19th- CEN TURY ART PAINTING BY ROBERT ROSENBLUM SCULPTURE BY H.W TANSON™ rofesof of Fine Arts, New York Univesity Professor of Fine Arts, New York UniversityHarry N. Abrams, Inc. Publishers, New York ey Conge Cling in Pei Dt ana ky Hey Ahn a: Ne a ‘cup tt ©1986 he ae of HW son eau pnd igs med SPADE Pat ert ane Nem Cy {te ac pl ar ik INSTITUT FOR KUNSTHISTORIE & CONTENT Paspacr AND AckNOWLEDGMENTS Paxr I: 176-1815, Painting (Changes in History Painting France feques Louis David Francisoo de Goya y Lucientes ‘The Rise of Romanticism in England ‘The Neoclasic Romantic Dilemma Painting in France Afer David ‘The Image of the Ruler Varieties of Landscape Painting ‘The Nazarenes Romantic Meditations in Germany and England Soulpsure Introduction England Seandinavia Ss 4 a 4 50 56 82 64 o m 82 a 1France Antonio Canora ‘The Barly Thoevaldsen ‘Austria and Germany Parr I: 1815-1848 Painting Retrospection and Introspection: The Congress of Vieona an¢ Late Goya ‘Théodore Géticault Delacroix, Ingres and the Romantic Clasie Confit in France ‘Tomer and Romantic Visionaries Constable and Romantic Naturalism From History Painting to Biadermeier Empirical Dinetions Social Observers Seulpture Inodvction "The Mature Thorvaldien England ‘The United Sates Ialy Germany France ‘The Romantis Theory of Sculpture Parr II: 1848-1870 Painting ‘The 1848 Revolution: Some Pictorial Response: Jean-Frangois Mile Gustave Courbet Materialism Versus Idealism Poverty and ty ‘The Pre-Raptaclite Brotherhood History Painting. Escapist Modes in Figure and Landscape Painting 7 104 108 109 14 18, ma 150 156 161 176 186 191 1 193 194 197 198 201 24 218 29 223 245 251 235, 264 269 ‘The 1860s: Manet and Painting in Pars Painting Out-ofDoors: Toward Impressionism. Seulptire France Italy England "The United States Germany and Austria Panr IV: 1870-1900 Painting Reflections of the Franco-Prussian Wat 1874: The First Impressionist Exhibition 1874: At the Pav Sslon and the Royal Academy "The 1870s: From Realism to Aesthetics Interiors: Domestic and Erotic (Changes in History Painting and Portraiture National Landicape Paul Céeanne Georges Seurat and Neo-Impressionism Vincent van Gogh Ensor, Klinger, Redon Poul Gauguin and the Origins of Symbolism "The 1890s: Postscript and Prologue Saupe Introdcton Fence Inly Bagium Germany Englnd “The United States Postscript: The Fn de Sie Brouiocrarsy PuorocRarmic Caepirs nex 278 296 315 18 320 322 326 331 384 337 372 376 2381 384 394 406 46 a 8 468 465 485 488 490 41 495 503 506 54 315PART I: _ 776 oisPAINTING CHANGES IN HISTORY PAINTING In 17%, that landmark year im sansa history, a2 state vitor to the Reyal Academy exibition in London ‘might wel have nized how Frequently ne ideas began te appeain, ati, familiar gis. Thee Si Joshua Rey cls 1723-92), the president ofthe Reyal Academy nd the mij face nit undation i 1768, eid fall length sending portals ao of a English intlectsl ot noblnan, but ater of Plysean amned Oma (in soother Angicizad variant, Omih; fi. 1). This hand ome young man wat 4 ind of asticpobogcal trophy, Irougst back Som the South Seas by Capate Cook in 1775 on the Aden and daring bs yearlong vit, be chanoed the Brie aistocay,inchading King George TUE Rims With the witty adaptation of old and new typiea ofthese years of change, Reynolds here recreates ‘Orin he guise ofthat Hellenic marble most red in thelatecghteenth cenrny she palo Bebde Rel ing the new ides that man in an unspied primiive 90 ety, whether Wester a exo, wold be both phcaly nd moaly fer ehan man inthe lt stagesof whet many thinkers considered toe the terminal decadence ofthe mi-eghtenth entry, Reynolds shows Omalmos i teal ae 4 nblesarage, The mats of his exorien ee tlearthe pam tres the landcape sting, the tattoo maths, the poiotod fingernails, the native totam and roberbut so t00 is the ewe with which he asumes the pow ofthe Grd statue that then marked the ideal fmt of long lst clascal beauty Reqclde's Rexbiity im secommodating new cigh teent-cetary experiences tothe gest tradition of West rman was shared by many of is contemporties A Jend ‘espe painter, Willi Hodges (1744-97), who had tetsaly teed with Cook 0 his second expedition (0772-75), was feed wit 3 sma problem, fe he too had trend unfamiliar naar facts within the fre work of preiling Wester trains. At the ime oc [ite of 1775, he showed a view of OtaeitePeha Bay in Tai (2, in which the ondely landscape come: ‘ons ois master, Richard Wilson, a tun ineritd from toch Eumpean soententhentury masters as Claude Lonmin, ae gaty altered to encompass she fea obser ratios about exo botany, meteorology, sd snthopol ogy tht pertsned to this newfound Garden of Een. For st aecnd plane, tis Kalina landscape formula eels {atte Tahitian biter instead of dase nymph and acon palms std brea plantations instend of leon tnd ange groves. Hodges even documents, tthe eight, {towering kt monument, an antl totem that, Uke the tombstone inthe Western story of shepherds in Ar cai, cartr a mesncholy spell of mortality over his beaten fn earth, Ores # century later Gauguin woul sil ein ‘esting ways to trazlste the landscapes and mathe of = South Pacibe Eden into the langage of Wester clr Tn both cates, Rey's Polesan Apollo and ‘Hodge's trope paradise, the artist has sued ted ‘ional formule to acomindate an ere vster range of cencelopedic knowledge about the word. Sach exity bectme more and mote the eu, 36 art inched i creasingly wnfuilisesobets and emotions. [a 1785, Jo seph Wright of Deby (1734-97) exited to Londoners ‘Theladan Widow (i. 3), psatng that caries the viewer 1 SmJosua Rrwotss Ons. Rapl Aceay 175. O08 ‘sora, 98257, Cleon Cate Homan, agin 0 dorm no less ects than the woages of Cook ‘Wright fas her iuserated one ofthe many legends that crosed the Avlatie about the uncommon hers and nobility ofthe America odin, a tis ease recneding the socal ration that blige the widow ofa ein hie {oat under her husbands war topic for an enize day ‘on the tain ofthe it fll moon afer his death. The ‘gers of this situa ae extaragaatly underlined by ‘Wright's imagination, which has dreamed up a repertory of natral eon that include a swing storm, 68 2776-1818 2, Wau Hones, A Vite Taw te ay fie ‘Repl ein 175, Oi en conan 344 314 Nato “ro, Eogld.Anaeey Al, ‘theres Calico 2, Jou Wr. The do Wye 83-85 On cas, 10 5. Derby At Cay, xg ated by Bases of lightning over agiatl waters, and at theright, nerptng seas, the Necth American equt~ lent of Verovat, whore sound and fary Wright bad ac tually sbseved and recorded inthe 1770. Modeka ke the most poled clase mathe impertrtble in hee Ineanchaly contemplation of the departed waceoe and husband, the widow peal animaginary idea of in ple, neble view and grief that might ive the London fpectator of 1785 mterl fr mar incespection. And in tonto sch edieation, Wright's panting ike those6 Panwine: 1776-1815 by Reynolds and Hodges, provided Gcteal dts bout steange peoples, fone its, and inthis exe, Inn cow tues ae sees This mintore of wnfemliar face and del Seton, of cenvenonal rotund unconventional aratives was 2 frequen sign of cangein the 170s and 1780s, epecally jn London, where ats and thee new popular sadieoces worked together wore che waivonl mold Wester Pnting. The most spetaclar and farreacing of hese Pictorial innovations oem came fom anise of provincial trsning. Having, si wre, ls to ve ofthe venerable teadions in eich sophicated masters Uke Reynok’s were sterped, they had fewer iakiions sbowt bresking roles, aboot substcuting the jourmainc immediacy of hee-and-aow expericnas fo the ieaned statement of timeless themes, Wright of Derby himself a roduc of the rapidly expanding industrial society of the British Midlasds, worked ins syle that insted up the bad face of empiric obsowation; and this almost photo graphic terns of Visoa, which could een be wed sre remoce or imaginative sbjecs in 2 way that seemed tehful othe sees of ght and touch, yiied ‘the work of several otherpinter of provincial exis who came to London tose thei ame snd fot, (OF these, the most cespcuous ae the two expatriate hee of American psitng, Benjamin West (1738-1820) and Join Singleton Copey 1738-1815), ext contempor ‘arcs whose enormous anton: coal be fll ely in Londoo. I isting that sleady in 135, Copy had Senta posta om it native Bovton to Landon for x= hiiton, and ehat it ws there mistaken fr 2 work by Wright of Deby. Levin behind him a carer eloial Ames finest portrait, Copley sete in London in 179, nd shee, Jus a is mative country changed sae. tliogly fom colony to sation, fm provincial to intr: rational satus, bis ar seddenly demanded and deer fille senton Like Wright of Dey, Copy guckly lexned to make 3 rsh fon of prow fact and poesie imagination cht wes cetsn to appeal to 3 growing 4- dience which sought out new adventres tht ike de ages of noe), could tanipor them to unfamlaplaes, ew adverures were breathtaking a the one Copley depicted in his showepping Wat an dhe Shak (ig 4. Alduough it wa etd atthe Royal Academy fh 1778 chad, on te fice ite todo withthe hallowed werld of hgh are tat Reylds had oped to encourage Within the academy's prcinet. Te wae comisoned by ach London merchant, Brook Wateon, ott estate et gun one ofthe nal themes from the Bible of Greco Roman history o kgend, but rather to commemorate + unig, cli hanging mementin bis owa ie. Swimming in Havana hasbor in 149, when he was fourteen, Watson ‘was atacked by a shirk. In wo asa, the monster stepped the sh of his igh og and it of the foo bt, on etarning the hid me, wae ivered by a ecu bot Wie was acraordnary dha the pegged Watson would wish to document pictorial his hartowig biographical ‘moment, was eves moreso that he ound ana, Cop Tey whe could do itso suzcesflly, With a journal's sense of fct-nding, Cope, ike many other sist of the Jace eighteen entary, tito reontroct scat the pre event, including sich particulars atthe fori ‘ons snd tower of Mora Cartleon the sight, Moreover the lay, lmom photogrophic rath fhe, ith to pulpsbie distinctions of nes, wood, exh, hi and oath, Eentstats tothe pining’ irefstable documentary sel ity, which ws further confirmed by the etal exty's reference tothe incident a" fact which happened." To ‘bese, che instant mace ofthe pining, with is lose ‘up spitsecond hore fan uaresoied cfr of eget ‘man vers hortendous beast, is che suf of yellow