Carlo Crivelli was alive during the Italian Renaissance in the 1400s. He was highly influenced by the Church and all of his works certainly represented that because everything he did was about religion. St. George Slaying the Dragon was completed in 1470 and is arguably his most prominent work. The empty sky makes him the focal point of the art along with his sword and halo allow him to stand out pretty easily from the rest of the objects in the painting. One would assume that someone saving a kingdom from a fierce dragon would be a big strong man, but looking at St. George, he looks like a small little schoolboy that is in desperate need of a haircut.
The women on the plateau right above the dragon looks very innocent and was sure to meet her maker when the Dragon started this mayhem until her savior came to the rescue on a white stallion. The white stallion represents purity and is shown because of its genuine fear of being so close to the evil dragon. Also, George’s lance symbolizes the power of the Church over evil because of it being red and white which just so happen to be the Papal colors.
It is quite clear that the Church wins over evil because of the lance being stuck through the creature’s mouth and neck. According to answers. com, they claim that evil vampires do not have shadows and coincidentally, neither does the dragon, which shows the evil it truly has because the stallion along with George on top has a shadow. It would be utterly heinous to not make a mention of the bravery exuberated by the stallion’s manhood below the belt, which Sister Wendy would most certainly characterize as strength and honor; while the wimpy dragon does not have the collection shown by the stallion.
The lines in Crivelli’s painting are for the most part finely detailed. I think it shows that Crivelli put in a lot of time and effort to make this painting come to life. The sharp, thin lines on St. George and the horse show how they are the most important figures because they are the most carefully drawn. Take a look at the muscles in the horse’s neck and face – how Crivelli made use of line to enhance the expression of tension and fear in the horse. On St.
George, Crivelli’s use of line is most evident in the fine golden hair, which contributes to his effeminate appearance. Contrast the amount of detail Crivelli lavishes on S. George and his horse with the Dragon. The lines on the dragon are rather fuzzy, with a barely visible black outline. It’s as if the dragon was not worthy enough. While the bollocks are a prominent part of the horse, in the dragon they are much smaller, suggesting rather strongly that the horse is virile, while the dragon is not.
On the subject of shape, the castle towers are very geometric. They were drawn with precision. They look very real. The horse and rider are organic shapes, and Crivelli draws them with some clarity that they appear lifelike. The stance gives meaning to the work. The shape of the dragon is “ fantastic,” because it si based on something not in real life. The dragon is cowering before the horse. For space, in the foreground is the battle scene, where the dragon is in the process of being slain by St. George.
In the middleground is the maiden, who is in a stance of supplication, leading me to believe that she is praying on the outcome of the battle. Also in the middleground is the path that George took to arrive at the castle, and the castle itself. George appears to be fighting to protect the town from the dragon. In the background is the town which George issued from to slay the dragon. The white hue of the horse is a symbol of its purity and nobility, and also makes it appear less substantial heavy than it would if it were a darker horse.
The dragon, which looks even smaller when standing next to the horse, is a bluish green, and in its throat is a white and red lance, which are the papal colors. George’s armor is blue and gold, which are the same colors as the Virgin Mary. His axe is black and red: these dark colors make it look heavier. The sky is gold, so is George’s sword – the gold could be symbolizing that this struggle is between two wealthy antagonists. And while the trees and the path are a healthy, verdant green, the ground beneath their feet is scarred and blasted, giving a powerful testament to the fury of their struggle.
