Of all the genres in painting, that of history painting was considered to be the most important and prestigious of works to produce. Within a century, the idea of what constituted 'history' or what was appropriate to deem as a historical event and how it was depicted came to reflect the changing attitudes and perspectives of the artists working within their own contemporary circumstances. This is a great shift from the 17th and 18th century perspective where historical works of art reflected the ancient classical past. Here are three works of art that tackle the genre of history painting. Reflect on the subject being represented within each work and its composition. State why you believe Courbet's history painting, A Burial at Ornans, was so shocking to its audience as you compare it to West's and Gericault's history paintings. Post a short comment by 11:59 pm. Benjamin West The Death of General Wolfe 1770 Oil on canvas 59-1/2 × 84" National Gallery of Canada, Ottawa American-born Benjamin West met the artist Angelica Kaufmann in Rome. He studied in Philadelphia before leaving for Rome in 1759. In 1763 he moved permanently to London and specialized in history painting and in 1768, he became a founding member of the Royal Academy. In 1770 he shocked the academic art world with this painting, The Death of General Wolfe, an example of British Neoclassical training within a contemporary historical context. West argued that history painting, as it was spawned by the 17th century French artist Nicolas Poussin, was not dependent on dressing figures in Classical costume, it could represent contemporary subject along with grand themes and elevated messages. West spawned “modern history” painting. This painting glorifies the British General James Wolfe, who died in 1759 in a British victory over the French for the control of Quebec during the Seven Years War or French and Indian War (1756-63). West depicts General Wolfe in modern uniform as he dies in the arms of his comrades. Wolfe actually died at the base of a tree surrounded by two to three attendants; this was not an objective document of the event but rather employed the Grand Manner celebrating the valor of the fallen hero, the loyalty of the British soldiers, and the justice of their cause. To indicate the North American setting, a Native American warrior is also included in the scene. Théodore Géricault The Raft of the “Medusa" 1818–19 Oil on canvas 16'1" × 23'6" Musée du Louvre, Paris Théodore Géricault was a strong proponent and representative of French Romanticism in early 19th century art. He traveled to Rome from 1816-17 and discovered the art of Michelangelo. On his return to Paris he became set on producing a great modern history painting, choosing the scandalous shipwreck of the Medusa in 1816, a French ship bound for Senegal whose incompetent aristocratic captain reserved all six lifeboats for himself, his officers and several government representatives leaving the remainder 152 passengers adrift at sea on a makeshift raft. Thirteen days later when rescuers came, only 15 of those rafters survived, including Jean Charles a black man from French Senegal who showed endurance and emotional fortitude. Gustave Courbet
A Burial at Ornans 1849–50 Oil on canvas 10’ 3-1⁄2” × 21’ 9” Musée d’Orsay, Paris Some of Courbet's works were greeted with total incomprehension and caused outrage in the middle of the 19th century. This was the case with A Burial at Ornans, when his painting was exhibited at the Salon (the official venue of the French government for exhibiting art to the public) of 1850-1851. In the second half of the 19th century, academic tradition, that is art produced through training at the formal academies of art throughout Europe and particularly in Paris, France, required that large paintings should only have historic, biblical, mythological or allegorical subjects. Courbet ignored this convention by painting a familiar domestic world which he considered contemporary history and a view that aligned him with the Realist artistic movement. In declaring that "Historical art is in essence contemporary," Courbet expressed his desire to change history painting. |