Barque of Dante

Artist:  Eugène Delacroix

Media: Oil on Canvas

Date: 1822

Dimensions: H 1.89 meters; W 2.41 meters

“The time of classical painters imitating Greek and Roman art was over: they no longer had a place in current tastes. The underlying idea behind The Barque of Dante is that great geniuses from other lands have written works suffused with a way of seeing and feeling quite different from that of the French. Reading them stimulates the mind through new subject matter and the imagination through new boldness. So new, in fact, that Delacroix's painting was not without its critics: "a real daub" was how Delécluze, a disciple of David, described it. Delacroix drew on the visionary writing of the Italian poet in order to create a painting of definite force and romanticism.” Vincent Pomarède

Eugène Delacroix was born April 26, 1798. He is classified as a Romantic in style and is regarded as one of the best French Painters. He was said to influence impressionist painters and also had influence on Pablo Picasso. He was the pupil of Pierre-Narcisse Guerin. His first painting to gain attention was Barque of Dante. He died August 13, 1863.

             
This painting is related to the poem written by Dante Alighieri called Dante’s Inferno. Inferno is the Italian word for Hell. In the poem, Dante the main character, journeys through the nine circles of hell. This places this painting within the spectrum of my theme. I chose this piece because I was a fan of video game and grew interested in the nine circles of hell and what they represented.

Saint Anthony Tormented by Demons

Artist: Martin Schongauer

Media: Engraving; second state

Date: ca. 1470-75

Dimensions: Cut to image: 12 1/4 in. x 9 in.

“Saint Anthony gazes serenely out at the viewer as frenzied demons grab at his limbs, clothes, and hair and pound him with sticks. Schongauer depicted these imagined creatures in a remarkably convincing way. His realistic description of their scales and fur point to his direct observation of animals, yet he compiled these naturalistic details to produce some of the most fantastic and grotesque fabrications in the history of printmaking. Although this is one of Schongauer's earliest prints, it was probably his most influential: Vasari recounted that even Michelangelo made a color drawing of the work at the age of thirteen.” Metropolitan Museum of Art

Martin Schongauer was born around 1450. Little is actually know about Martin but he was widely celebrated for his ability to engrave and more so for his paintings. He learned to engrave from local goldsmiths and mixed it with draftsmanship and painters eye. He created 115 engravings; many today are still considered important sources of European art. He died in 1491.

           
The theme of demons was best illustrated in this engraving. This is another piece that I enjoy for its use of visualizing demons when nobody really knew what a demon would look like. It struck fear into humanity which then leads them to being more faithful to their church. The engraving also reiterated the importance of trusting Gods word. Saint Anthony did just that against the demons and finally triumphed instead of giving in to their temptations.

Belphagore

Artist: Jean-Baptiste Oudry

Media: Brush and Black ink and gray wash, heightened with white gouache on blue paper

Date: c. 1734

Dimensions: 12 1/4 in. x 10 1/4 in.

“This drawing by Jean-Baptiste Oudry illustrates a fable by poet Jean de La Fontaine. The fable is based on a myth told in Niccolò Machiavelli's novel Mandragola.

Pluto, the ruler of the underworld, sits above his subjects in the fiery depths of Hades; the demon Belphagore stands before him. As the drawing shows, he is about to send Belphagore to earth to find the answer to an eternal question: whether spouses influence their mates to sin. In the guise of a rich merchant, Belphagore forces a woman to marry him. She is in love with another man, however, and escapes with him. Even after Belphagore disguises himself again and tries to seduce her, she stays virtuous.” The Getty Museum

Jean-Baptiste Oudry was born in 1686. He often painted the royal hounds for King Louis XV of France. He was trained by the painter Nicola de Largillière. In 1719 he became a member of the Académie de Peinture et de Sculpture and a professor at that school in 1743. He made himself well known for his tapestry works. He died in 1755.