jor nam, but on others, Copley’ tory situated with sefereces to more lay themes tat give its unexpected tur of seademic respectability. Ths, the compodtions pterns depend in gene upon the rediinal te: tions ofthe Miraculous Dsugit of Fer, ar wal known in Raphael's and Ruberssimerpretaion; andthe ate tative hors, at fit so shockingly reporter, Begins to teansend ltl tath snd to approach 2 woe range of ‘other aw-of-dath Bical themes, fom Joa andthe Whale or St. Mishiel and the Dragon to the sor arid terror fhe Las Jodgment ta Like many ote cts of his er, Cope intedced new abject of es appeal to lage popular sodiences, gota te ste time iyiliznly dated thre ignote thames to unexpected heights by proiding rch allusions vo those traditions ub Jest and eompostions which the sademies roe to pet- prtat in purer foe. Morsove, the imagery ofa limbs Youth may have echoed contemporary poialctoons ‘ha llegoried Britain's os of the Ameria clones, ‘Copies earrngements ofthe conventions of Kiery ping were coe parle by thowe of his commpatsiot Berjamin West, who had sect in London befor him fn 1763, and had sea, in 1771, exited the Repl ‘Academy the epochsmaking Daath f Gel Wal, which Skilflly bended che immediate demands of ournliie fac (the wage bss of 3 young Brith hero in the 1759 bade of Quah) and the more mek, desl demands of 1 noble at forthe seem (a tlemn narrative ad coe pokional recat redolent of asic and Cian am ‘ations fora hero-martyr) Although West, fr more than Copley, explored the widest posble ange o Bi, clased, and Hteary sbjeer matter, he was equally a. tuned to the grandis commemoration of moder, ewsworthy events. Is hardly spring ten tat both hheand Copley turned ther pictorial tention to adranatc ” Paincancs 1776-1815, 4 Jou Scare Coney. ‘Nesoa Gallry Are, Washington, D.C. edn Lm Ba ard, 93 snomen cht ad ockedal Londo. On Ape, 178 i the Hout Lor the Bat of Chatham, beter own 4 Willan Pe she Edy, ws ging an inpiond ‘ech in Er of cotiuing ther thn cing es {Bik he wr feast, hen be ella in sulleogs efor which he watt dea menth ier in a sal serch tat eae to Tight agin ely a the Me, Wes rconretd ths nie tcene wich ad to nay aiextocs er the tee pees of Ag ‘esr tins (i 8). Toca wha, nit, ms taveben the cio elteimonen, doled jor and tna atts a what ight theres haye been ee Ibow ad icine group pon, Woe vaaged te Soden teste tis fc naver gry. Be fSonng with the two Egan who semly wc the trent en hoe, conning wih etn as Cf be gouty Ear of Chatham hua who dks up i eruch wie his lw pees sn ove op, the cate goupng becomes st clr talon of more traditional image of from the Cros, Like ee dramas of Wolfe or Watson, that ofthe Bal of Chatham wat scen through eyes fiir swith Bibl imagery. ‘Although West never made Inge pubic venion ofthis say, Cope, in ees, didi for im, fering is oven ore famous interpretation ofthe even and employing the tame petra formu. Indeed, with 2 shiwdacss that ‘ecified ro his keen anatenss ofthe changing conditions ‘tha existed between ais and publ, ato the demand for an are hat wa seroghly moder, Copley arranged fn 1751 to show his own venion of Clow not atthe Royal Academy, which was having ite sansa ebibition st the same sme, bat privately ar commer nterprie, {ns rental London galery. His competition with author ‘ty was ucenfl some twenty thousand Londonet paid to tee his panting daring 2 tenwockpesod. The vey fact of his organizing 4 pate exhiion ia istual coat petition with the etashment was a significa one in8 Pawwsiwe2 1776-1815, S. Bene Was, Th Det of tele Chat 1778 OF co eas, 28 35h. Kine [Re Macca Ft Word Tes the socal hisory ofa, and one which would have many scents, fom Blak znd Court tthe counts sess Sinit groop of the twentieth extry Parilsing the rie of» thexer diner who produced a high cle of popular enersinment, Copley continued to diay his wats inthe most public and commercial way. Tn 1784, he not only exhibited hie Chatham, but With it new work that presented another journalist iladon of on-thespot dma, the Desh f Major Pesan (elorglat 1) Like West befor hm inthe Daf Wa Copley esyed ee the topical and popular subject of young ntonal heros fled in bet nti es, the sene takes place at St. Hales, on the land offs, depicted Uke a thestal lacks in 2 shasply rendered aches: tural vetting In the mile ofthe city et, we se the Iritsising be bl fact of puviotc det and eee venge ron inary 5-6, 178, the twenrpfourgearold Francis Peso had courageously led a counterattack on invading Freach tops, only to be shot bythe enemy the very moment of his victory. In tua, Paon’s Hack servant avenged his master’s death by Sing on the enemy. This splitsecond dram il condensed in 9 Samboant spectacle of national pride and pie, eared with sich Sogelie clarity and mtislos deta ha, fr modern. audience, the punting resembles» ave fom + exefally ineted widescreen movie. Again, the instant sense of documentary itis deatd by moe tains peters and dramatic hetorc, The almost ballet fl of the young. Peison ito the ams of is ellow ofc rt degatt and cies the ene of Achilles mourning the ded Ptocue ‘nthe new iv of Homeri illustration hat began he 160s; andthe gracefl rash of women and chen of stage 10 the right (modee for by members of Cape's cw family) silat smacks of Renasance snd clascl ‘groupings. En mor, the paling coalesce ina elm cf escomen patois, with a wounded wera the lower sang, with perp hie Int esp his porous commander, nda crowsing fry ofred, waite, sn ae Briih flgs,erismphanty waving agsinat clu of gu povederabor, ad resonantly echoing, clrstzlly, ia fhe coumes ofthe olin and evans bow. The ho ross of wat the unsedsby upy facts Laown to all ae thre taal into 3 high-mindal drama that might a: ost bring the Trojan Wars up todo ews pode that this kindof painting of contemporary hess would quickly be sed to edbrate he military bith pangs of the ‘ewe epublic,the United Stats of Ameria Fon 1784, ‘whl studying with Westin London, the young Amer. ‘Ezy artJon Trumbull (1736-1843) began, with Thome Jefleron’s encouragement, x eres of ele pining ‘hat ‘would unl for posterity the most epoch-making vents ‘ofthe American Revolution. In one of he St, rsh of (Gover aro 1786 (Gg 6), Trmbal ordinal Sorat and witha rote ated brdhtrke than Copley oe Wests, the ne moments of Warren, wounded bythe British st Bunker's Hil, his ete side, with rifle nd bare hand attempt ro fend of the bayonet of the B ish enemy. The formula of pacetie, Christ-like martyr Panic: 3776-1815 dom nd hiling urge of ag, clouds, and sed en ir ocr gana lnae mean ng the Hoody ts (vu el nu ji Lett 3 ais case. Sach pits, predating the each Re lite ako pegue he epic eas tat in Napozoie Franc, in prt, would provide the proper mire of _thetely grin sod uaa to ht ght Conte to pertade pcan at ome tht he sa of rt andthe hxr of panting werecompat, sod hat Fatt gol cold ampere parr rate ‘vial ie etn ble Tear not only the eng contro of conten ny biney tt ond sss patton ace ‘BogloAmecan world 3 dl on the Continent I fs bythe 17 nest ny samen in Bsr ws cept pti llaseaton, roving wit ee 2 nil court to the wileniag nage of ioral Ioowege tat wa oot cone fr example of igh-mined bear Benjamin West bal wpb 2B demo pli tao of courte sens ale fom past aad pent: beoween 1771 and 1773, fei sane, be etd pitings of nately the deh of (Gener nes Wale (759 49), bu sory ae this of the dex ofthe Thbun geen Epsninodis (36282) ani ofthe able Freak ight Bayard 524m) By she 1780s, West ood se thi iol rly, comple othe of nents eokng wit scare tnd cbf deta the me fa ian epoch, to fl 2p comminion forte te ons 3 Windsor Caste to record eg lriose moments fom the haleentry tig of Edward (127-7), Ina say fx oe thee (6g) be damasgs the mong sory ofthe burgh. of Cabs (ald ft in Fosats fourtcontrcentary Cho), the x eal heme who present them to ward Il athe honages the English hed mance for exacution before they would scp hostilities. But the ing and epecilly bie gncen, Philipps, were #0 moved by this fer of selfsariie thar they spared noc only the ‘burghers, bu her cy, Calais. Aga, West presents de episode a a chesreal abla, witha bckdeop and co fumes meant co conjure up a ate medi word, and gin, the demeaorof the guessed, with hid Coufoatation between the Bench prisoners and the Eo tlh eure, snd with soch rhythmic pairings a Pips" fod Béwar’sthetorel gets of imeresson and par don. The gee, wl ke ispostion ofthe gues cl, fn at, ee statuary style of many of West's eae ils ‘rations to Gaso-Rontan history; the pictorial formula i altered here only by 2 change of setting 2nd contume ‘Wests proction of thi potentially rags, berteding seene may appear pedestimn by comparison with Rosin's weld Famous Calais monument ofa century later (eB. 4382), but his precocious ue of ble gen fram me ‘iol hinory at lest suggests how important the hte ‘ghteeath censary was sn exablising 2 wide repertary of subject fr later generations to expire. “Histoial legends of vistoous behivior were common ‘torial enn by the 78D, snd could shit easly fom the Pubic oft tothe priate domain of domes ie Te period that so seriously reconsidered both the theo- ‘tial andthe practi agpct of child rearing, wheter in the wriings of Rouseav and Pestle or in the cor- ‘sponding ne attades toward the importance of per socal maternal care (a opposed to monstrous boarding 6. Jom Tron Dash Gon Hana Bale er ore 175.18, Univety Act ary, New OOOO EEE2g Ws, Quer ‘Php adi fe Been of Cal Otten eas, 39% Dats lene of As Gi of mesE Seg Gone thr fhe On WACO ewer, 230", The Vegi Mesa of ie 2» a Pawwtane: 1776-1815, shoals and callous wet murs), it was pedicle that ‘may paintings woul! sing the praises of motherhood, ‘whether in pest files, in lal oe. or eve nse ‘ses of famous consemporris, A pari fiver was the Reman sory of the vituous mother Cool, who, ‘when another Roman acleworsssvisted er and asked to wee he ewes, pointed to her own thes cieen—T ‘eras, Gaus, abd Serproniand expan, “These ae ny most press jews,” Among the many sists 3 trated to this eifying tale wat the Swier born Angelica anfinann (74-1807), who was oue ofthe founding member of the Royal Academy i Londoo abd one of tie ‘most internationally success sists of her time. AS 2 tvonian att, Kaufman gems to have bund most ap Doprite the wneaton of the hecnes richer than che Foes of classal and meal history ata legend and (Coralie