Stars, very large balls of bright glowing light that appear tiny when viewed from earth, have fascinated humans for millenniums. An online exhibition provided by the National Gallery takes a look at the ways stars are portrayed in art. Star Trail traces the stars from one painting to another in the National Gallery Collection, pointing out the stars illuminating the night sky but also revealing them in less obvious places.
As well as being natural phenomena, stars hold meanings for different cultures, religions, mythologies and individuals. For some, a star is a sign from God, for example, the Star of Bethlehem that led the three wise men to the baby Jesus. In Judaism, the six-pointed Star of David is an important symbol and a similar star is found in Hinduism.
A star’s meaning can alter depending on whether it is static or moving. Shooting stars are often symbolic, the most common being the opportunity to make a wish. Once again, different cultures have various ways of interpreting these so-called miracles (meteors to the scientifically minded). For some, a shooting star is a sign that you are close to your destiny but in Asia, they are considered a bad omen. For the Greeks, these stars symbolise the raising or lowering of human spirits, whereas, in some branches of Christianity and Judaism, they are believed to be falling angels.
Typically, stars carry positive meanings. They often represent hope, faith and new beginnings and artists throughout time have depicted them as objects of wonder. Just as there are hundreds of meanings, there are several ways of drawing and painting stars to signify their importance.
Duccio di Buoninsegna (d.1319), the Tuscan painter, chose to use real gold to represent stars and heaven in the altarpiece The Virgin and Child with Saints Dominic and Aurea. This portable altarpiece may have been commissioned by Cardinal Niccolò da Prato (d.1321), who was both a Dominican Friar and the Cardinal of Ostia. This would explain the saints on the wings of the triptych: Saint Dominic and Saint Aurea of Ostia.
In the tympanum above the central panel are seven figures who have been identified as Old Testament prophets: Daniel, Moses, Isaiah, David, Abraham, Jacob and Jeremiah. They stand above a portrait of the Virgin Mary and the child Jesus, which is where Duccio has placed two stars; one on Mary’s shoulder and the other on the hood of her shawl. Duccio mixed gold leaf into his paint to draw these stars on top of the rich, blue egg tempera. The background of the entire wooden altarpiece was also painted in gold to represent the importance of heaven.
The famous English Romantic painter, J.M.W. Turner (1775-1851) took a completely different approach to depict stars. The evening star is barely visible in Turner’s painting of the same name. It is the merest speck of yellow paint towards the top of the canvas. If it were not for the reflection of the star’s light in the sea, the star would go unnoticed.
The evening star is an incorrect term because, whilst it may take on the appearance of a star, it is actually sunlight reflecting off another planet, usually Venus, although Mercury, Mars and Jupiter can also cause this phenomenon. Turner was particularly interested in transitional moments such as the evening and morning star, which are the same “star” but appear at different times depending on Earth’s proximity to the sun.
The Evening Star was painted at dusk rather than night because, once the moon had risen, the star would no longer be the brightest thing in the sky. As can be inferred from Turner’s painting, the star is barely discernible in the early evening, therefore, it would be almost impossible to see in the competing glow of the moon.
Studying the night sky, or stargazing has been a popular pastime for centuries. Long before humans understood what they were seeing, astronomers, astrologers and scientists were producing maps of the night sky, pinpointing the individual stars they spotted, first with the naked eye and later with a telescope. It was through these studies that the Earth was eventually proved to be round rather than flat plus not the centre of the universe as previously thought.
As well as maps, astronomers produced globes showing the stars that could be seen from Earth at different times of the day. One of these celestial globes can be seen in Hans Holbein the Younger‘s (1497-1543) painting The Ambassadors. Similar to Duccio’s painting, the stars appear to be painted in gold paint, making them stand out from the blue background of the globe.
The painting, produced during the same year that Elizabeth I (1533-1603) was born is a double portrait of two men. The identity of the men has been under debate for centuries but the most accepted identification of the man on the left is Jean de Dinteville (1504-55), a French diplomat. He may also be the person who commissioned the painting, particularly as he appears to be the grander of the two men. De Dinteville’s motto was Memento mori, meaning “Remember thou shalt die,” and there are several references to death in the painting. One is the anomorphistic skull at the bottom of the painting, which must be viewed from the side to be seen properly. Another is the crucifix in the upper left-hand corner.
The man on the right is believed to be Georges de Selve (1508-41). He would have been 25 when he sat for the painting and had just been appointed Bishop of Lavau in France. This explains his clergyman vestments and the other religious symbols in the painting, including the crucifix and Lutheran hymnal.
There is no written evidence that De Dinteville and De Selve were interested in the stars, however, the objects in the painting suggest they were involved with science. As well as a celestial globe there is a terrestrial globe, a sundial, a shepherd’s dial, a quadrant for measuring angles, and a medieval astronomical instrument known as a torquetum. It is possible De Dinteville and De Selve, or their associates, were among some of the earliest people to discover scientific truths about the universe.
Before humans understood the science behind the stars, they often featured in myths and legends. In Greek and Roman mythology, constellations were often linked to particular gods or goddesses, as were the planets.
The constellation Corona Borealis features in the top left-hand corner of an oil painting by Titian (1488-1576). Bacchus and Ariadne was produced for Alfonso I d’Este, the Duke of Ferrara (1476-1534) and is considered to be one of Titian’s greatest works.
Ariadne was a Cretan princess who had been abandoned on the Greek island of Naxos by her lover Theseus. The Roman god Bacchus (Dionysus in Greek) discovered Ariadne on the island whilst leading a procession of partygoers in a chariot drawn by two cheetahs. In the painting, Bacchus is either in mid-leap from the chariot to save Ariadne, or Bacchus has just thrown Ariadne’s crown into the sky where it transforms into the Corona Borealis, also known as the Northern Crown.
