Ok, the title may be a bit click-baity, but forgive me, it sounded so good! Recently, I came across an art account on Instagram that I follow, which posted “The Victory of Faith” by Saint George Hare. The post had a brief caption explaining the essence of the artwork. However, as we are well aware, a significant portion of social media users (about 75%) tend to react without taking the time to read the captions or explore the context further.

victory of faith Saint George hare lesbians or christians
The Victory of Faith” , Saint George Hare, 1891

 

I sometimes break my own rule and read art-related comments because the first reactions to art are often interesting. This time, the cacophony of extreme opinions was interesting. Low, but interesting.

 

 

I began writing a comment, but it grew so lengthy that I turned it into this article.

So, the title of this painting is “The Victory of Faith,” it was completed in 1891 by Saint George Hare, an Irish painter. It officially represents two sleeping Christian martyrs awaiting to be devoured by wild beasts, visible behind the bars on the left. However, one can’t deny that the emotion this painting evokes is primarily related to eroticism. There’s nothing wrong with perceiving it that way, as it has been intentionally painted to serve that purpose.

The Wikipedia article about it even states : “It depicts two sleeping nude women, one shackled, apparently intended as Christian martyrs sentenced to death by beasts”.

The Homiletic Review, a contemporary prominent religious and theological magazine, called it an “impressive depiction of Christian faith and steadfastness” and described the two women to be in a “sisterly embrace”.

For Kobena Mercer (1960-2020), a renowned scholar and cultural critic whose work focused on exploring the intersections of race, identity, and representation in contemporary art and culture, “The Victory of Faith” can be seen as an example of an interracial lesbian couple, drawing a comparison to “Les Amies” by Jules Robert Auguste.

Shocking for the Christian side! None of them are wrong, though. If art was only what the title says it is, it would be so boring, it wouldn’t be art.

 

“The friends” – “Les amies” – “Les deux odalisques” by Jules Robert Auguste / It seems that this painting didn’t receive a proper title

I made a funny survey on Instagram with my contacts. In my story, I posted the painting and asked them to give their first impression, without overthinking or googling. Enough people played along to offer realistic stats , and here’s the result:

victory of faith Saint George hare lesbians or christians Survey erotic

We can call it a consensus, and nobody here has a particularly dirty mind… or at least, we all have that dirty mind… well played, Mr. Hare.

 

It’s impossible to understand a painting without its context.

 

In 1891, when “The Victory of Faith” was created, the depiction of nudity in art was more acceptable within a religious context. Nudity was often (conveniently) perceived as a symbol of purity and innocence, making it suitable for religious paintings. However, this also provided artists with an opportunity to explore more erotic themes under the guise of religious art.

In “The Victory of Faith,” there are evident erotic elements that could have been approached differently without compromising its religious message. Yet, these elements were likely included to challenge the boundaries of acceptability during that time.

Two vulnerable Christian martyrs are shown sleeping while wild beasts lurk behind bars, symbolizing the imminent threat they face. Some art historians suggest that the intertwined bodies and gentle embrace hint at an intimate connection between the figures.

The painting exudes a soft, intimate atmosphere, which seems to imply a romantic or erotic involvement, going beyond the typical religious context. While the erotic aspect is not explicit, it relies on subtle hints and allusions, sparking discussions about its intentions and the role of eroticism in art at that time.

Even the depiction of wild beasts behind bars can be seen as a modern metaphor symbolising predators lurking towards women’s bodies when they express themselves freely. It highlights the challenges women face in embracing their sensuality without facing judgment or threats.

It’s worth noting that during the late 19th century, in France, the Orientalist art movement was at its peak. French painters were embracing a refreshing freedom to openly express erotic themes without religious constraints. In contrast, England and Ireland remained under the influence of puritanism, which exerted pressure on artistic expressions with more conservative attitudes toward sensuality.

Artists in England-Ireland  faced pressures and expectations to adhere to more modest and conservative depictions, particularly in public and official contexts. Therefore, we can easily imagine that this thirst for freedom extended across the English Channel as well.

However, I won’t blame them for not using the excuse of exoticising colonized women for sexualising purposes. (It’s of course more complicated than that, but still.)

 

“The Victory of Faith” continues to create debate

And it’s fascinating.
It highlights that many people still overlook the subtleties of provocative artworks within their historical and contextual framework. This lack of understanding may lead to misinterpretations and oversimplifications, missing the deeper layers of meaning that the artist intended to convey. Notably, some of these layers might even draw from the painter’s real life, extending beyond what is portrayed solely within the painting itself.

However, the ongoing debates about the purpose of art in relation to this painting attest to its enduring power. It defies conventional expectations of religious art and compels us to contemplate the role of eroticism in artistic expression.

“The Victory of Faith” holds a special place as a reflection of the social and cultural norms of the late 19th century while pushing those norms to their limits. It strikes a balance between beauty and provocation, ensuring it remains a subject of debate for years to come. Indeed, this is the essence of art – to provoke thought and discussion. Well done, Mr. Hare.

 

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