star wt 0 high im her female panon that she anade multi versions ofthe theme fr pteons ia England, Nal, sr Poland. n'a early version Fg 8), punted fr er loyal pation George Bows in 1785 and xed wth Royal Academy inthe fling yas the ‘domestic drama wnfels wih the lad, deal rhetoric ‘ie ofthe period, Agsinst s Roman architectural se- ting, whose undsorted soeity of eae pier and elia- ri column confirma to the pore ripng of forms many bullings and unexeeated pret fhe 1780, tbe ‘women and chikten ena tei ale The ste Cornelia, Sanding bee her swing hak, a kindof eral He ‘uksgure who bs chotea beeen the vstues of ily {duty ad the view of feminine haury epsentd by the sexed vito, who digas aceklce abd, in he ap ‘bow ofjewse that momentarily divract the daeghter The moral mesg es cleat the Simple fgore and se tative, although a surf sweetnes and grace immed ately ditngvishes Kaufinann's vision of Roman antiq tity fom that of er grest Frac ontemsorary Jacques Louis David FRANCE Here in cla gine, the ideal dering of noble and bappy motherhood wae a ubigsious heme in the late cightceath century that oven pened tothe eal i= tgs othe queen of Frans henié That, 2 he Salon of 189, Paris could se + emutkable irerprecation of MaricAntsinets by the wealthy and cornpitan Mose ‘Blkabeth Vigée Lebrun (1755-1882). Instead ofthe uae Aitiooal royal potat shat presented the nonach ‘ote gly, the qen is shows 2 hoe a Veal the Galerie des Glace i jot vib 2 the efe—oeter wich ‘ber tice reward of maternity (ig 9). Wi alvin gaze ‘upwazd, Marie-Thétse Chart ater tobe the Duchess €@ Angouléme)tendeiy bos ber mothers a, wie the 9, fasanern Vier Lamo. Mae nnd He Chen. Sion of 37 Olen cme, 82 6 HP, Mine Naina Chie de Veils two-year old Duke de Noraande ter to be the pattie Louis XVI) squire lke a al bby on er Tap. At the right th daspin, who wat to die just below the on Iyeak of the Reston, cues the drapery of his infine Siers rib which es cel integrated into this once Aigoifed and informal composition tate eems a member ofthe fay anit Like the sa paris of Vigée-Lebran ‘with ber own loving daughter, eis almost a soul translation ofthe ical harmonies found ina Renaissance ily Fail but one whose propagsndc message was becoming sept. nf, the panting, which was mane to emanate an aura of loving maternity that cold help bridge the widening gulf besween Verils ad the te paying potato in Pris ae quickly nkenamed "Mane. Bebo" And with een grtnmer ions, VigéeLabran’s grat con of ral motherhood was hung atthe Pres ‘Son only one pirtare away fom David's Dhof Saas, scene of high-minded serif othe state painted by a5 rtist who, jut you Iter, not only would wot forthe death of Mare Antineste bat, with chilling indiference, ‘would deaw her on hee way to the giltne Tn Fence, asin England, che tempo of poi change seem to accra sil i the yar bere 1789, with comparable growth in he repertory of yes nd subjects mma,Panvring! 1776-1815 1s el as inthe endbing of more crowd penng themes ‘hat would ear have been considered too lowly forthe highess domain fs. The work of lean opti Grence (1725-1805) ia pret Geiger counter ofthe any rum Blingsfnoration in thee yas wines is ihe Case (ex The UngiflSo of 177 (6.10). The sone i oe of passionate domes drama, layed out in the show ‘hentrical spac familar to Brish panting ofthese yes Ami the desperate ees ofthe fary’s women and chile, afacher cures is 08, who, in azn, gesicalites fin rage and eras toward the door where a euiting of fee, wit a promise of money, wit ener him om the aly hee tothe ary, ‘Beloe the generson of Greure and his most aedent supporter, Denis Dies (whe, i hie vivid and supe art. ctitcam ofthe Parsflos, began tong Gresee’s pases ‘nthe 160s), such afl rm nape rural home ‘would ne Been daened worthy only ofthe attention of Punters who wise! to smile atthe cowedy Fehaioe of fount buplins. Hee, however, te theme has been eleated toa mor slemuity and grandesr that sack of 2 Bilal sermon, sah athe story ofthe roa Son (laden he pendt to the painting, Creuse weprsents the soa's remorseful ten home to Fd his fther om his deached.) Asin Cape's Wat andthe Shar (i 4, ‘what might bea til theme hasbeen ephrsed in 2 Janguage filed with ache naetve and attic asoci= tions. Inthe case of Greze's drama, the peor structuc evokes, in its ideal disposition of chetrcal poses and cexpresion, the abstrct language ofthe Peach Acad, applica in principle only to wnenble histor subjects andthe particular postures ell the kind of caszal mat bks—fom the Nibid group to the Borghese wasn — that were feshly studied and asimilated by many of Greuze's contemporaries who wished to eveke the ook and fed of the Greco-Roman world. And of couse, Greaze'smesiage—the miterer wrought by disruption the family unitneay fled Diderot’ didsticpresrp- tion thatthe purpoeof pining wat to make ve lock aruaetie sed vice mpellent, Gue's mtu of 4 ne ‘mow popular Kind of subject with an old Kind of au and style was, almost predictably, ofenve othe Pai at eselihmeat, which refed in 1769 to recognize ise denials 53 history painter, when be submitted a Roman these that ws judged to be taatd by a puny here and now styl moresppropriate to gear pining. Theensaing rift mennt that, thereafter, Geuze would work incom: petition with the academy and is oii Senna Salon sd woul exhib his week privately in is own staio st the Louvre, wher visitor dtingsished ms Benjamin Franklin of Marie Atoinete’s bots, Empesoe Josep . would coms tose his later paintings. The growing ‘Bers Cw. 17. Of on cea 52% 643, Low, 23 fection between officiakom andan ate with ides gue to lager audience was a sppsret here ain theca of (Copiy’s eve exhibitions n London in the 17H, The vitor who moved fom Greure’s studio in 177 to the Slon Care tthe Louvre, shir the efi ion if was hl, cou se tha yea the hind of peut sp ported by an scalemic authority, which, under Lous XVI's artistic diet, the Cooar @'Angivile, pepe ted themes a uplifing Grea, but instead of cal Jing them fo the deay lives of anonymous meribos of the Thtd Estate, took the eter fom the is ofthe nobis men and women of ntguty. the Mile Ages or more rent French natin history. A typi and pm ient puncing atthe 1777 Sale by Loss Lagrende the lee (1725-105) luserted sn eiying example a ca Roman behavior ia the easly day ofthe repli: the cn sul Fabris Lascios,fmovs fr his mordizing rection of any worldly posesons is bee sen fusing the lx tious gis of Pyerhor—money, golden en, stator pelersng instead coer steadist with hinge a 1, tourer Lacan Fi Lins Reig He Giff be of 177. Oso ces Me Rat hs, wo ityinhissimple county home, whore rade post andi! anchitetae nested into a aatural growth ie symbobely ‘contrasted with the lnpse of am ornate tiumpbal arch nthe ight (Gg 1) Like ie didacse menage, the stage [ike here of hilo tny of ae Corsini kin ‘0 Gresze's pitoril drums; bats oppstions of yes and ro gestures, sharp dsinetons of major and mine lye spel ou the confi inno uncertain terms, But ional Greux's figs, despite thei goobe mii, ate more heroic ad passat in thee clades of wil and body than ane Legrenée’s somewat mincing and diminutive char acters, wo seer more attuned tothe etic gestures fd stances of eighteenth centry opera than tothe more fullShoded confine of the now midis dams Moreorer despite Lagsen' frst etete + Roma nile fot + Roman narra, iis Grease who offer fr ‘mote specie boerowings fm lasses! airy. tating foe Helene models seme of id, hen ston and saos tha shen csi into what might be eal the Platonic el ofthe dramatic sation at hand,% anette: 1776-2815, 12. Loum Duna, Te Cone of Bg Ss f 17 (Gio ca 199i 3768, Mad Perret de Sept, Gracie Lagsene's combination of « morlicingeabjce with woull-beaccuraey of sting and costume can be found as ‘wel in medieval scenes pretnted athe same Salon, Louis Dramens (173-96), in his Cte of Bed (12), Alutater a nable, bt anblody page fom the eof the cxamplary French metic knight, whose dying mo ‘ests, i 1524, had aeady been shown o Lendanes in Wests painting of 1773, Her, the sory concerns the Chevalier Byat's exceptional vitae and Kindness, His vale had brought for his plese one night a beaut Young lay; but on sexing her teas, Bayard need tha LTthough she was fo financial sats de enough to sal Ian she wa infact Indy of honor and high fre, In sesponse, he gave her separate seeping quarters and then ‘feed her motes enoagh mony fora dowry and tou eau that would ensures proper marriage for er daughtr, ‘Thislae cen, whose sentimental miatare of uncommon chatty snd charity is almost Vitorian ia is reiltin, fs plged out ina period recostracton” epi of the luce eighteenth centiry: The comer ae shove ed on the Freach stage forthe many new dramas seta the Mid le Ages; sd the setting, wit ts beams, tapes, and paeling of pointed arches, provides Inte Gobi near those atentatd laine paral the eo Gothic designe of many lite eighteenth cenaryarcitecs. Again, so agree’ scene of Roman vite, the postures and gee tures havea minat-ikeseetes and grace that cal the lesursble world ofthe reign of Louis XV. JACQUES-LOUIS DAVID Ie took gents to make get ar from the various new incerprecations efhistory, drama, and meray so appaeat inthe 177 and 1780s, Hiename was aogocr-Lowis Dad snd is ifespan, 1748-1925, cased and wected eery tnajorehasge in Pench at and poe oe the rigs of Leais XV and XVI through she Relation, Napoleon, td nally the Bourbon Restoran. The perfect example of what the French eal an “ariteengagé” thats 3 commited anit, Did came to bale, even before the ‘Revolution thatthe power ofhis werk oul serve human ‘ead fr mote important than thot of aesthetic deat. tion alone and ater 189, he painted primarily 0 pop agate fie Republican, and then Nepoleoic, ich, His Beginnings were sw, and hie early ehaces estat, In 1777, the year ofthove paintings by Grewze, Lape ad Darament dscusted above, he was stil astadnt a Rome, inthe middle of» feyea ojoum (1775-80) under the seis of the French Academy. There, he abored not only ton the absorption of the lessons of Gres Roman rt and the old avers of Tian painting, om Raphael cough (Crago, but on what he planed fo be a enormous ‘antigen the kind of Horerie abject, The Fen of Paro, tat, from the mi-eightenth century on, be came 3 toveitone of eiouines to which only the most fumbious ast coal gp. I 1779, Davi aly com