Painting Both Sides: Jacques-Louis David's Political Artwork

 The French Revolution, marked by violence perpetrated against political opponents by those in power, left very few alive and free who fell out of favor. Jacques-Louis David was one of those few. The Neoclassical painter completed commissions for players on all sides of the French Revolution: the unfortunately timed and eventually guillotined Louis XVI, the Republican government that emerged in the early days of the Revolution, and the ensuing President-turned-Emperor Napoleon I. This is nothing short of remarkable, considering David's political journey. Beginning his career more apolitical, David focused on classical subject matter and virtuous themes in his paintings which were commissioned by Louis XVI for Paris' Salons. As revolutionary fervor began to foment, David's focus seemed to shift to applying those classical themes to the present day. He first contributed indirectly (implicit principles in paintings) and then directly (membership in the Jacobin party, painting pro-Revolution art, and more) to the Revolutionary cause. When close friend and Radical leader Robespierre was deposed and executed, David was imprisoned. Instead of being left to rot in a cell with any other Radicals who had escaped the guillotine, David would be handpicked by Napoleon to be his "First Painter," going on to paint propaganda pieces for the new leader of France. This curation does not seek to explain how this miracle was possible, but rather to highlight it by chronicling the works of David that specifically influenced the political dynamics of Revolutionary France.

Jacques-Louis David, Oath of the Horatii, 1785, oil on canvas (The Louvre).

Our first work of David’s was commissioned by King Louis XVI for the 1785 Salon of Paris. Here, David depicts the virtuous theme of personal sacrifice for a higher cause, as the soldiers on the left-hand side are taking an oath to fight another trio of brothers on behalf of Rome. Even if the pictured brothers manage victory, it would still mean sorrow for the family as the mourning women on the left side attest. One of them is a daughter of the enemy combatants, and another is engaged to one. Despite this, the Roman brothers persist, valuing their service to Rome above all else. The strength of their virtue is celebrated through rigid geometric poses which contrast with the soft, doubled over poses of the emotional women. The icon of the brothers’ outstretched arms will be repeated in the other curated works as a sign of noble commitment.

Jacques-Louis David, The Death of Socrates, 1787, oil on canvas (The Met: 31.45).

Another painting that though not explicitly political, still had strong implications for the time. Its commissioners, the Trudaine de Montigny brothers, were advocates for a more open public discourse of political matters and sympathetic to revolutionary ideals–even though the Revolution had not yet occurred. In Death of Socrates, David depicts the titular character in his last moments after being sentenced to death for corrupting the youth of Athens. Given the chance to repent, the philosopher refuses, showing how strongly committed to his principles he is. He won’t even allow this inconvenience to stop him from teaching his students, giving them one final lesson while nonchalantly reaching for the cup of hemlock poison. Socrates is celebrated as a martyr willing to die for his ideals, a notion the French public would embrace in two short years with the outbreak of the French Revolution.

Jacques-Louis David, The Oath of the Tennis Court, 1791, Pen and brown and black ink, brush and brown wash, heightened with white, over black chalk, with two irregularly shaped fragments of paper affixed to the sheet (The Louvre).

With the onset of the Revolution came the overthrow of the monarchy and establishment of a new Republican government. David was commissioned by a party within this new political body–the Jacobins–to make a piece celebrating this transition. Never finished as a painting, this drawing depicts the moment that the delegates of the 1789 Estates General pledged not to leave until a new Constitution had been agreed upon. Their commitment, demonstrated visually by more outstretched arms, was strong enough to value a free France over their own condition. This work marked David’s shift from focusing on classical subject matter to that of his current times.

Jacques-Louis David, The Death of Marat, 1793, oil on canvas (Royal Museums of Fine Arts of Belgium, Brussels).

One radical figure and close friend of David was Jean-Paul Marat, a writer and propagandist fervently in favor of the Revolution. When Marat was assassinated in his own bathtub–to which he was often bound due to a skin condition–David painted this work as a tribute to his fallen friend. Unlike Socrates or Horatii, this is an emotional post-death scene where our subject is not portrayed in noble strength, but in limp defeat. Whereas the tragedy had not yet occurred in the previous works, now we see death’s aftermath. Though limp, Marat’s outstretched arm still clings to his quill, suggesting that, like with Socrates’ defiant final lesson, death was a mere impediment to their higher purposes. David is, in effect, martyring the figure of Marat.

