Men and Women Together as the Faces of Art

 

The cultural view of the roles of men and women in society are ever changing through time and from place to place. Art history has always been integral in understanding past and foreign cultures and what was expected of the people within. Domestic scenes of husband and wife are a particular focus that can be observed in art from early history. Families that were depicted together were often seen as much more powerful than a lone individual, and would invite the viewers to interpret pieces differently, based on their own role in a family. Depending on the present culture and time period, an audience could also be more or less inclined to react positively to the ideas introduced in a particular piece. The same painting could evoke fear or anger for one and awe and respect in another.

These following works (1630s-1820s) communicate different expectations for men and women, mostly husbands and wives, using both outside context and formal choices.

The Abduction of the Sabine Women

Nicolas Poussin

1633-34

Oil on canvas

46.160

                The story of the Sabine women should have ended in despair and loss. But when the Sabine men rallied together to reclaim their daughters and wives, the women protested against any fighting, because they actually loved their new homes. This painting is meant to recall the entirety of the story while only depicting an early scene from before Rome became a great nation. From a man’s perspective, he may see this painting as communicating the necessity of the women for the population of the city. From a woman’s view, she would immediately recognize the fear etched on each captured face and the overwhelming chaos of the scene, but she may look closer and notice a sense of unity spoken through the repetition of the upward and outstretched hand of at least two women and two men. This painting is a good example of broken relationships between men and women, while also containing subtext that points to the continued story.

 The Garter

Jean Francois de Troy

1724

Oil on canvas

2019.141.22

The garter belt as an undergarment was meant to be a private item worn by a woman under her skirt. The interaction between these two people implies that they are not married, similar to the subjects in de Troy’s The Declaration of Love. This seems to reference the courtly love tradition of medieval Europe, in which two individuals who were not married to each other would pursue a romantic relationship (though usually not sexual). The woman’s choice to fix her slipped garter not in the privacy of a restroom or some private place does not match well with her rejection of the gentleman’s advance to assist her. We can see that this relationship is also broken, as there are desires displayed here that should not be, yet temptation is allowed to remain.

The Consecration of the Emperor Napoleon and the Coronation of the Empress Joséphine

Jacques-Louis David

Oil on canvas

1804

The Louvre Museum in Paris

            The coronation of the emperor Napoleon Bonaparte would have been one of the most extravagant celebrations the people of France had seen in years. This particular scene shows off a power-move by a very significant power-couple of the time, as it was both traditional and unorthodox. Napoleon decided to perform the ceremony himself, crowning both himself and his wife, in an act of removing their power from the authority of the church. This painting captures a shaft of light falling upon the empress Josephine as she receives her crown, highlighting a sort of angelic grace that was thought to befit a young woman of consequence at that time. Napoleon’s strong posture is not hidden by all his regalia, and his reportedly deficient stature is not apparent. This couple’s strengths are illuminated in this painting, almost romanticizing their rise to power.

The Public Viewing David’s “Coronation” at the Louvre

Louis Leopold Boilly

Oil on canvas

1810

2012.156

The fascination of the common people in regards to the previous work is likely due to the fact that many of them would not have been able to witness such a spectacle in real time. Both men and women are pictured here, possibly for a family outing, viewing and likely commenting on David’s monstrous recreation of the ceremony. There is a very common and united feel to this painting, as if they as viewers are all equal with each other, but that we as viewers of this painting and the “Coronation” are equal with them as well. The presence of children is also apparent here, as their fascination with the novelty of a coronation celebration years after its occurrence is also intriguing.

Antoine Laurent Lavoisier and Marie Anne Lavoisier

Jacques-Louis David

Oil on canvas

1788

1977.10

            Antoine Lavoisier is likely more recognized by his name, for his immense contributions to the world of science, than his is recognized for his face. But here we see an almost-candid portrait of himself and his wife, Marie Anne. This power couple collaborated on many successful works of scientific literature together. Antoine was also a nominal politician (which got him in a deal of trouble), but his life’s work was dedicated to chemistry and the study of combustion and the makeup of water. Marie created illustrations for his books, with detailed diagrams and pictorial formulas. These two are shown as near equals, with Marie attracting attention in the light while also creating contrast for Antoine to stand out in the painting. They worked together even after Antoine’s execution during the Reign of Terror, as Marie continued to illustrate and publish his writings.

Brigand and His Wife in Prayer

Leopold Robert

Oil on canvas

1824

2003.42.50

Amongst the previous high-class individuals painted, stands this couple, middle-class and likely anxiously anticipating an addition to their family. The quietness of these two hints at the uncertainty of their future, as well as their faith as they pray before shrine. They likely lived in the mountains, and did not have much to live on, as most brigands resorted to crime in order to provide for their families. However, their devotion to each other and their religion can be felt through the comfortingly warm, dark colors in this painting. As they pray together, there is a mutual respect evident between the two as well.