ted large paieed sketch ofthis nguboae sre frm the Tad and dered che esule worthy of ending home to Paris for academe judgment (Gg. 13). A fascinating telecon of many coicurets in the te 177s, Dai’ painting looks in all iections, At Gt glance, thee atte composi sem confused and crowded: inthe ener, Achilles mourning Patol before the wooden i ‘eral pe a thee the killing af weve Tj princes {add tothe aren and athe righ, not only anther ‘scrifl proceuion of animal, but the ataching of Hee tor's compe toa chariot chat wil dag i ound the wall of Try. The Rutering ight and agitated beushsrke a ‘ost belong tothe Rococo world ef 2 Boacher or 3 Fr sgonard. Bat underoeth this wats surace of selling bods, rruresque hovers, and animated gre, hee {sa sense of solemn, ei drama that constanty counters the inal impression of fckeing pageansry. The grve slythns of the sail processions, eh flooded 2 Pawwzewer I 13 Jacas Lous Davo, Te Fae Pai 179 (Sno 18), Oo cs 776-185 4 x OPM". The al Gay of Trae, Dic energies ofthe chariot bearing home, te gloomy sky— fuck pusages ace stows in the winds of Deis matare ve "Tt yl wae wily to crytalize i ime fo Davis fast opporunity to show his work othe Pais publi, at the Salon of 78, He iclded among his dozen etses the ewo-year-ld Fano Puc ba act have ez {hat mative to bis tert work, thie ws opel olde fashioned, (lo 1782, sa fet, instead of executing, as planned, 2 larger vesion of this aleady saable pat etch, he wed ta 3 tabktop fo ach and then euckiy told it) OF the more ent pintngs ebb, st was the newest, the Belarc 178 (i. 1, that proved te most ‘tering and peohetc: for ber, suddenly. allo the iase negit ofthe 177D joined forces in a work whore rock bottom crt of frm and asraive stratus ieaugrates the high-minded vision of 3 new and grat ati. At the lat Salon he sviewed, Diderot wa lnk to see what wat virtual dhe youth anes to Bis mg sanding prayers for abl, eying are and he quickly proclaimed De vids gets, © “he legend of Belarus was noble and lachrymote, He adhe a victorious general under Justinian, bat was then flay ccued of eon, banished, and scoring 0 even ore extreme accounts, binded. I is pate er Me ‘when he wandered about 2a begga, he wat one dye ‘nized by «former soldier. Ie teh moment David ‘hove to pint. The loge was epcialy poplin the Ine eighteenth century, aoe oaly because fis drmatic Ingredient of grim mistrtane, but because flee his ‘orl counterpart he conterporry sandal reach fever, the Count de Lally, wo, ser mismanaging 2 French expedition in indi, was wrogly convicted o tae son ané executed in 1966, bu then oily unerate 178 he year of Dad's posing. le wa the ind of par- allel beeen contemporary events 2nd dsan istry that David’ at would evoke mere nd more x the Revelation approabed, aris distil acount of Byzantine rler’s injustice seem fo take place in the Kind of Roman miles aay evioned by the matters of sevententh-ceatuy Freich ‘lasing panting nd roms. Withee penis of stage (deta who can extract masimnim narrative and pathos {om minimal means, Divi is hee od sn ntieatetory wth nl cast of four In ioe distinction vo the bear tending group of woman giving ls tos Hind old beg {ua hi cld companion, the slr atthe left sod Aly rcopnies this emer hero from another world of mies in Btls, The solemn motif ens ied td futitreched arms and bande is orchestrated for male sesnings (spi, charity, desperate need), jst a8 the ‘our Birs oer ach spectrum ef human types and ages [il ofthis drama smeared in lsd shape and byes ‘hat, an Poon, permeate every lat det. The ee liner masonry ofthe ground pine, the cin col fran, en the Beggar's dingona ck renting on the cubic Bloc : the sight (with is uote Latin insrpsion-—oaTE ‘onotun misao, "Gives coin to Belarun”)—al the pore planer and solid geometries define an idea elm (of pefct vlumes and intervals, Within thi immartable ‘covroment, the figures ate no ks concise in hee ates ‘ay of gestures and emotions, trnsorming what might ‘simi sseatimentsldramakysfollower ef Gree into tragic thee worthy of Comal oe Racine ‘aids power to re-create a complex sory a3 tls, eben, 3 once frozen an posonste, reached it eight26 Panstw: 1776-1815, 1 Jacqui Lois Dar, Bela, Sa of 8. Oi on ca, 9 TH" % 1 434", Mae Baus ile in dhe Out ofthe Fai (ig. 15), 2 werk that might wal uaify a2 poin of no return in the history of punting, fd that, ikea visa manifest, seemed to propo 8 to tally new orde. Recognizing that he wanted to create an epochal maserpice, David setallyrewned to Rome in 1754‘o ceimsmen imslfn an ansiquemiie propriate tothe Roman legend he wat iierat, When th a= ing nade is private debt n Divi's Rome tio hat {ear all he connoineue who site to ace it knew tat fomething momentous had ocearteds nd when inthe fle lowing yee 1785, the al was sat the Salon all of Paris was cloceiid by tis ltril alo arm is tute to David's gens tit, even without znowing the comolurd nares ofthe Heat legend, the madera spectator ean instantly grasp the tworput heme: among the mien, a patcotic emblem af swords and font aking; among she women, a wv of grieand abn Aonmeat. The fail ellisons of 2 work like Geaae's Fate's Cave (10) have now reve ina asst i, ‘berween ale snd fale worlds: a wine trengeh that leads fom the home to te bilefel, 0d fmninine pe Siviy that remains sorely within the demeste con fines of mothers an children. Ina perfec stage space that ‘ational city af Renaissance one-pot per 2 Paiwrine: 1776-1815, spective stems, we ee ft the noble athe, Horas, tw will band over swords ro his eriplet tons afer they take their cath to fhe fr their county apsnet the enemy Cara (who, with mythical coincidence, ae also eget ‘othe. United by ie patioicase, the group of our rea prscot a military dsaplin of mind, su, ad body. het wily ae scold asthe aly outstretched limbs; together, the quartet becomes a tense fusion of elahing metal snd mace, sheds pattern of rscos- ing arts, weapons, ake’ leg. Informal and dramatic conta, the group ef women i nied in mourful, de- reending shythms that Dow in slow, curving patterns hough Heth and clopery Burn witht knecing he continuation ofthe ory thar the ater, Caml tse far right, betvtd to « member of the enemy camp ‘who will be kl by oa of er own brothen—we sense in the women the tie penonal bss to cme, ehougb it ‘appears secondary to the dominant energies of allegznee to the ates hid synbaliad by she Roman mes. For alts topin newnee and clarity, the Hon is ard the ist peotingof tie to epee the concerted moral free of group of Rontan men who swede thee fieity toa higher case. Aleady in the T760, the Set ti artist Gavin Hamilton (1723-98) painted comparable themes tha were distemirtedthoughoor Euope inex ravings. His Outhof Ba (6 1) afc, with ie po- Tnrityberwen a wengefal group of Roman eat takers nd am expiring Lucretia (whos aken her ov if afer the Aishoner of having bees rped ty Tagins) ic probbly the pictorial agg of Dads own chic of theme and -arative daisy is penal interpetation ofthe Hor 1 legend. But ax in Dad's other esting of eae Sasiciing images by Hamilton and bis Reach concer poate, che dat to his sources more than pid Har ‘kon’ terse steps in the detin fa seal abilty of eye and spe take on, ia David, + paionate au thority. The somerbat fied anstomies and smoothly igneralizd uric: of theater work eric, in the 15 JacqsLou Dav Oui ofthe Ht. 1784 Sono 1785). Oo cme WF 10" > 18. Le, PiePamnine: Hai by x manerfal, almost Cuavaggesque, els of Tight ead exture hit sharply record sn diferentes the palpsbe fete of haz, deeb, motel, metal, daperys and the cinuitous, swaying movements of Hatton’ figure sroup are changed into postures of head clarity and Permanence Ben the architecture inthis Reman atriom teem tripped oa stark purity is unfuted, bases Done columns regres beyond the inurcaces of the engaged fed columns ia the Heli a8 0 ech the vey iments of architec. Indeed, Davids impole ro porge fis panting ofall that vas ccseatil, and to asve ‘hey at the Base slpbaber forma feng, was chat eters ofthe mos thoroughgingsonovsions nal the zr ofthe 1780s, whether the achitere of Ledose ot the sprue of Canoe ‘Gin the stunning impact ofthe Ho with is virwal proclamation of anew aesthesi nd moral order, is no frp to fd immdiate and potent repercssons. Of these, the mox memorable is Mar at Maras (clr= plate), completed in Rome in 1786 by the shor lived Jes Germain Drousis (1768-88), who, a6 an intimate frend and protégé of David, had assed the mste i painting pare ofthe Hoa anything, the Mai pues David's crstie implication een farcher. Tp this sary from Hutarc, the nble Roman gene ad con ison a pltilsgee, afer the state has unjustly seated fim te Gath. Bat te Cimbrian solr who ha come recut hi sable to do 0, forthe cal contention ‘with er so uncommonly seas Masiusstas his hand, In thir drama, Dros ues ely a spare est of two, dt viding the stage into what almost a oppoition of ps ial tnt were moral enonterthrst. This daring rede 16 Gar lane ngraing by Domo Caan). Oath of ‘Bone 8 Engg X14 Beh Mac, Leadon 2 1776-1815 tion of 4 comple sarzatve situation to the tensest quill of wo poten: fre: goe ewe byond the He rain ite sar, emblematic clarity, alsbough the ste of the ealr pituse i evident choughost, Asin Dvi's steal von of ancient Rome, Deouss uses cl alimse ‘meale hues, which seam to evoke dhe mor ectitude of the people reed bys clase Roman author 2s Pi tarch and Valerius Maximas nd the contours at defied ‘with a marmot pecon tot lacks the igures nt po [and frontal potas, The sting, to, i of chilling austerity that bebe an aria of eros and seeice. Gs the etal tone of bat these works i ated bythe amor paritan se, prvi, in bisorl reopet, prints fr the kind ofidealie mor bebe ‘the Revolution woud soon demand ofits heroes and mar 7 Hero wor, a ict, escalated inthe years before the Resolution, whether in terms of Greco-Roman history ar afte history of France, In 1787, 38 the sme Sab tat Featured David's rendering of Socrates's final Sncoume to isdn ele dining hemlock, psnter of Davis generation, Joveph-Benoit Savée (173-1807, offered an Ibterpretation ofthe Desthof Ada de Cag esloplate 5), vearating ssixteenthvcentry French Protestant ber, howe courage in the midst of Hoody egious war bad Ahesdy brn prised by Vata in his poet account of the ign of Heat V (LHe) and whose mon force almost