Jacques-Louis David, Napoleon Crossing the Alps or Bonaparte at the St Bernard Pass, 1800-1, oil on canvas (Chateau de Malmaison, Rueil-Malmaison, France).

Painted after Napoleon’s rise to power but before France would become an Empire, Napoleon Crossing the Alps majestically depicts the new First Consul in the midst of his military conquests–specifically France’s victorious campaign into Austria. This work glorifies its namesake as the hero the French nation needed to become a great power again. Napoleon cuts a stern and unfazed figure atop his bucking horse, with his blue and red regalia framed by mountains and clouds of grey. Extending his right arm upwards, he points toward some invisible summit, beckoning the viewer–and arguably his country as well–to follow him in his ascension. Like David’s other works highlighted here, this is not a snapshot but a highly organized composition with a clear political undertone.

Jacques-Louis David, The Distribution of the Eagle Standards, 1810, oil on canvas (Chateau de Versailles).

In 1804 Napoleon would name himself Emperor and David his First Painter. As such, the artist began work on grand canvases of coronation. One such work was his Distribution of the Eagle Standards, a depiction of a ceremony where the military pledges their fealty and support to the new Emperor. In turn, Napoleon blesses them, as shown through his outstretched arm. In this work of David’s, the noble commitment behind that iconic action is to the state and its military might. The soldiers are willing to serve and sacrifice for their leader, who now is the singular embodiment of virtue following the tumultuous Revolution. Where once David painted principles into tragedy, he now paints them into triumph.

Reclining Female Nudes Everywhere

Cabanel’s “Birth of Venus” was a classic example of French Academicism. In the late 1800s in France, the Salon had been well-established for a while. The Academy had the most power over the Salon; they created a hierarchy of painting based on skill. The third type is “portrait,” which is what Cabanel does a lot of. The Salon of 1863 contained multiple female nude figure paintings. Cabanel’s was very popular, but it was not the only female nude painting in the Salon. Impressionism was the current art movement in which this particular painting was created. Cabanel did not associate himself with Impressionism, however. It was a new style and he liked to stick with tradition- while Impressionism was untraditional. Although Impressionism was the art movement in late 19th century France and Cabanel was not a part of it, he still fit into his social context by creating art that was valued by the Academy. One aspect of the exhibition that follows this paragraph is intended to convey that many Venus paintings were shown in the Salons around the time of Alexandre Cabanel’s Birth of Venus. Another message to be communicated from this curated exhibition is that works such as, Birth of Venus, by Cabanel were not uncommon during his time, proven by the elements of the work such as subject matter, smooth brushwork, and general style.

Alexandre Cabanel, The Birth of Venus, oil on canvas, France, 1875.The Metropolitan Museum.

This artwork exemplifies the time period it was created in, as it consists of many techniques/artist choices that were popular at the time. One very significant example is the subject matter. Female nude paintings have existed for hundreds of years. The idealized female body lying naked is something many people are commissioning and painting. The silky, smooth brushwork done by Cabanel is admired as well as expected in France at the time. Academicism, of which he was a part of, commonly consisted of silky brushwork and mythological subjects, both of which are in this artwork. 

Gustave Courbet, The Woman in the Waves, oil on canvas, France, 1868. The Metropolitan Museum. 

Goddess, Venus is depicted in this painting very largely. This mythological figure is nude and although not fully reclining, she is leaning backwards a bit. This, as seen for many years, includes a reclining female nude again. The Academy frequently chose works with mythological figures for the public to see. Also, amongst most paintings in the Salon, this work has silky brush strokes that make them look almost seamless. Idealistic, soft-skinned female nudes were popular in the mid-late 1800s.

William-Adolphe Bouguereau, The Birth of Venus, oil on canvas, French, 1879. Louvre.

Once again, Venus, the mythological Goddess is in the center of the canvas, nude. She is the largest/whole body of all the figures in the painting, which alludes to her significance. Unlike the other paintings of her shown in this exhibition, here there are many figures alongside Venus. There are cupids and other Gods and Goddesses. Here again is the mythological theme being presented. As for the history of female reclining figures nude, here she is not completely reclined, she is standing but has weight on one heel which tilts back the body.

Pierre-Auguste Cot, The Storm, oil on canvas, France, 1880. The Metropolitan Museum. 