There is more than one story that explains the Northern Crown constellation. The first, which is presumably being shown in Titian’s painting, is that Bacchus throws the crown into the sky. The other, claims Bacchus fell in love with Ariadne and promised her the whole sky. He then raised her into the heavens where she became the constellation.
The Corona Borealis is one of many constellations that can be found in mythology. Others include Andromeda, Aquarius, Cassiopeia, Orion and Pegasus.
As well as the individual stars and constellations, the Ancient Greeks and Romans had a story to explain the existence of the Milky Way.
The story, which is shown in The Origin of the Milky Way by Jacopo Tintoretto (1518-94), involves Jupiter’s desire for his son Hercules to be immortalised. Hercules was the son of Alcmene, a mortal, therefore he could never be fully immortal unless he had been nursed by a goddess. Jupiter’s wife Juno refused to nurse a child that was not hers, especially the son of her unfaithful husband, however, whilst she was asleep, Jupiter held Hercules up to Juno’s breast so that he could drink her milk. At that moment, Juno awoke and milk spurted upwards into the sky, forming the Milky Way. The milk droplets that fell to earth became white lilies.
Instead of depicting milk, Tintoretto represented the beginnings of the Milky Way with ten shooting stars. The original painting also showed lilies forming on the ground, however, about a third of the canvas was cut off at the beginning of the 18th century.
Of all the different genres of paintings, the one where you are guaranteed to find stars or at least a star are scenes of the Nativity. According to the Gospel of Matthew, wise men or magi followed a star from the East, which led them to a humble stable in Bethlehem. Paintings of this nature are often called The Adoration of the Kings or The Adoration of the Magi.
Jan Gossaert (1478-1532) was one of many artists to depict this biblical scene. Mary, dressed in blue, sits with the Christ-child in the ruins of a building, receiving a gift from one of the “kings”. The Bible never mentioned the visitors were kings and nor did they have names. Art historians, however, have given this figure the traditional name Caspar. Melchior stands to the right of Caspar and Balthazar to the left. Alongside the “kings” are several exotically dressed attendants and more can be seen approaching in the distance.
Floating above the scene are angels and right at the top, slightly dwarfed by everything else in the painting, is the Star of Bethlehem. The entire composition was painted on oak panels that when pieced together measured 177.2 cm (69.8 in) by 161.8 cm (63.7 in), and the star does not take up much space at all. Nonetheless, when studied closely, Gossaert’s precise brushstrokes and painstaking detail emphasise the importance of this star. Most likely painted in lead-tin-yellow, the star lights up the sky around it, appearing to push the surrounding clouds away so that it can shine over the Christ-child.
The star is much more prominent in the Baroque painter, Carlo Dolci’s (1616-86) version of the subject. This highly finished picture contains fewer people than Gossaert included, keeping the focus on the three “kings” in opulent robes as they kneel before Mary and the Christ-child. Although their gifts look important and expensive, they are executed in paint, whereas the haloes over Mary and Joseph and the light surrounding Jesus’ head was painted in gold.
Although the figures and their robes were painted in rich colours, the Star of Bethlehem outshines them all. The star’s light bursts forth from the clouds above, making it the brightest part of the painting. When looking at the composition as a whole, the eye is constantly drawn upwards to the star, which some see as a symbol of God looking down on his precious son.
In contrast to the previous two paintings, Filippino Lippi’s (1457-1504) version contains a less obvious star, fading in the light of the daytime sky. Probably due to the star mentioned in Matthew’s Gospel, artists tended to portray the visit of the magi at night rather than during the day.
Another difference between Lippi’s version and the traditional version is the landscape. The Holy Family sit in the ruins of a building in a rocky landscape. They have very little shelter and there appear to be no other establishments nearby. As well as the “kings” and their retinue, there are several saints hidden in the background. These have been identified as Mary Magdalene, Bernard of Clairvaux, Jerome and Augustine. There is also a representation of the Archangel Raphael and Tobias.
The way Lippi chose to portray the star is very different from the previous two examples. To begin with, it appears much lower in the sky, floating above the Holy Family. Rather than a solid or compact star, it resembles a firework. Lines of golden light appear to be shooting in all directions, some landing within touching distance of the figures below. Yet, this slightly faded star does not make it seem less important than other versions. The explosion of light beams emphasises God’s magnificent power that, although it is not easy to see in the daylight, is always there.
Lippi’s painting was the last to feature in the National Gallery’s Star Trail. The handful of paintings they looked at revealed that stars have been important in science, mythology and religion. Of course, there are so many more examples of stars in the National Gallery and other locations. Each artwork demonstrates one method of representing stars. Some artists opt for a five-pointed star, whereas others choose a greater number. Alternatively, a star can be represented by a ball of light or the smallest of dots, as Turner chose.
Vincent van Gogh‘s (1853-90) Starry Night and Starry Night over the Rhône are perfect examples of alternative ways to paint stars. As an impressionist painter, Van Gogh’s stars are less precise with no clear outlines. They are made from swirls or dabs of yellow paint and yet, everyone knows they are stars.
The National Gallery’s online exhibition Star Trail provides a new and interesting way of looking at art. Sometimes a painting has so much going on that it is impossible to appreciate every detail. Also, when walking around a crowded gallery, it is not always possible to pay the artworks the attention they deserve. Looking for stars, or any other object, helps people to understand the artwork and the artist. By first studying how the star is depicted, it is then possible to step back and admire how it interacts with the rest of the scene.
Challenge: next time you visit a gallery, look out for stars in paintings. Until then, enjoy looking at them online.
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