became the French ntonalequvlent of Socrates fc Maris, During the blody St. Bartholomew's Day ‘aware of 1572, the pest Prottane adr wat ame Tne in is home by woul-beasassine who, i fs sweet il him. But Sure shows the moment when the ber sends spare om the uly crowd, many of whom, ie the older who has come to cxocute Matus, a so awed by the id man’s noiiy that they fll ats eof sift bil themucis from his tial adiance, cumin teu. To the sora of retng abd costume that be fame a couimnplae in late eightenth-centry history aiting are aed the spc dram of» spooky tree feridor and vic, and an alow frightening immediacy ofthe imading, murderous sable. The ingredients bee not only pref in term of, the etal evens ofthe ‘loodist pages ofthe Revels bt, ia tems af at he formulas of many ninetenth-centary paintings of tional history, whether a ering a tote ly Dlr o38 route asthe sees of storia uration prced by ‘unter painter ol ater generations. Looking tack ward, ivi a parclr ony sit Soentes and Coligny shared the 1789 Salon wale with Vig Lebran's complacent n= age of Mace Antinete and her chien (Bg 9), "om the vantage point of 1789, ii easy 20 se how qckly thee pictorial sone in hess, courage, nd ‘plan puri could be pat to the se of contemporary 1 Jacques Dy, Te Tes th Sl of TS Pen and bow ik pda was frm bn othe Mae Natal bo Chie experience, and ao mater exenpis this beter than David himle A fervent Jobin sn lolower of Robes pier, Dai ier the alof the Basil, quickly became the ais ho would memorize the here event ofthe present, of whic these elie itor work cosld now Ee viewed as OM Testarnent prophecies, ot were, ofthe ew tligion to ome 'No pail mement rymbalized more deci the be innings of new rpabbovn world thn the Tennis Court (Oath ef June 20, 1789, when the depuis ofthe Third Estat, then meting in the Salle do J de Pane 2 Vr sails, svore never to dab unl new consttsion had been dafed, To odebrate this, commemorative society seas formed fo 1790, om the azniversary ofthe oath, and reicubly chore Davids the artist win could recor for poseriy ths epochmaking event: Dav planed a work iodo fr yrs > reais seams mene snd Dew rough to corespond to this tiling prelade wo 2 nw frac French, and indeed, Wester istry bs thanks 10 the rapid change of poll foreune afer 179, he was thle to produce no mae than many repatory drwings, both swift and labored nd age incomplere canvas with some prminary figue studies upon i. At she Slo of 2 Pastis 1776-1015 ‘i veut) 179, he pesonted a lege pond drawing (6.17) that le Prins we the abbreviated atement of his st ‘nerpretation of aconteaperary itor event and wth it be rented thee clseal history pinings ofthe 1780, one of which, the Hea, must soddenly ave sp- eared spotype in clase guise of thi modern oath of Megane, Like Trumbull, who ache same ime was re ring his peo celératon ofthe American Declare fon of Independence, David wa faced with the problem of giving sense of sigue drama and importance to what ‘wat esentily a ules action. The stactre ofthe Howth its coinaton of erieclarity and surgi moral patson, came toi escue. Again, David set the scene ina box apace of absolute prspecival purty; abd within thi ideal envionment, ke presented an image of ‘Seminal wl in which al guns bu he dsident Ms Sind Aue the entree ight ite with rently aed fms son he ental group of Presiden: Baily (standing fn tab) and trio of cis, The ont-aking quartet tf the Himba now lied toa cast of hundreds, 2 redetion of wha ms hve been, just afer the Reve ‘Son at itcncating seni ofthe power ofthe peopl nd to add to tht communal drama, the very wether seems sus = gggl30 1776-1815 Paine’ to recognize a new Crestion of Man. In the upper fe log epce ofthe high-inged court, and behing i, we see an umbnls How inside oot at in the distance, # ‘ol of gts strikes the Royal Chapel at Ves. Tike many of Chude-Nicalas Ladoux's nd Etienne- “oats Boulé's projets or vat eve buildings in some yet unbae utopan word, Th Temi Cort Oath neve, i ‘ae, pase from tis conceptual stage eo the huge fl patog David eovisoaed, Pally che ave ambtous aad Fighrminded peojc in his eae carer was abandoned. “The pin, howe, of ralting the veneers af the Wertern tradition, whether Christsn or Gree Roman, toa lnguage tht cool be ofmmedinte sevice to contensperary politcal cases wat be contnoed Thus, i 1793, the bloodiest year of the Reign of Tero, David was ead upon to mourn apd commemerate in paint series of marys tho had ler thee lies forthe Republi. In the retest of thee, the Desh of Mat 18), David took onthe tagesinly dificult tak of ern: ing grossome rmurder into tinel art. An cbussily ‘commated Jenkin, Jan-Pal Maat sufeed fom 2 skin disen that eliged him to do most of his plea! wok in the soothing water of his bathe. On Jal 13,1793, CCharlote Corday, an adherent of his politcal fr, the G- roodit, gained acest his apartment and Ed him swith a butcher Knife. A pola marie wat instantly Inade, nd abort rites chat virally erandated a Chri tian ssctfeation into a secular ne tok place in Psi thine da Inter Av frend of Marts who shred the tame polis! goals, Divié was both peroally and teorkally commited tothe pictorial eord of his death, anu the panting, completed three mous der he us dk, rfl: both pitate and pubic passions. Ta the fre frmund isa rude wooden packing erate that not lye tablsbes, like the eabe inthe foreground of che Beli (Gg. 14). solemn and abstract geometic module for 20 ‘dal image, but se becomes a urogate tombstone, upon whic i nsribed A yanar, paw. aN Deux, inthe Simplest Rowan lettering. A pernonal dedication of the a ‘nal a Lind of pole fenerery ee tment Ite dt, the yer tm pls the event 3 0 curing inthe second yea ofthe new Peach evolutionary calnda,which, like David's new ar, wa o inaugurate {new epoch in the Western world, The metamorphose of comuion fc into eternal symbol continues the ea rent of Maras corse ts, which nt only beac ll he fnatks of 2 weal murder—the knife wound on the right the din—buralo ratcend these empiri deta ten tera more eric elm in which the body begin to reall not only the martyedom of Christ or his sil dice, but the no let venerated conpee of one of those Homes ine 10 bis ried, 8. Jacque Lo Dav. Dah f Mat 1798 Os on ca, (980 X SOW" Maser Rope des Bendre! Koki ‘Man wer Schone Kate, Bede beroee—a Paths ora Hector—whom David had punted ‘before che Revolt, The scent from te satu othe supernatural bere leads us to the haunting upper half of the psig, wl becomes smyerons vi, nowhere eaviroament,duminated by an almost holy ight that, from sn unepcied source above, cat upon te poignant texmstrial faces below, Athi thoogh they were, Dad and Mara, like so many other ferveat social rorners af the modern word, seem to have cated a new Kind of saigion Did’ allegiances followed besten the politi ceveats of his contr, and in the gure of that Corsican ‘upstart Napoon Bonaparte, be found, did most of is ompatiots, ew hero co worship. He also found 2 new atom, who demanded, like the eelutonary kades be for im, that ficial art supprt she oa ofthe ule and the goveramert In bis it falls comanision forthe ailitary eveat f May 20, 1800: Napoleon leading bis tuoops in vcry acs the perous Alpine pss 2 she Grand St Berd (aloe 4) Asin Many docamen tary fet tums into ennobling pola! Gtion, Shown a Patino? 1776-1815 “calm on fry tend," ashe himielfreuste, Nspaeon bongs hereto 2 veneabie eadtin of ecuestian por ttsitre in which monarchs and noblemen serenely mister their hors. Bu David has sodden inated this image to pve a sense of uncommon energy anéauthecity to che few hope of France. Asanlike foot solder wea their ‘way upiard ino the marrow passat the ef, Napoleon 224 Bis bone mactally dominate this faa plan of lene ship. Hore and rider, their heads now on the ve ee, src fused ina diciplin’ combination of imal power and Ihumaa contol: and beth se upward, wth eaingboores nd praised hand, roward a symbol fase a utopian 36 that promised in The Tis Cet Oath en natu co tributes to tht momentous recognition of France's new ruler: a gust of iy wind sems fo sweep the hos al ad roan aed Nepocon’s clsk together in deamatic tot to an unseen goa. And the Alpine vista of now ‘capped mountains and a stormy be gray sky (a sable ‘atu setting which ad aeay elite powerful eno. tinal espones among at cightenth-century artists nd spectator) again contributes a here buckdrop spaast ‘which the figure of Napoleon and hi bos sem al the ore heated not only inthe mort Rbensan warmth of thi colt and textures, but in the pstonate dom zation of hee destiny. Tn even more literal terms, Dad tas ised in che ey socks ofthe le foreground 10° [ADAKTE ANTRAL KAROLLS MAGNOS, herby providing & itor pedigree for Bonaparte inthe ection a 80 rest maltary and poll heroes, Hana! and Chas ‘nagae, who, cenures befor, had prophesied im in their lowe aduous crsing of the Same Alpine pas. This Kind ‘of ecle genealogy i bettowed upon Bonaparte in other sway as wl, forthe sharply chine pole silhouette of home and rider have an ides chit hi willy Grok inchaacte,s modern rencamation ofthe Parthenon mee ‘er. That Napoleon actully crowed the Grand Stet ard pats on 4 mule (4 hternietenthcentry atts ‘would render dhe scene i one of many indestion of Ds Vi'sand Napoleon's ally 0 tetsform the prose of ‘eryy fits nto the rhetoril poetry of histori myth Although gleifeston of Napoleonic vers was more the rue than the exeption in Freach piving foe 1200 fon, itis wrth noting an aeraative view ofthe same rltary campaign by another ais: of David's generation, [Nicolae Antoine Tanay (735-1830). Punted io 18082 ¢ ‘wall decoration (19), shows nt the famous beo but 2 ferns side of mltary Me. Against araishing Alpine Tandsepe of illing ow and pine mes, we se 2 woman Yondaging + wounded sors lg, aes dog and other soles lok on and snother Good Sama tends to te “imprompe bone, Trannys reading ofthe fact of Bie tory, of the often poignant relies ofthe every, was Prophetic ofthe new century, wich slowly uoderned the myths of Napokon and his sectors by recognizing ‘hat the ondary aetvies or wartime hrdehipe of nae lest men aad women were no less worthy subjects or Painting than the high momencs in the Ines of 3 sue fold by Pltarch othe ves of Napoleonic genera and conn, ‘Dari ime for ll his genius in ering contempe> sary vets ito sew historel