by his work now than previously as I have had so many readers of 3PP say they first became interested in art history because of his books, and "wanted to know the real story." They then track down non fiction texts, and seek websites likes this one, and sometimes even enrol in a course! Mass media has the power to generate a spark of interest in a topic - and for that it is useful.

Kind Regards
H

[David Packwood]

Good insights H

On science and mysticism. Yes, I agree. Alchemy is a good reference point; e.g, Paracelsus who gave instructions to make "copies of himself" from his spermatozoa- hinting at early cloning. I'll probably do a post on alchemy some time.

Obviously there aren't many pyschosocial or similar approaches in renaissance studies, hence the value of Steiner's observations. In relating mind and body to artistic works, there's always going to be a block, mainly because of Freud whose pyschobiography of Leonardo, which has been mocked by art historians. Damisch does interesting things with it, but I think the French are more open to unorthodox thinking.

I have no beef with Dan Brown. I'm glad that students are being drawn to art history because of him. From a literary/stylistic point of view I just don't think he's very good.

Best,

David

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