This work was shown in the Salon of 1880. The style of this painting is academicism. Something that sets this painting apart from the others above is the woman here is wearing clothing. What connects this painting to the others is the clothing is see through, therefore you can see her naked body underneath. Also, not only is the female not reclining, which is typical of nude woman paintings of this style, but she is instead leaning forward.

Honore Daumier, Still more Venuses this year... always Venuses!... as if there were any women built like that!, from 'Sketches from the Salon,' published in Le Charivari, May 10, 1865, Lithograph on newsprint; second state of two, France, 1865. The Metropolitan Museum. 

The style of this work is not the focus, the message it portrays is. The title of the artwork makes the artwork self-explanatory. Daumier observed that nude paintings of Venus were always shown in the Salons. The Academy was very stubborn about changing beliefs relative to what they believe are the most difficult and important art skills. Therefore, talented artists could be confident in believing that their work can be included in the Salons if they include things the Academy highly values. Some of these things are silky brushwork, mythological figures, and idealism, all of which can be present in a painting of Venus, nude. The idealistic style that the Academy values misrepresents what nude women typically look like. This Impressionist piece exposes that. 

Edouard Manet, Olympia, oil on canvas, France, 1863. Musee d’Orsay.

Manet’s Olympia is traditional in the sense that the subject matter contains a reclining, nude female. What sets this artwork apart from the others with the same subject matter is that it goes against the Academy. Instead of silky brushstrokes seen in paintings in the Salons, this painting has visible brushstrokes. This work was a part of the Impressionist movement. Manet wanted to get his work into the Salon, therefore he made a history painting that would stand out from the others alike.

Divergence within Ashcan

The Ashcan school was a group of eight colleges that were bent upon art not being art for art’s sake, but rather art for life. Most of the Ashcan artists held the view of new urban realism. This show is a collection of works pertaining to the Ashcan School and their relation to the impressionist movement. It is evident that William Glackens’ artwork strayed from the views of his colleges in the Ashcan School. While Glackens focused on bright urban living, the other Ashcan artists were focused on portraying New York’s vitality and recording its steamy side, they also concentrated heavily on different social and political events.  Although Glackens work was cheerier than the other Ashcan artists, he still used a lot of naturalism and realism.  Glackens, unlike the other Ashcans who depicted New York’s streets as dangerous or ugly, depicted those streets near his home with humor and hope. His work is more intently aligned in style and color with that of the Impressionist French movement. Glackens came closer to the works of Monet and Renoir, using short, choppy brush strokes. 

This exhibition invites the viewer to experience works from the early 1900’s that will evoke a sense of what life would have been like during that time, and it will feature a work from the impressionist movement that will portray the inspiration for the Ashcan School works. It leaves the viewer with a sense of how life can be viewed as dark and steamy for some, but full hope and humor for others. The mission of this show is to provoke the viewer to wonder: how does Glackens work differ from that of the other Ashcan School artists? 

 

 “The Green Car”

William James Glackens 

Date: 1910

Medium: Oil on canvas

Dimensions: 24 x 32 in. (61 x 81.3 cm)

The Met

Accession Number: 37.73

             

Glackens brush often focused on the bright side of everyday urban living, which is evident in his painting “The Green Car.” He used small brush strokes, much like what is seen in impressionist works, that created movement and rhythm within his piece and captured a bright day that seemed full of humor and hope. This differs much from the other ashcan artists which are said to demonstrate danger and ugly, as there is none of this in “The Green Car.”

 

“Dutch Girl in White”

Artist: Robert Henri

Date: 1907

Medium: Oil on canvas

Dimensions: 24 x 20 in. (61 x 50.8 cm)

The Met

Accession Number: 50.47

           

“Dutch Girl in White” is a piece that Henri, the leader of the Ashcan group, created. His use of impressionist style brush strokes fabricates the Dutch girl’s delicate figure. The girl in this painting is perceived as full of spirit and life. However, following in line with many of the other Ashcan artists, Henri presents a dark atmosphere about her. His dark entailment casts a shadow on this work of urban realism. He projects a romantic style gloom upon the girl.