myths, had essesally an ttc vison shat ete ee palpable, bee and-now fc. ven inthe Fmt we wns hi itense rei of desi whether in the hash dileeniton of toxtres of th, si plumes, or metal, o in the izeglar cracks of the ater oor and in Neola St-Bemad to, the von ‘keeps moving fom the el, emblematic image of mythic owe and ier tothe particularities of dd ses, tly ted eins, glitening hooves and boots, It may not be 2 serps, tea, to aie how fsuenly a his porteare Dard could eotd «specif oman presence with a orl ‘andor tha alos peeguresphotorapiy. Thus, in 1802, to years er Napkin a tomar David could swily ‘ull snes ike commiion to psint, fortwo hundasd 1, Necua Antone Tan. em ony Cy et ‘Bord Ps. HH. OF cca, TA" BH, Made2 Prswriwe: 1776-1815, ‘2m jncus-Lous Dao tif Me Cone en. ee st 9" Pua Feaon, an igs Tikes ir Galery louis, che porta of ap sh merchant deals, Sooper Pease, then visting Paris (g- 20) The result {staring in ts seeing arses and ruc. Against i dack sunochrome background thar ofes no discon finn the eta acts of ora siuaton, Mr, Pearse ‘Hobefoe with he staring immediacy of x one-0-one Etafoneton His aging hea, ehowe expres reveal {fe san of someone no sed 0 posing for posta, i ince somewhat lower than a tional ports fr Ful aod his gs and ca set ate cropped by the lowe ‘geod the fame aan sna and proces point. This Sorpeaing rejection of evn the customary placement of ‘hedge is routine porta ie upported by the pene at duce of what scems tobe nothing but the tout che Sdjgerng of the veined bands, the seve of ‘Gases and sight dicomre in the way Mr. Pearse Shep in a hae a sf and sabe ash eoting (be was Guar luckground). In what east have been the most Casal of portratcormiaions, David hus wiped te ate (Gon fer pctorl atic, leaving ws with an mage Ech Satenae espct for empiri fact that were be to ‘le fom the dead the ster, fel, wou be stan ‘oguisble, Sock an experince of particular bean being, pecnted, it woud sce, without the vel and ‘dated fae only matched athe ime inthe po terre of David's great contemporary Goya ‘Newrehdess, the pendclum of David’ art, even inthe domain of pores, could swiy swing bick toons au frozen perfection thst we fe the uma race bas ‘ean tobe with dei rm Olympus anion fen {purine teresa word of 1800 bythe adaptation (of Neo-Geck cating a frauen bis uno im Seok Mme, Hensste de Verninc of 1799 (fg 21, the ‘alt eamote are fthe str (who happens vo hae boom th older aster ofthe then one-year-old Dla) dente from mundane mates 24 the dowiy cing ‘hyn of expen mb, saw, nd be freer locked Inthe pie of « modihly antgpe char. This 3t once Clogane and lool austerity Surber underined by {Ios Manes of a tol ax wall lane, aginst hic ‘al be thinnest of nes moldings, the art's sgnstae fd date, od fw goomerialy patterned oe tks po- ‘ile ay decorative eis a Yer even hee, oe all he Tare cil fan amazed gure who sem to reign nove from she otherworldly climes ofa rigor ab- fret cde, the sharp focus detail of foreshortened am, ‘SF ibanly wayward stand of culing hai, of nervous 2B Jacaus-Lous Da. Mn Vine 199, O00 — ee 1. Jom Socom Coty. Dh of Maj no 182-64, Cm cas, 3 912, The alley, Land12, Anrooman Gos. Niu th soe ail 104 Oo cms 17 SYP X 28, Lute Pai 1 Pane Has Rev Th moet Sn of 2, Oo cm, 524 X 3, Mane de Reno Los16 Chain Davo Pasa Alyn an Oak Ft 1-10, Oi on cna, 4X 68", Selous Chats, We Be fringe othe bostom ofa shawl speaks of Davis under= Tying contact with immediate vial experioce. David Himsa ast a pencil, chang to the atonal hie aichia ofthe azademy, which wo lest potat be low an image of importa human events: sd when be ‘ard that M, de Vernina proposed that his i's port ‘be exhibited atthe net Sal, he objected to Bing T= ‘resented thet by 2 mece porta, espe when he wat. ‘abiiting ouside che Salo nd aba, in the tection af ‘Wes and Copley, fan amibtous history pining The Saline Women, wich fly amped the Gres syle of Mine de Vere and wich cool cova the spectator 2 wal with te eounting of ancient ela ged. Sail i asthe urge co eoed + morecathbound ion that began to scderte io Davi st er 1800, an urge that rschd frsiton not only in hie later portrait bt in his ficial commission to docuent the pageant of [Napoleon's eign. AS the empens's Fit Pinter, David was calle upon to consmemorte in huge caass the epoc-makng evens a the beyiniag of toe Empire. OF thes, the imperial oraaton, which took lace Note Dame Cathe on 4 miserable winter day (Dserber 2, 104), was the mor important historically and the most emai peorly. Dvd, with mh sistance fom ” auntie: 1776-1815 22 Jncqts-Lous Dav. The Gomi of Np, 105-7 (lo 88), Oi on cams, 2” 3A, Lowe. Pas his enormous studio, bored for ete years on thi im sense cans, fly completing itn time for exiiion st the Slo of 1806 (22). Not the least of the problems ‘wat oxctly which moment of Napolon's oman sts te choot for poverty: athe lst nut, to the arpeie fall he spectator, Napoleon, instead of periting Pope Pius VI co crown hm or which reason the pope, smost 21 plea prone, had been ent from the Vaan to ar), desided to warp hoy sathority snd crown imal. Since this moment wat 3 prickly one it ecemod advisable to record nits place, the more gracious aftermath of Ne oleon crowning the kneeling Josephine. Im hir rendering of thie vst spectacle, Devi again seemed now to outweigh inherited myths with dbserable facts. To be sure, th general format of his giverng di say of ermine, veer, bade, and jews evked tay otioas prototypes of which Rubens Cnt Mane fe Mit clase the national callction asthe mot onspicaous, nt ony in te sense of raion mal pomp tad cecumstanee but nthe wbrant warmth os plete “Moreoter, the shouting and nging of th imperil protagoits, with thelr Aogutsn profes nd ren pos- tures, provide an del, embematie contrast to the aligue rmoverients ofthe ewes that surmgond tem. But apart50 Panwertve: 1776-2855, fiom thete allusions to distant monarchs and epics, the cremony, a recorded by David, har an stoning sense ‘Ljouralinic eth, af a photographer bad been ent to document t fully, Like dllboase rcontrcrion of the een (nd David n ft, att sen 9 od to assure the aceuay of setting costume, ané Bigare pace- ‘ert, the punting seems crammed with patiulrses ‘thi ofen have the uly sng of wnideazed ft. Thee ‘hed imerior isl (wie tendering of 3 gilded crs ‘li and, on the extreme right, 2 Baroque marl Pie, by [Niesa, Coustou, onzally reminiscent of the Death of ‘Mons Hee a tage st that i weparted fo the crowd of pipers below, And aid ee surfs of imperil and der Sealcowcumes, we are constanty aed bythe prosaic rhs of indvidal faces and movements, fom the allow, ner vous head ofthe pope hima, seated behind Nepokon ‘with nothing todo, to the portraits of bishop, cxdinl, ‘race, each one of whom i as dstint a human fae 1 Cooper Pero. And within the cour il, here ia Alicurbing dsjncton between the trappings of aristoc: toy andthe murdane fice snd igeres who now bea his ‘inheritance of regal grandeur The oavesnche word of the nineteenth eomtsry seems to have its eigins in this tering pageant, in which smhow the great rations ‘frog painting hae been hardened, stile, snd soured bythe a ight of truth Intentionally o not, David seems to have seized he the uprue betwee the spa dors ofa monareie ast andthe alii of madera pes ft. Tt ws a destting insight cnly sibel by Goya in bis ports of he Spanish cour, andi npinted x com> fics beeweeninkeited mychs and contemporary expt ence that was to be evn more apparent inthe art of Dax a's many studs FRANCISCO DE GOYA Y LUCIENTES “heart of Francico de Gays y Lucente (1746-1828), in fac, may be considered in many ways 2 lowe and ofen sites paral o Das. The coo long ved arise were slmos exact contemporaries, both having been bore ato fm eightrathreentry world that war to quetion sone and more the divine right of kings; both having receded, though fom drastilly diferent vantage poins, the Ne- pokonc era; nd both surviving beyond 181, to end their farers with 3 privste art of growing diconneton frm the decades of pl change they had witnessed. Ttined ina provincial Rococo styl, Coy, had he 2 ben a ge ius, might have roted away 2030 anachroiste cut Painter tothe sccenion of Bourbon manshs who tried to preserve a preeeltionay stats qo in Spain, But be cqukky began to explore not ony priate worlds of range ‘ommentaiesontrcorimagines events, tals flee, in ofl commissions, the most shrply accurate mir of the callape of the gest ligious and monarch re (ons of the Wee (Called upon in 178 10 pinta Chriian dated scene forthe Borgia Chaplin Valencia Catedral, be vsrned inade oot the rituls of Cithoicem, he svete century pation nt, Francis Borgia, i shown exrciing 4 dying impenitent who i asked by demons, bt ht Chole theme of repentance and mizale working be comer, in Gays hands, «Rid of Yoodoo rie that deny has more to do with poplar witcha than the ‘univer pits of the church (Fg. 23). The dying man ina shocking a his agonized expeséon and moe tary pallor and stifnesnot an ideslized nude corpse like David's Mant (ig 18), bar something tha seks of the uly tuts of deaths che ery demons who hover tore him nen the fain of + pre-Fredian eld of nightmares, monsters, nd obsessions, vocurmal cetues that wil gradalydathen Goys's vison of bumsn bear ioe, By content tothe lh potency of this group Francs, deve bis being armel with the mage ofc 23 Puancnco ne Gora y Lica, Se Bo aoing {Dp Inpsten 88. Oo cama, 8% 1 ‘Cathe, Vee V- st Panvriwo: 1776-1815 ci scems = fecble igure. And his small bb, like the Cirealr window above, provides a waa ight tai thet ned bythe frees of dnc. ee led easy to tl ‘which aspets ofthe human mind held the songs spel ver Gaya it st soe ow act an aisle such panting iron the pious miele working oferer Chistian im ager: By the 179s, Goya seemed mare and more eager £9 explore the ational potetis ofthe humas asinal, + seuching inward that wa accel by bis struggle in 1792, with 2 severe ns that le him one deat. Aker this, he began to altemate is many ofl commissions ‘with the production of small caine pctuts that gave freer cin fo his feverish imagination In one of ds, The Fre, ofc. 1793 (cloglate 3), we see at fist «dating surface of rapid, bravura brushstokes that almost eve the Rococo ilom ofa Fragonard: but we quickly rece that thie 2 sene of communal tern Inspied by cone temporary events, lke so many