Nations are born through great
distress. Blooming only after the soil has been saturated with the blood of its
own children. The sanctity of such not only breeds a sense of collectivism, but
an aura of righteousness. A righteousness eagerly wielded by those of power to
expand into greatness; seemingly promised by those whose blood has been spilt. This
promise however will never truly be fulfilled, only dangled as a carrot on a
stick, leading the newly born nation down the dark path they tried so desperately
to escape.
Marred by two brutal revolutions, the 1700s also hosted a battle of two opposing artistic styles, mirroring the political landscape of the time. To the revolutionaries, the Rococo art style symbolized all that was wrong with the powers that be at that time, and because of such the pendulum was bound to swing in the opposite direction. Ushering in the era of Neoclassicism.
David, Jacques Louis. The Death of Socrates, 1787
The Death of Socrates was created in France by Jacques Louis David as thoughts of revolution began to percolate through French society. Portraying the death of Socrates as told by Plato, this work holds two messages. That of holding true to your beliefs as well as the sacredness of truth. Even in the face of death, Socrates continues to teach to those who will listen.
The vast difference of emotions on all of those who bare witness to the end of Socrates reflects the thoughts of those revolutionaries who in a few short years will pick up arms against the French aristocracy. Grieving the loss of a system once trusted, now shattered.
The Death of Socrates is currently on display in The Metropolitan Museum of Art, in New York City.
Trumbull, John. The Death of General Mercer at the Battle of Princeton, January 3, 1777, 1832
Revolutions as a whole are difficult to fathom when peering through a lens set so far in the future. While the over arching story, goals, and ideologies are easy to see, the reality of the situations are almost always lost. It is never one event, one person, nor a singular point of view. Revolutions, Nations, and Republics are built on the backs of hundreds of thousands of individual sacrifices, striving for a common goal.
Close to 50 years after the American revolution, in 1832, John Trumbull painted a scene depicting the Battle of Princeton and the death of American General Hugh Mercer.
This work showcases George Washington quickly bursting through the lines in an attempt to route the encroaching British troops, just not quick enough to save the soon to be struck down General. One interesting aspect of this piece is the relative cleanliness in its portrayal of war. While death surrounds all of those still standing, a distinct lack of mud and blood portray this battle in an almost holy light.
The Death of General Mercer at the Battle of Princeton, January 3, 1777 is currently on display at the Yale University Art Gallery in New Haven, Connecticut.
Luetze, Emanual. Westward the Course of Empire Takes Its Way, 1861
Near a hundred years after the American revolutionary war, the young nation began to look back at its founding and the pieces of art surrounding it. What they found was a story of self-righteousness, as well as a self-imposed destiny that was to be believed as a given right. This developed view of how America was born ushered in an era of expansionism and self-perceived exceptionalism.
In 1861 Emanual Luetze created Westward the Course of Empire Takes Its Way. A piece that, in my opinion, is a near perfect portrayal of the American ideology of Manifest Destiny. Expanding the still blooming nation ever westward towards the Pacific sea.
Eagles soar above the frontiersmen, inviting the group further towards the bay, closer towards the setting sun, and closer still to the promise land their destiny told them of.
The original mural Westward the Course of Empire Takes Its Way is currently displayed at the western staircase of the House of Representatives in the United States Capitol Building.
Revolutions are born from an inherit belief of improvement. A better tomorrow. Through the medium of art these beliefs can be fostered, given a home in the mind of all of those who seek it. This belief nurtures the number one requirement for a budding nation. Hope. If we lose that, what else do we have?
References:
18th- And 19th-Century France - Neoclassicism, https://www.nga.gov/features/slideshows/18th-and-19th-century-france-neoclassicism.html#slide_1.
Winterer, Caroline. “From Royal to Republican: The Classical Image in Early America.” The Journal of American History, vol. 91, no. 4, 2005, pp. 1264–90. JSTOR, https://doi.org/10.2307/3660173.
“The Death of General Mercer at the Battle of Princeton, January 3, 1777.” The Death of General Mercer at the Battle of Princeton, January 3, 1777 | Yale University Art Gallery, https://artgallery.yale.edu/collections/objects/101.
“Neoclassical Art.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/Neoclassicism.
Leutze, Emanuel Gottlieb. “Westward the Course of Empire Takes Its Way (Mural Study, U.S. Capitol).” Smithsonian American Art Museum, https://americanart.si.edu/artwork/westward-course-empire-takes-its-way-mural-study-us-capitol-14569.
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Hi, Max! Wow, all the paintings you picked have emotionally devastating themes. The paintings you picked complement the examination of morality from the Classical era. The first painting is Socrates’ death. I am familiar with the story, and I know it’s dramatic. He stuck to the personal responsibility he felt he owed as a citizen of Athens. The second painting is an exaggerated (and clean) portrayal of battle. I like how you consider the wider lens involved. Your point about the lack of mud and blood makes me see the painting as greater glorification of battle. It reminds me of a quote: “Dulce et decorum est pro patria mori” or “It is sweet and proper to die for one’s country.” As for your last painting, I agree with your point about manifest destiny. It feels like a glaring portrayal of it. The painting covers a wide area and has an expanding feel to it. Manifest destiny is strange to me because expansion and improvement are not the same. I think all these paintings present rather violent themes, and I would not want copies of them in my home.
ReplyDeleteI also picked a work by John Trumbull. It was a Revolutionary war scene as well. He was a veteran of the war as well so he had some experience with the was. I noticed how he draws your attention to General Washington in the middle more by the bright white cloud behind him catching your attention.
ReplyDeleteMax,
ReplyDeleteYou chose very dynamic paintings with a lot of movement, especially the ones of the revolutionary battles. I think it's also worth examining some ways of how the French and American Revolutions overlap. Marquis De Lafayette was a major player in funding the Americans, but he was also born of nobility back in France, where his wealth originated. Given his status (being in the Second Estate), you would think that would place him in opposition to the French revolutionaries, but he actually played a key role supporting them, even helping implement the National Assembly. He's actually visible right behind Washington in the second painting. I think you chose an interesting way to talk about both the revolutions.
Max,
ReplyDeleteI really enjoyed your blog. All three paintings you chose are full of distress, as you mentioned. I think that the way that you tied these revolutions together with the art. I especially love the painting by Jacques-Louis David portraying Socrates because I think it was inspiring how he stood by his beliefs even in the face of death. The colors in all of these paintings are sort of a little gloomy in the background, but with pops of color throughout which I think draws our eyes to those characters.