 

“The Lafayette”

Artist: John Sloan

Date: 1927

Medium: Oil on canvas

Dimensions: 30 ½ x 36 1/8 in. (77.5 x 91.8 cm)

The Met

Accession Number: 28.18

           

The Lafayette was a hotel located at Ninth Street and University Place in New York’s Greenwich Village. Although Sloan had fond memories of the hotel, the year that this work was painted he was in financial hardship. This piece shows a dark, steamy street, much like what was seen in other Ashcan artists works, while also invoking some bright characteristic to illustrate his fondness for the hotel. This painting is meant to express what a night in front of the hotel would have looked like and it exhibits the foundation of urban realism within his work. 

 

“The Old Duchess”

Artist: George Luks 

Date: 1905

Medium: Oil on canvas

Dimensions: 30 x 25 in. (76.2 x 63.5 cm)

The Met

Accession Number: 21.41.1

           

 

Ashcan artist George Luks often focused on urban scenes and figures, such as the “Old Duchess.” The duchess is seen as an old, impoverished woman. She appears to be weary, and the painting manifests a dark luminance about her that is weighing over her. This shadowed effect indicates that the urban woman is struggling, and her grey hair and weary face convey that she has been through a lot. Luks brush creates all this emotion through his use of dark hues and exaggerative strokes, which are techniques that were also used by many of the other Ashcan artists.

“Harlem River”

Artist: Ernest Lawson

Date: ca. 1913

Medium: Oil on canvas

Dimensions: 25 ¼ x 30 1/8 in. (64.1 x 76.5 cm)

The Met

Accession Number: 67.187.132 

             

This Ashcan artist, Lawson, uses oil on canvas to illustrate his perspective of the Washington Bridge, in his work the “Harlem River.” The bridge has wide arches and is a depiction of an ordinary urban scene that people living in that area could pass every day. This portrayal of urban realism is depicted in black and white, instead of the use of color. This work is very choppy, and Lawson emphasized drama and design throughout the piece. 

 

“Bridge over a Pond of Water Lilies”

Artist: Claude Monet

Date: 1899

Medium: Oil on canvas

Dimensions: 36 1/2 x 29 in. (92.7 x 73.7 cm)

The Met

Accession Number: 29.100.113 

             

“Bridge over a Pond of Water Lilies” is a painting that Monet originated in his water lily garden. Monet used the impressionist style of bold brush strokes and aversions to blend hues to depict the light ripples on the water accompanied with colors creating a smooth reflection. This work is bright, full of color and full of hope. Much like the Ashcan artists he created natural scenes. However, he follows more along the lines of Glackens in that his paintings typically illustrated the humor and hopeful side of everyday life, rather than the dark and steamy.

 

The Divine Speeches

    We as humans are finite. We are not eternal or all-powerful. We are not all-knowing and omnipresent, ultimately we are not God. Humanity is not the creator but rather the created. To truly understand how we fit into the cosmos and also the Divine Plan we must first decenter ourselves from the narrative. While it should be understood that humanity is incredibly valuable and cherished. We are not the Authors of Creation. 

    In a better understanding of our finitude we can better understand God's glorious power. In a better understanding of God's glorious power we better understand our own finitude. It is a cycle that allows us as humans to live rightly. This exhibition mirrors one aspect of this cycle. The goal is to learn more about God's power and from those realizations to learn more about our finitude. It should be understood that the goal is not to make us feel worthless but to better understand the infiniteness of God. Through this better understanding we can take comfort just as Job did that while God is all powerful He is also a loving and caring father. 

    Art across cultures has been tapping into the same truth that God Himself explores throughout the Divine Speeches in Job 38-42. They might not be fully accurate but art can have common grace insights that allows us as people to experience the comfort that Job felt from hearing God speak on the natural world. Much like the rhetorical questions about His creation these paintings help us decenter ourselves and acknowledge our own limits. 

    

Homer Winslow, Gulf Stream, 1899 reworked by 1906, Oil on canvas, 06.1234

This painting feels hopeless. The man is completely alone, surrounded by danger. His only hope for rescue is fading into the storm in the background. He is at the mercy of the forces that are around him. These natural forces are intent on destroying him. The sharks seem to be waiting for the man to fall into the water so that they can eat him. This painting is one example of how artists can show the powerlessness of humanity in their struggle against nature. While it is extremely negative in nature, which goes against the themes present in God's speeches to Job it does capture the harshness that so many people feel in this broken world. 