           
This particular work fits the theme because of its display of Pluto, a ruler of the underworld and Belphagore, a demon. I like this artwork because it reminds me of a comic book, yet the piece was done in the 1700’s, long before Batman or Superman was even given thought. I also like the different shades of blue that could represent the darkness of the underworld.

Orpheus Charming the Animals

Artist: Guiseppe Cades

Media: Pen and brown ink; ochre, brown, pink, and grey wash

Date: c. 1780

Dimensions: H 14.5 cm; W 38 cm

“This drawing, dating from the 1780s, was probably the preliminary study for a decorative painting (or perhaps for an engraving) today only known to us through two unsigned drawings. The work is composed of two scenes: in the background, Orpheus charming the birds; in the foreground, a strange allegory which is rather difficult to interpret. A female figure, probably Venus, gestures toward three cupids hammering at an anvil (possibly that of Vulcan). The juxtaposition of these two scenes, with the noisy atmosphere of the one in stark contrast to the musicality of the other, probably derives from a loose and ironic interpretation of Book Ten of Ovid's Metamorphoses (8 AD) in which the Latin poet recounted Orpheus's romantic adventures. The hero, after failing in his attempt to rescue Eurydice from the underworld, retired to Thrace, where he renounced his love of women and dedicated his life to teaching. He taught the men of this part of Greece the art of loving pre-pubescent boys.” Bartolucci S.

Guiseppe  Cades was born in 1750. He trained at Rome’s Accademia di San Luca but due to his excessive independence his master resented him and he left. He worked on many projects for the Roman palazzo. By the 1780’s he became a fellow of the Accademia di San Luca, and one of his clients was Catherine the Great of Russia. He died in 1799.

To understand how this artwork fits the theme one would need to know the story behind Orpheus. Orpheus had a wife named Eurydice. They were inseparable until one day Eurydice was bitten by a snake running away from a mischievous fawn. Her soul went to the underworld where Hades ruled, which is the equivalent of hell and Satan. Orpheus was a master musician and used his skill of music to persuade Hades’ wife to talk Hades into letting Eurydice’s soul go. Hades agreed as long as Orpheus walked ahead of her and never looked back to make sure she was following, otherwise her soul would remain. Orpheus almost succeeded but at the exit of the underworld he grew impatient and looked behind him only to see Eurydice sucked away. I chose this piece because I love the tragic love story. As per the theme, the journey into hell and Hades are the tying features.

Satan and Beelzebub

Artist: Sir Thomas Lawrence

Media: Black Chalk, white highlights on brown paper

Date: c. 1795-1797

Dimensions: H 12.7 cm; W 7.1 cm

“Exhibited in 1797, this study by Lawrence for his "reception piece" at the Royal Academy of Arts in London is the most complete of the eight known preliminary drawings. Virtually the entire composition is animated by two monumental figures: Satan and Beelzebub, who face the viewer, towering above the fiery clouds. Naked and wearing a helmet of antique style, Satan is depicted standing firm and raising his hands up in a gesture of power. Beelzebub, also naked, leans with both hands on a spear. The two figures display the combined influence of Michelangelo and Reynolds. The image of Satan as melodramatic hero reflects the principal features of the painter's metaphysics of hell, namely grandeur and darkness, but the work hovers between the sublime and the grandiloquent.” Morin Alexia, Grollemund Helene

Thomas Lawrence was born in 1769. He became well known for painting portraits as a child and by the age of 12 he has his own studio in Bath. He became a student of the Royal Academy in 1787 and in 1789 he was asked to paint Queen Charlotte. The King appointed Lawrence the royal painter in 1792. In 1815, Lawrence was knighted and in 1820 he became President of the Royal Academy. He later died in 1830.

             
The title alone gives justification for how the painting fits the theme. This painting gives Satan the appearance of perfection. His physique makes him look indestructible. The use of lighting gives the impression that the two individuals in the painting are in a place of darkness and the fires from hell give illumination. They appear to be rallying troops for a battle, and their body language suggests leadership.