nt eightenth- arena sfiicnly std with ie Hens toacerpt the Dstog, 3 fe were 2 group photography andi i his lounes to the abserve vse truth that ves the ex tent ofthe artist's commentary ubeertsn. To bere the ‘entfcation ofthe age dark paiotng behind the queen aan erly printing by Goye of Lot on is Dawg in twos, n Bical gus, s comment onthe morality of the cour; snd Gay's wa detachment from the gp can eaily be viewed as quiet sora. But mot important isis insitence onthe fac, I a stoston parle in the photograph of Disne Arbus, whete the fctual pre Seaustion of goteque humnty can be interpreted 5 derive, compstionte, of voyeuristic. Essentially, Goya is saying, as be was ltr to inserbe om bis print of the horrors of war, “TS thse" The judgment i lett HeLike Davi's Conan, 22), Goya's Fay of Cher IW sonoances anew, ertibound world by dstying ‘i ideal one. Inbothpsintings, wee athe here style of Baroque court ar, 50 atunal to the rendering of ‘egal pagezntry, has gone out of in. In David's cae, he warmth and fueney of the Rubens eration ae earned hil and sin Goye's, the dazling vitoouty of Velie (gee et at were, homes. The beers ending ofthe contllatons of medals snd dadame, of the gl ‘ening of sls, satin, and bmcades in 3 bresthing, in nous stmorphere—suck pictorial maser bas toned sour deached fom the preealatonsry would to wich tbe Tooged, and applied in an almost sultry way to ordinary mortals who ae no lager convincing when rendered in sriat hes become an anachwnite sje Asa truth Goya never stopped diplaying the difereasebeeween he ‘way things were supposed tobe and the way they relly ‘were when hes them. Eves is iefamou pir of pint {ngs of the same modl cated and naked ors a0 er ‘peeal demonsteaton tha Keely dives the Westra ‘ode of er tatiosl ar of tm, ideal beauty Goya's sere ofthe primacy of specifi seins can besened thoughout his portraiture, be sdom with sch penetration of psyebologia ars inhi port ofthe Coustes of Chinchn (27) Foe Machsvelian esos Geadoy had aranged to marry in 1798 thir young cousin of the king and queen, sn when Gaya pnt en Api 1800, she was eweary, pregnant, ad in eee, saadoned loyhee plilanderingusbad. Eleanlyclthedina white, highewaited diss so fshiosbie a the time, soe site canes in ber chi, ooking mere lke or child than 3 antes ofthe mal fry, Like Davi, in is port of Cooper Peas (Bg. 20), Goya sms 0 upset porte conweations in ordet to sie the tuth. The countess i ‘overwhelmed by «bes, dakening covionment, were her loneliness ie intend ad her fit snout mene ced. Every dtal—fiom the rendering ofthe ns of orm {her heads (ebshly an appropriate sym of «ly tothe prosetve and nero ping of her ban speaks of parte human being in» parse plight ‘Again, the sense of reportocal fac is 30 seus that he modem observer may think ahead to photograny to Bnd 2 comparable insstence on the uedied rth. Bot gai, 2 with the fires photographers, Gop ht srachow chow ‘en exactly aa 0 record 0 that we sense, Beneath the surface of documentary fat, the contours af is on per sonality and vison, Perhaps we fe here Goya's one pry, especially asa deaf man, with a somber world of Tightening slton, swell is eae of being both 20 oficial member of, wall tan ostider to, the royal ir les. The mood is not alent that of Gop's lonely sl ‘ote in the wea f the Fey f Charl st 1776-1815 2. Feansco oe Gora y Lacan, Pref he Ce of hick 0, ie aman, 6 % 54" Calaon Dk Sena, Mad yen when at is most macabre apd ications, Goya's ant, asin Loe Caprica, o in bis sce of witcher ‘adhosies, prisons, or canis among sages, slays Seemed 0 mito an acta event, of specif potential of human behavior. But bene 1808 thee strange expe Sons ofthe ietional or she lsbarie may have been viewed 2 pele eccentrics that pertained only to notarml worl of dra and ii ntaes. Aer that en these images could almort he een propio ideo ple truths, for Between 1808 and 814, Spun was occped by Napsccaie forces and, through pasionste guerilla wat fare, maintained a bloody wsstance othe feign mae. Goya quily recorded, lke a photographer atthe fon, bis eyewitncn oxpeience of rap, pillaging, minder, tation, comping grid bot alto fetal ably that wat ony zo be publshd porturoualy, in 1853, 36 series of eighty etchings, the Date of War Bat i 18 2 te time of Napseon's demise, he toak the opportsity to symheize thee teil jotting & more imposing, permanent form. He propos to tke interegnars ogeney ‘pupal in Maid that he pant te mos heroic moments ofthe Spanish esstane, and they gee. The sults were two enormous paintings thar pre a eworpart docs ruentton of (I) the popular inszection apuinnt the French merenay forces the Pues dl ol Marion ‘May 2, 1808 and (2) she eprils of May 3, 1808, wien the French st, without ell he Spaniards suspect of comply. Tei the ter siting thst became, for poster, the in fullsale and pest dicot of the {acs af wa, tipped, asthe yal ily had ben in their ‘govp porta, of the rival myn of elice centurion Gg, 2) "The intial eet i of nding momentary terre, 38 {a lash-balbphetograph had ezugh thes second ber teen the pling ofthe rife’ riggers nd the extinction ofthe wietins lies. Alehough we iste oly one knel- ing wii, shill urinated bythe intense white ight 28 Faanenco me Gora y Luce, The Tif May 180,11 om cae, 8° AY" % 1 SP, Pda Mala ofthe lantern under «night ky, we soon sie that he is only one af many in grup, and that another grup bas preceded hm, and yee another willow. For all the seme ofan insta documentation, Goya ha arranged bis east of Napoleonic madre and Spanish vets ina sway that suggest teil and infinite extension ia both time and space. Thus, the eight executioner at the ifs imply only the begining of 3 regiment that could eon tinue endlessly so thee righ, and thee wetims are forced intoa bellne gel of wich we ee athe part dam: of ‘he moments before, daring, and alter execution. Indo, Gy present sore a cinematic equence of tre figures wih Bad cal yroup iv apne psig Gos He co eath—fst, the man ascending the mount wit ishands Shildng bis eyes socond, the central vii, agonizingly alvin this penuliate moment bere the bul ences its man target; abd third, the gromsome corpse, which has falln at ou fv, ite head 9 Hoody pola is ve sucched ams eeboing thos of its ving counterpart.56 Patwziwo: 1776-1815, ‘Ths meri account of che phys and pysilogial {aces of amiltary execution so bath its cumentary realism that we may accepe too quickly 25 ozograpic truth without walang the exten to which Gaps ha ed ited the ene in onder to extract the widest range ofa ‘ave and meval impact. Like West, Copley and David before in, Gay bongs to anew tration afte psnting of conterpoaty history io which a primary ke ofr port ft eg, the secaracy ofthe Napoli edi? ‘forms o of the sca ting, Mail's Monta dl Principe Pi) is aggrandiza to hemiedimensons by tf ‘rnoe to the great mora sera, Christiano bea, ofthe pase. Bo in The Thi of May 1808, Goya basin verted the messge, putting into qoetoa wicther thre se ay moral ens to juty thes immoral means, Tae ete sarifeial vit, singled ot from hit companions by 3 percing ig, simort pathetic m-cation ofthe (Christian themes of che Crucfson (een hi right band seems to be wounded) or, even mor, the Agony i the Guden; andthe motif of a0 outage 20 Critinty is futher echoed in the monastery complex on the hose, aa architectural bckdeop tht scoms deathly sd inert, 30 if dhe charch, to, had been extinguied wits the people ithad one protected. And the are sense fm erway vilted Christianity i conve bythe hele rit, who ‘ends his conse head forward in fnal, wees prayer, ren the stedent contrast of light and da take on = symbolic sence, am 0 many ofthe Capi ip {ng bere that the forces of night snd death se engaling sstevermor irtional wold. And the egimatal roa ing ofthe faceless excutioners becomes an nie resate ‘meat of te kind of able, petsotc nity of each warrior heroes 25 David's Hom (6g 15) their fork lee aed futstetched ame ening them into a mbot factory of death, in which their bodies a almost tone with theit rifles. In contrast to tis military prcon, te vis ill to ther knee in confusion, ech oftheir ces desperatly individualized. Fo here, too, Goya has tunel a Western ‘tadton upside down. [apace of Chit ora Heo of thir modern reiscartationsin a Peion ora Mitt, Gay's hr is ely an antiber, a nanels evn vho ds ge sob with his compatriot, Goya has ele now view of history in which the ideal mocal and palit sructots ofthe West hate crumble, leving at rw ft only the calision of anonymous mines. A the ie twat paited, 181, Goya's vison of mechanized inhumanity i a Hak noctaral sting mast hve loked like the endof Wester lization, but eer encaton,thasbecome, ther, 2 rim propery that insbgurated anew historic, Ard iewas spophery, to, ofthe dition Goya's are would ‘ake afer BI (ee pges 16-18), when be verted even farther into a weld shockingly out of joint with hove cighteent-century pracper of intelsctal eeder that cold sil ingpire bis contemporaries ia seelutionay and [Napoleons race. Inthe word of is mest fimous Ce thy The Shep of Reston Produces Montes.” ‘THE RISE OF ROMANTICISM IN ENGLAND Tn Gops'sar, che conic between the traditional demands upon the ats co make acs, ple tatements and the asoaal need to explora pre, rational work became rer mow ace Ie wars lemma common any rss of his an later generations, ad one whch was eseialy ‘cense inthe enw of Beith are. Already in wok ike Copley’ Watson ate Shark Gg, 4) Wright of Ds nian Widow (5.3), the specttor was tested to 4 new sae of uocommonly powerful sectatons, whether the scape fom the jas of deuth in fava Hira, othe ters of ator that thraten the here devetion of an exotic mourner in North Amerzs. Sack serch beyond the tational canons of pti experience acest in the late eigteenth cee in both the pais domain of ficial editions and the more penton one of nto ‘spective explorations. By the 178s, the London spectator could seal Kinds of trom and nar, rome, to be sure, 25 meretriious a she many thesia of the time that farured Boodcurdlng ventzes or natal Aisases, and oer a authentic ar private conesion of spat or aoxiety, ‘One ofthe poncers inthis exploration of the ratios isthe Swis-bor bt thoroughly cosmopolitan Henry Fo se (1741-1825), who, afer hs retary to London fh the Continent in 1779, tle aences with hsp di- plas ofthe ef eat dreams are made of Met shocking Toadones in 1782 with an nerpeation of woman ha ing videnly eotinightmar, be cotiued to ral tae potentials ofthe iratinal usualy through the inspiration ofan erudite range of printed words, fom Homer and Dante to Mion and Shakespeare. The lat pe: provided him, 2 wellas his contemporaries, witha pec wide spectrum of imaginative ponies, which were chan ‘eke commercially by Alderman Joba Boydl. This ever auepencur commitsoned a group of Briss atts to flat durations for is new “Shakespeare Galley, ‘which opened in 1789 and which quickly ote for ale 6 ofthe paintings sx they were pot on public typed contribution by Pl, a iluteaton to A Midsener Nigit’s Dram (IV. 1), we ae lvitated to spdefant word peesded over by Tita, dhe Queen ofthe Pires, whe bas just conjured up an setoplsmic whiwind of her eles, spies, and gnomes to attend to Bottom ig, 23). Al zap upon eon is rid loose 2s sve mare befor his desious real whete ny creates ihe Mustard'Send and Pete losin ean crawl ypon 2 PaweviNe? 