Fan Kuan, Travelers Among Mountains and Streams, ca 950 C.E., National Palace Museum, Taiwan

The sweeping cliffs and crashing waterfalls dwarf any human or anything we can create. The travelers that are present are lost in the scale of the the rest of this painting. As with the Divine Speeches this paintings shows the grandness of the world that is around us. That grandness has only one true source. That source is the Creator, and the King of the Heavens. This painting captures the awe that is present when truly understanding how great God is.  If these mountains, waterfalls, and rivers are so great than how much greater is He who created them. 

Asher Bran Durand, In the Woods, 1855, Oil on canvas, 95.13.1

As with other members of the Hudson River Valley School, Durand focused on the wild and untamed wilderness of America. This world is not evil or out to punish those who are living in it. However the world is simply so much bigger and more expansive than we can ever imagine. God works through the Divine Speeches to show Job just how much more there is to the world and by extension God Himself than Job could ever understand. 

Elias Martin, A Romantic Landscape, 1768, Oil on canvas, National Museum of Sweden 

Like other romantic painters Elias Martin focused on creating an emotional response for the viewer. They wanted to focus on what they called the "sublime". This sublime is meant to give people a sense of awe in the world around them. This is incomplete as this awe has no true outlet. However throughout the Divine Speeches God uses the natural world to create awe in Job in order to bring Job to right worship of God Himself. As Christians this awe of nature found in these paintings can lead us to worship much like Job. 

Albert Namatjira, Mount Sonder, MacDonnell Ranges, 1945, New South Wales Gallery

Much like the Romantics and the American landscape painters in the 17th, 18th, and 19th centuries, Namatjira captures the beauty of the landscape around him. An aboriginal from New South Wales, Namatjira he captures the beauty of the lands around his home. The beauty that he captures can be understood as a picture of the power that God has.  It should be noted that the truth of God through reveled creation can be seen by any culture and through any art technique. 

Ito Jakuchu, Insects by Pond Side, date unknown, handscroll painting, Idemitsu Museum of Arts 

Unlike the other paintings in this exhibition this work does not inspire awe by showing us the grandness of the world but rather by showing the detail of creation. Throughout the Divine Speeches God does simply decenter Job through awe-inspiring creation. He also shows His care and creativity throughout the details of creation. Ultimately when we view the greater world around us we should not just be made to feel feel small but also that God takes incredible care of the seeming small aspects of the world around us. 

Pioneers & Pupils: Boudin and Monet

    "If I have become a painter, it is to Eugene Boudin that I owe it" (1) boasted Monet when he obtained recognition for his vast portfolio of magnificent pieces. How did their mutual influence impact the artistic movement? We cannot look at either artist's works without the context of the other. Truly, when the friends were exhibiting together, critics would identify the similarities between their works. Boudin (1824 - 1898) and Monet (1840 - 1926) partook in several adventures together, such as painting in cities like le Havre, their hometown, and Trouville, a posh beach in Normandy for the upper-middle class. Thus, they shared in subject matter. Boudin also introduced Monet to the practice of physically painting entire landscapes outside, immersed in the environment of the composition. This approach, en plein air, is a mark of Impressionism. Additionally, Boudin learned much from Monet. The French artist, who loved to depict light with subtle hints of color, was captivated by Monet's portrayal of objects in the context of the light that shines on them versus physical appearance. By their similar techniques, though Monet at the forefront, both artists were branded as impressionists. Boudin serves as a pioneer of the movement and a pedagogue for Claude Monet. Monet excelled as a leader and icon of impressionism and stewarded what he learned from Boudin in order to become a renowned painter. Come explore and analyze the comrades' works and share in their fascination of sky and sea.

Artist: Eugène Boudin (French, Honfleur 1824–1898 Deauville)

Title: Princess Pauline Metternich (1836–1921) on the Beach

Date: ca. 1865–67

Medium: Oil on cardboard, laid down on wood

Dimensions: 11 5/8 x 9 1/4 in. (29.5 x 23.5 cm)

Met Accession Number: 1999.288.1

    One of the beloved landscapes both artists frequented was the beaches at Trouville, Normandy, where many wealthy would come and vacation. Here he paints the wife of an Austrian ambassador. Boudin’s scenes of the upper-middle class, everyday life sparked controversy. He observed his physical reality in a way that contrasted the stylized, fabricated landscapes that were popular. This approach would later be adopted by Impressionists. The painting overall is unified by distinct brushstrokes and cool colors. So much of the composition is taken up by the sky. Boudin employed the sky in his landscapes as his most stirring subject matter. Claude Monet would follow suit.

