How have artists interpreted and portrayed historical events
throughout history?
This exhibition, Interpreting
the Abduction, strives to invite you to critically reevaluate things you
have been presented with in a different way than you have perhaps before.
In the early history of Rome, the men of Romulus tried to
negotiate with the people of the Sabine tribe—attempting to arrange for the
marriage of the Sabine women to Romulus’ men in order to found families in the
new city of Rome. The Sabines, according to the Roman legends, refused the
negotiations in favor of keeping their tribe pure from the strangers. In
retaliation, it is said that the Roman soldiers laid in wait during a Sabinian
festival, and when the signal was given, swooped in to claim the Sabine women
and take them as their wives.
Since the abduction’s occurrence in the 6th
century BCE, artists have created numerous renditions of the scene. Some have
sympathized with the Sabines and emphasized the idea of abduction and even
rape, while others have taken the side of the Romans and justified their
actions.
The purpose of this gallery is to showcase different
artists’ interpretations of this event—incorporating not only their viewpoint,
but also each of their individual styles.
History
is open to interpretation. It is presented in whatever manner that the
presenter chooses. Journey through the last 500 years with these artists’
interpretations, and take a moment to reassess your own assumptions and
understandings.
Nicholas Poussin, The Abduction of the Sabine Women, ca. 1633-1634
Oil on Canvas, Metropolitan Museum of Art
46.160
This portrayal of the
abduction scene is sympathetic to the Sabine people. Poussin uses contrasting
colors and intense movement throughout the painting to show a sense of chaos,
yet the structure of the buildings and the figure on the left provides a sense
of organization as well. Poussin seems to want to emphasize the intentionality
of the Roman brutality. This painting has aspects of the Romans specifically—such
as the red robes and footwear, yet also remains reminiscent with much of
Poussin’s other work in its naturalistic approach.
Peter Paul Rubens, The Rape of the Sabine Women, ca.
1635-140
Oil on Oak, The National
Gallery in London NG38
Rubens, a Flemish
artist, also chooses to depict the Sabine abduction from the perspective of favoring
the women. The female figures’ faces seem to be frightened and unsure as to
what is happening. While showing an ancient incident, Rubens clothes his
figures in traditional 17th century Flemish garb. The red of the
Roman soldiers’ capes contrast starkly with the gold-tinted women, and symbolizes
the women as being elevated above their captors in morality. The women are
portrayed as exquisite and elegant ladies who lack the ability to fight back
due to their goodness. Rubens, like Poussin, stays stylistically similar to his
other paintings: with a sweeping and movement-filled composition.
Giambologna,
The Rape of the Sabine Women, ca.
1583
Plaster
Cast; Marble, Accademia Gallery in Florence
Carved from a single block of marble, Giambologna, also
known as Jean de Boulogne, creates a twisting sculpture representing the rape
and abduction of the Sabines. He too seems to be biased towards the women, and
goes as far as to include what can be assumed to be a male Sabinian intertwined
with the woman and her captor. Here too, the woman seems to be ethereal and
lifted towards heaven as she protests her capture. The figures are presented in
the nude, which adds to the legendary quality of the whole story by setting
them apart from the clothed mortals.
Jacques Louis-David, The Intervention of the Sabine Women, ca.
1799
Oil on Canvas, Louvre INV.
3691
This interpretation
of the abduction by Jacques Louis-David paints a very different hero. Instead
of having the women gracefully lifted away by the mighty Romans, they are shown
here defiantly fighting back. David’s rendition is done at the forefront of the
French Revolution in 1799, and it has been speculated that the woman in white
in the foreground is representative of Joan of Arc, and is in fact being used
to rally the French people towards revolution from the monarchy. Jacques
Louis-David uses a historically recognizable painting to convoke his French
revolutionaries to fight against injustice, like the women shown here.
Charles Christian Nahl, The Rape of the Sabines—The Invasion, ca.
1871
Oil on Canvas, Crocker Art
Museum
Up to this point, we have seen several
representations of the Romans taking Sabinian women as their wives with great
force and brutality. Charles Christian Nahl has a different perspective shown
here—the willingness of the women to be taken away. The Romans were already
seen as conquerors, even this early in their subjugation of the Italian
peninsula. To a tribal woman, a rich foreigner proposing marriage and life in a
city would be very attractive. The woman beseeching her father on the right to
marry the refined stranger contradicts the legend of rape and abduction that
had previously been popular in Western Art History.
Pablo Picasso, Rape of the Sabine Women, ca. 1963
Oil on Canvas, Boston Museum
of Fine Arts 64.709
Following his
traditional Cubist painting style, this late Picasso painting was one of his
final major statements against war and its horrific aftereffects. Painted
during the height of the Cuban Missile Crisis, Picasso uses the Roman Empire in
its beginnings to represent all the other empires that had wreaked havoc
throughout his life. Because of all the horrors he had witnessed, Picasso sympathizes
with the Sabine women and their plight—depicting the garish scene as just that:
garish.
Anton Solomoukha, Petite Chaperon Rouge visite le Grand Louvre,
ca. 2008
Photo-Painting, Black Square
Gallery
In 2008, Anton Solomoukha set up and photographed this scene. While graphic, it has many implications that connect with the Roman abduction of the Sabines. Instead of taking a single side, Solomoukha translates the legend’s implications to modernity. He locates the figures inside of the Louvre, and essentially mocks the sexually tense scene of Poussin’s rendition in the background by hyper-sexualizing the positions and actions of his own figures. In essence, Solomoukha is rejecting the ancient myth and fighting the idea of following the rules. A formerly sacred place, the Louvre is desecrated by Solomoukha’s figures who imitate some of the ideas formed in Poussin’s The Abduction of the Sabine Women. By rejecting strict tradition, even in medium, Solomoukha calls attention to the deep problems of society that seem to generate art.
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