1776-1815, roan with the ead of am ts, whee figures, bo mi ticle td gest, fy andere wherein pi ie'stance, ly sade doappear Moone his smorky, Bid word sors changed wh » curious cote fantasy which volar stented women, he ve atthe righ who eds tein old arf on» ting, dominate che sen like ily, tines courts ‘An alow exer contempray of the Margi Sade, ‘ood eem ao to be nesting the more extagen sean of th sexual agiation, ough bee gene Frhle proce though the Shaken sore u's demonic meton of sion was bo ptr tad emotional. His image fe fom Renasance pepe tie sje in onder to enter the domain the ion ‘is Sgue ype vl the lsces ofthe aston hin ode to iene crests of esl arty, Bat fhe ‘au and mtd character fiat fs a intesely Pein rng, bardly sigue etc or stget fod mrager sul In Nonbere Europe especial. as ‘we dens to eatythow apes of Lieu wich ‘ate with col rae od explored the unui er ‘ar of my fanny sd ter cat on couldn wet nya Dane and Shep, bu in lead act ‘8g. Of the etc fa poet, primi ete, sntintd by ler ray decades rd ect. Jng aks, none was mote rath thin te paca of (Ota, 3 Hear hoax perpetrated inthe 196s oy anes 2. Hn Fam, Thin ‘aon (4 Nig Dron. 190.0 crs 7 X98 The Tint Galery Lendoe Macpherson, who daimed to publish the sagas of dias heroes, and hale written and sung bya ind Sootesh ‘ed who was eal labeled 2 Nowdie Homer. Alkough these poems were later disclosed tobe fakes writen by ‘Macpierson himsel, they hal meanwhile infmed the Smagination of artists and rade all over the Western ‘work including such nous men a lfenon and Ni poo. Osine lsstratons anally had Pusan look of weied, noetamnal magi, st may be ea in painting shown tthe Copenhagen Skn of 1794 by a Danis ma terol Fass generation, Nicol Abilguard (143-1809). The subject i ypcly ghostly, co be sensed probaly asa pasage decrbing the spit ofthe den watson Cul ‘min appearing to his moter, while two hounds bark in terror at this spooky apparition in a night sky lt by 2 sleryerscent moon (bg. 0). All the appraes of me tery ad magic called ito play here, aif we were watch ing scene of wichoraf in ome remote civkzstion, And asin Fuses work, the igual syle borrows fom the edied excmes of Tran sxicenth-cetary pining, ppropit here 13 world of mythic heres ad hersins [Not all ae nesded sch terry vb nd such ab serct sels to oer ino a irate worl. Some, lke George Stubs (1724-1806), the Ens snimal printer of the eighteenth cenary, could wosk with premio oem plrkcal thu bis peers and deawings, whether of «do ‘mest English hose ofanesporsthinoero, a ofen38 antag: 1776-1815, 50, Nota Amst Anoka, The ef oli Appr "Mer 1794, oer, 204 8 31 ‘Nilo, Stl rendered wich lint scene ecu toe important dlocaments inthe history of soo eration. Bat ven f he psinted pimrily the simple compose of c= fin, well bed hors (the equine counterpart the por twit of ther owners among ce landed gency of Ear gland), he also sought out the willer se of natu, represtatiog ext bets in natural sting and soe. sinaly ehbiings suprising empathy with experiences that Le beyond the fringe of she hams A partly pigant example shir seepuloo ear of agen mon ey pace 1798, tm whi the reste seen the forest, sented on azock and nervouly gating, with pre hens nges, peaches fom 3 growing teach (Ge. 3). ‘But what might bean impersonal sady of imate rakes con a surprising pyclogsl force the aimee pace back ae ae ntenealy a tho in any human ore sd the sharp coatasts of ight and shadow that sbucue hal ‘he ean body lend a mystery that pertains oth othe monkey's qus-human emotion and the fear: and uncer sine of ie ina wil sate, Sodealy, we ee comme sci, clot up, with nother kindof being, whowe r= semblance to msn kes is elton ofan ronal world in natoreall the more disquieting, For Stbbs 2 for many ater artis ofthe ery nineteenth century wi were record natural fict-—srheter Constable wih hus or Audubon with Wedi—there wt 0 split, ae there offen Ibe esd tbe, beeween the precise documentation of cempinalobseratons nature nd te imple expression ‘of wonder before these phenomena of ife on zarth “However dawn he may have ben tothe worl of sob ‘numan experiences, tubs alway presented xn the mor slat scene f animal conic with kind of gov and noble clarity that almor coregonded to 2 ni-igh teenthecentury ideal of Greco-Romaa simpli. Among younger arts, however, this decorum could be gro tesqul shattered inthe ners of cictng the most im sedate, spine-tingling respons that could occsionaly reich almost prepoteoasextemes. Exploring ee fur ther the topical theme of beasts ina natural seeing, Pip ‘engl (1749-183) preseted fa is diploma pie ‘Royal Academy of IO aserae that takes he seratorf0 wha viwaly an animal eion of al fg 32)-A wl ‘re anda no ks montis hye are seen pti over the body ofa gente hare, wile» hideos condr looks 31. Grosr Sr. Ger Minky. 1798. Oi cams, 294 {BF Wilkr Ar Galley Lvs on from higher rock, Although the best eon looks prhitricin es wild mountain lal and nthe tering ferocity ofits protagonists the grouping ike shat in Wat ovate Shaki. 4), nevertheless fie chords in Wester imagery. Fo this dnb btle over he body af gentle cetar conjures op nt only visions ofthe Last Judgment, with eile isporing the sul ofthe saved 3d the damned, bt ako the thea poplar Mion theme of the tattle of Stan, Sin, and Death at the Gates of Hell Yr Pansine hich sleady had been singled ou bythe pilwopber BS ‘und Bork, in an importot there ey of 136, a6 ‘the most poten example of "he Sublime" in Kretve Indeed, Burke had nc defined, in terms of aches theory thi feshly rane extepory of experince “the Sublime," whch eemed to correspond to the ever grow ing nesds of artis and spectator fo abandon reuca and conventional beauty fr tetra lms. Renagh' fe bie ors to fighten us ce part of shiv new mpctory of Sablimity, frm the sark and ween contre oight sad dark 10 the peiitous casts above and below our precavosfootheld. Tervingly emote fom mand is fonder works, weare meant to content hee a ays that ‘would devout the Age of Reson For us, Reinagl’s painting may seem Tedicouly mek dramatic, bur atthe les, it repesents accurate the Voodeurding eemes of fantasy and teror that atts in England bad aained by the ten of te entry ven the sds Benjamin West, who had Boome present of the Royal Acdemy upon Reynoks’s death in 179, had already bogus in the 170s to explore the poultice of the Sublime i ar, and was moe sd nore dwn 3b jc cal frm he von pssage inthe Book o Rev tlsvion. Of thee, the mos harrowing was the description ofthe thundering sppaiton of dent on ple bare, 3 skdetal rider who, with his companions, wreaks upon carcbound mortals an apcalyptcdlge of peste snd 52. Pe Ramee. A Vale Digg when How, Rap ‘enemy HU, Oo aman SP S73 FA London ‘Roy Ainy 76-1815 creed in 1789 and ves to repent with vrstions; and ‘when, on sate vst to Pais in 1802, be had aceasion to fer to that years Salona specimen of kis and his coon- tryst, be chase the painted version which hd sendy ‘ban seen atthe Royal Academy in 1796 (lore 6). Almost falling Buck's theoretical description of Sub- Jiniy, i plunges the spectator into an image of uphes, ‘with lightsing- fash visions of hor amid the mirk. Pa Chetially succumbing to she ferocious onlaght of the sider, Death, ily group falls o the ground a ceter tage, while the other honemen rash of i all diverons ‘o fall thei grim, nivel mison, The grat, ling =ythms of these fate groups of engealdeastters ad {hei hess vietimns resurrect he fll oded energies of Robens, but such + Baogue prototype tandted now intoaelish operate spectaleattaned to an audience that enjoyed shuddering. ‘Although in England, spectators bad become accus- tamed to these petri tip to alin France, in 1802, sen the oficial syle of epe pining was dominated by avian concepts of faci and stable onder, West pint. ‘ng marthave rack analien note of chao, Bren compared to French inerpeatins ofthe ever more popular theme ofthe Due, Wests apocalyptis vison seems olan: ‘ruption, centrifgal and molten east ave strong Jmpreion on younger French atts, who would need sch dramatic and petri mesot to comey the tera ot only of Napleonc history, but of extargant imag Inacveganages in Iitrature. Indeed, ie seems to era the moat tubules achewements of Delacro his in the 1820 nit fanston a2 public wpecace, Wee's Dost ak Hes 3 ely teat eharacte, sping in ‘cue an appropiate o-master sl, tht ofthe Baroqe, and presenting what seems tobe a Kind of emotional cba ‘ade which conforms moc clsely with an audience's de ‘mands foe gry herr than tothe ats’s personal need toexlo so eaionsl elm In England, in parsile, 3 Alvintion became cer berween shore establishment ants, Tike Wes, whore renderings of eter were en lly oaly partxime, impersonal prodoctions, and 2 new brad of fervently introspective artists, who scemed tobe ‘one-man revluinares,pebing the intense rch ofthe fpesonal bells apsnst "what they considered the fe Foods of publi acceptable radtions 'No more extreme excl of cis view can be found than that ofthe poeta sbnker Wiliam Blike (1757 1827,» private tebe who wished to eet virally the tie stem of at, scity, and religion into which he ‘wat born inthe mid ightesnth ene in foro gran dine printesracrae of new ryt, pew moral truth, ten new visa voesbulres that might provide while forthe eration of what he eur a the corrape tase a