Artist: Claude Monet

Title: The Beach at Trouville

Date made: 1870

Medium and support: Oil on canvas

Dimensions: 38 × 46.5 cm

Source: The National Gallery

   

    Monet learned to also delight in the beaches at Trouville. In fact, he often painted with Boudin en plein air. The subject of Monet’s painting is his wife, Camille. The woman in black is said to be Madame Boudin. The simplicity of the women’s faces, which resembles Boudin’s Princess Pauline Metternich (1836 – 1921) on the Beach, communicates that the artist desires for the “main attraction” of the composition to be the scene: the gorgeous beach. The faint warmness of the sand and the cloudy sky unify the composition. 

Artist: Eugène Boudin (French, Honfleur 1824–1898 Deauville)

Title: Village by a River

Date: probably 1867

Medium: Oil on wood

Dimensions: 14 x 23 in. (35.6 x 58.4 cm)

Met Accession Number: 59.140

    Boudin’s family was one of sailors and pilots. This is a large contributor to the painter’s innate love of the sea. Though Boudin would be nicknamed the “Le Roi aux Cieux”, the “King of Skies”, he also utilized the sea as his subject matter. His adoration is reflected in the care he takes to depict the glistening reflections of the village on the water. This tiny village, Le Faou, is on the coast of Brittany, where the artist painted often. This work is said to have been carried out on his first visit.

Artist: Claude Monet (French, Paris 1840–1926 Giverny)

Title: Houses on the Achterzaan

Date: 1871

Medium: Oil on canvas

Dimensions: 17 3/8 × 26 1/2 in. (44.1 × 67.3 cm)

Met Accession Number: 1975.1.196

    

    Monet received a recommendation to travel to the Netherlands for its clear water and skies. This painting has incredibly similar subject matter to Boudin’s Village by a River. However, when comparing Boudin and Monet’s paintings, Boudin’s seems like the original photograph and Monet’s appears to have a filter on it! This is because Monet limited himself to a color palette of varying shades of green. He uses this technique to communicate his perception of the light interacting with his surroundings. He was awestruck by the gorgeous landscapes of Zaandam, the town featured. When Boudin first stumbled upon Monet, the young upstart was making ends meet as a Caricaturist. Boudin acquainted Monet with a wonder for painting magnificent seascapes and coastal towns. 

Artist: Claude Monet

Title: Impression, Sunrise

Date: 1872

Media: oil, canvas

Location: Musée Marmottan Monet, Paris, France

Dimensions: 63 x 48 cm

Source: WikiArt Visual Art Encyclopedia

  The scene illustrated is the port of Le Havre, Monet and Boudin’s hometown. Boudin upon seeing this work was enchanted by Monet’s relation between light and the objects he paints. This well-known work of Monet’s was exhibited in April of 1874 in a show meant to retaliate against the mainstream artists of the day. Boudin’s works were also on exhibition. Impression, Sunrise stirred the crowds. Witnesses were appalled at Monet’s painting of the interaction between of light and atmosphere. The outrage branded the painters of the exhibition, Boudin included, as the “Impressionists.”  

 "If I do not have the merit to be classed among them (the great talents of the present) I, too, shall have had perhaps my very little share of influence in the movement which carries painting toward the study of strong light, of open air and of sincerity in the production of effects of sky. If many of those whom I have had the honor to show the way, like Claude Monet, were carried farther by their personal temperament, they shall no less owe me recognition, even as I myself have owed to those who have advised me and offered models to follow."  - Eugene Boudin (2)

(1) BENJAMIN, RUTH L. “EUGÈNE BOUDIN, KING OF SKIES.” The American Magazine of Art 23, no. 3 (1931): 193

(2) Dorothy Odenheimer. “Boudin, Forerunner of Impressionism.” Bulletin of the Art Institute of Chicago (1907-1951) 33, no. 5 (1939): 80.

The Peacock Skirt

Aubrey Vincent Beardsley’s The Peacock Skirt is a black and white line block print from the Art Nouveau era. Beardsley pushed against the grain of culture and created a print that broke expectations and narratives. Inspired by the very controversial play, Salome, by Oscar Wilde, Beardsley carved a 16 piece set, taking scenes and themes from the play to create his own work. Oscar Wilde was a successful playwright but his themes of sexual exploration, innuendo, and his own homosexuality resulted in critique and eventually his arrest. Wilde’s play Salome and its embrace of overt sexuality was a perfect example of counter cultural art, drawing in critics of the Art Nouveau era. Beardsley was similarly driven to use hyper sexuality to create art that went against popular culture in the era. The Peacock Skirt displays an older woman, holding all of the power in the scene, aggressively seducing a young man. Beardsley’s inspirations did not stop at the play. In addition to the themes of sex in Salome, Beardsley was also drawn to the Ukiyo-e, the Japanese woodblock prints. In Japan, the themes of sexuality and “the naked” were growing in popularity and became an important part of Beardsley’s work. In The Peacock Skirt, the woman’s facial features, and her entire form, is distinctly similar to the Japanese print style. The final, and maybe most important source of stylistic inspiration; Whistler and Jeckyll’s The Peacock Room. It may be confusing how a room installment could be an inspiration for a woodblock print, but everything about the print is accentuated by the room. From Whistler’s oil painting on the wall, to the gold peacocks across from it, the room is the very heart of The Peacock Skirt. In study of his work, we see how Beardsley took in numerous points of inspiration, from style and form, to cultural narration, and created a genre defining moment with The Peacock Skirt.

Aubrey Vincent Beardsley, The Peacock Skirt, 1907, Process print from line block, Fogg Art Museum

The title piece. Crème de la crème. Beardsley’s print The Peacock Skirt is just part of a series inspired by Salome, a dramatic play by Oscar Wilde. Despite its conception in the midst of the Art Nouveau era, it broke barriers, challenged the cultural narrative, and ruined careers. Beardsley’s Salome series pushed the limits, not only artistically, but also socially, brazenly displaying the naked in his work, with no fear of vulgarity or shame. The Peacock Skirt’s inspiration doesn’t stop at Salome; Beardsley also brought in style from the era’s Japanese woodblock prints and The Peacock Room by James Abbott McNeill Whistler, Thomas Jeckyll.

James Abbott McNeill Whistler and Thomas Jeckyll, The Peacock Room, 1877, Oil paint and gold leaf on canvas, leather, and wood, Freer

Gallery of Art, Washington, D.C.

The Peacock Room was designed as a dining room in Kensington, London. The room features a beautiful blue-green and gold leaf palette. Similar to how Beardsley took inspiration from Japanese woodblock prints, the room is a notable example of the Anglo-Japanese style, a result of the growing appreciation of Japanese design and culture. The room contains two notable aspects. The painting, The Princess from the Land of Porcelain, and two large golden peacocks on the opposite wall.

 

James McNeill Whistler, Rose and Silver: The Princess from the Land of Porcelain, 1865, Oil on Canvas, Freer Gallery of Art, Washington, D.C.

The center piece oil painting in The Peacock Room. The Peacock Room is it’s own curation in a way, containing a painting that furthers it’s own exploration of the Anglo-Japanese style. The painting blends the Art Nouveau era with the ever growing popular Anglo-Japanese. The painting contains numerous references to Japanese art, design, and culture. The subject wears a kimono, holds a hand fan, and stands in front of a Japanese folding screen.

Chōbunsai Eishi, Genji in Exile at Suma, 1791, Woodblock print, H. O. Havemeyer Collection

One of the most important parts of Beardsley’s inspiration, the Japanese woodblock prints, however, he didn’t only use the same medium and technique of prints. He also mimicked the Japanese work by breaking French cultural narrative. In this work, Genji in Exile at Suma, we see three women playing with a cat on the ground. This work is based on a famous play in Japan, one that would be recognized by any high-class Japanese viewer. The difference is, there should be men standing in place of the women. Beardsley breaks expectation in a similar way, as in The Peacock Skirt, it portrays a woman sexually overpowering a younger man.

Kitagawa Utamaro, Picture of the Upper Class, 1794-95, Woodblock print; ink and color on paper, Honolulu Museum of Art

The Picture of the Upper Class woodblock print is another perfect example of how Beardsley was inspired. The Japanese print by Utamaro features two high class women wearing kimono’s. Looking at how the kimono flows, we see similarities to the peacock skirt the woman wears in The Peacock Skirt. We also see one character standing over the other, hinting at a power structure being represented in the print, as it is in The Peacock Skirt.