True Hermitage Final

Daniela Valdez December 10, 2008 Professor Dorenchenkov The Hermitage Collection Horace Vernet’s Idealization of Death in Angel of Death: A Break from Political and Historical Painting Encyclopedia Britannica defines Romanticism as an artistic, literary, and intellectual movement beginning in the second half of the 18th century characterized by its disillusionment with scientific rationalization, and aristocratic society, as a result of the French Revolution, the Industrial Revolution, and the Enlightenment. Romanticism emphasizes emotion, man’s relationship with nature, and interest in the exotic, or foreign. Romanticism is often associated with the attempt to escape the growing confines of industrial cities.1 Romanticism and the turbulent social period in France characterized many of Horace Vernet’s works, such as L’Atelier, with the exception of Angel of Death completed in the later years of his life. Horace Vernet was born in Louvre, Paris on June 1789, to Carle Vernet the famous French Painter. In addition to the training Vernet received in his father’s studio, his education was supplemented with formal academic training by François-André Vincent. Horace Vernet immediately developed a disdain for Classicism and considered it ostentatious. He began to paint more contemporary 1

Romanticism. Retrieved 11 December 2008, from Encyclopedia Britannica Online.

subjects such as the French soldier, large-scale battle scenes, and Near Eastern subjects.

Vernet’s battle scenes are described as some of the best paintings

regarding historic subject, and were painted with intense speed. Vernet’s interest in the Near East, perhaps a result of French Colonialism, and frequent visits to Algeria resulted in an authentic background for biblical themes. Vernet presented Old Testament characters in the guise of Modern Arabs, for example Joseph’s Coat (Fig. 1.).2 Vernet was also greatly influenced by the political and social changes that were occurring in France. It would be erroneous to analyze Horace Vernet’s work without first discussing the significant changes which occurred in France. In the period following the French Revolution, Napoleon Bonaparte gained power and became France’s first Emperor. French dominance rose quickly throughout Europe halting in 1812 with the French Invasion of Russia, during which Tsar Alexander I reigned. The removal of Napoleon as Emperor resulted in the Restoration of the Bourbon Monarchy by the Allies, or those who had fought against Napoleon. This period is characterized as conservative and reactionary. As a result of the reinstitution of the monarchy many different political parties were created such as the Republicans, Liberalists, Royalists, Ultra Royalists, and Independents. The reinstallation of the monarchy to power was the major issue that differentiated the political parties. Horace Vernet not only allied himself with the Liberalists but also played a significant role in the Defense of Paris from the 2

Ed. Jane Turner, The Grove Dictionary of Art: From David to Ingres Early 19th Century French Artists. St. Martha’s Press: New York, 2000. 288-393.

Allies in 1814. Horace Vernet’s L’Atelier (Fig. 2.) is an overtly political work reflective of the time period. The subject of L’Atelier is Horace Vernet’s studio where friends of Vernet gathered in order to fence, paint, discuss, read, and box. Among the twentythree men depicted, including Vernet, the viewer can see guns, swords, helmets, saddles, trumpets, easels, and a display of animals including a horse, a dog, and a deer. Lastly a bust of Horace Vernet’s grandfather, Joseph Vernet, stands in the corner. Vernet’s depiction of his studio is complex and symbolic. During the period of Restoration, Liberalists in conjunction with Republicans and Bonapartists, promoted the idea of an honorable, strong, united, and prestigious France. This resulted in the glorification of the common soldier, and an increase in duels with Allied soldiers as a result of military inactivity and frustration. Vernet’s family was not only respected in the field of arts, but military service as well. After Vernet’s brief service in the Defense of Paris, Vernet’s works were almost solely dedicated to the celebration of militarism. Vernet’s studio was not only the quarters where these works were created, but also a meeting place for friends, Liberals, and Bonapartist sympathizers. Vernet attaches a key to his painting in order to identify the men in his studio. Nina Maria Athnassaoglou- Kallmyer explains that the military equipment depicted in Vernet’s studio, the animals present, and the various activities, create a rowdy atmosphere, unpredictable and seemingly ill suited to creativity and inspiration. Vernet paints even more obvious political symbols such as the white horse, which became the trademark mount of

Napoleon, and the display of a three-corner hat, which was prohibited during Restoration.3 Many of Horace Vernet’s works were not as overtly political as L’Ateleir, yet they were also denied display in French Salons. In the nineteenth century, Salons were the only venue for public exhibition, and provided the best exposure for artists. However, juries could denounce an artist’s work without providing an explanation.

William Hauptman explains,

“Works that appeared even vaguely contrary to public taste were similarly prohibited in accordance with the decrees of 1791. But certain motives played a large role in the jury selections during the Restoration, since juries, as representatives of governmental tastes and policies, were particularly sensitive to offending or unflattering themes.”4 Hauptman explains that juries were extremely sensitive during the Restoration. Any subject that might be considered embarrassing to the government was censored including: a unflattering physical depiction of a member of an elite, painting with political undertones, or titles suggesting a criticism of members of the elite such as Gericault’s Radeua De la Meduse, which was only hung after the title was changed to Une Scene de Naufrage. The rejection of an artist’s work was detrimental to his or her source of revenue and in extreme cases led to suicide. The decisions made by juries played an essential role in determining public tastes. 3

Nina Maria Athanassoglou-Kallymer, “Imago Belli: Horace Vernet’s L’Atelier as an Image of Radical Militarism under the Restoration.” The Art Bulletin, Vol. 68. No. 2 (Jun., 1986) 286-280. 4 William Hauptman, “Juries, Protests, and Counter-Exhibitions before 1850,” The Art Bulletin, Vol. 67. No.1 (March.1985). 87.

In 1822 Horace Vernet’s Clichy Gate: The Defense of Paris (Fig. 3.), and Battle of the Jemmapes were rejected, most likely for political reasons.

In

response, Vernet opened his own exhibition in his studio. Vernet’s actions were daring, yet many people came to see his exhibit. Vernet’s popularity soared. He had opened the first private exhibit of the nineteenth century. Vernet’s divergence with the French Salon continued when he and his son-in-law, Paul Delaroche, resigned from the jury of 1836 in protest of the favoritism of their colleagues. Paul Delaroche would continue the campaign for artist’s rights to exhibit their own works. In the following years Horace Vernet was appointed Professor at the Ecole des Beaux-Arts, and executed many historic battle scenes. One of Horace Vernet’s later works includes Angel of Death (Fig. 4.). The subject of the painting is a young woman dressed in a pure white robe with long blondish hair. The young woman is being held by a dark hooded figure, whose face is not visible. At first glance, one might think that the young woman, bathed in a mysterious light from above, and dressed in her dazzling white gown is the “angel of death.” However, with further observation one can identify the dark hooded figure as the angel, and the owner of the feathery wings Vernet paints. The angel gently lifts the young woman effortlessly giving not only the impression that she is floating weightlessly, but that the Angel utilizes a mystical power in order to lift her. She is being vertically lifted out of her bed as she points upwards. The young man kneels beside the bed his cloak falling off his shoulders, his head down in what appears to

be a stance of prayer. The bed is covered with a gold colored blanket. The painting has a strikingly rich royal blue background, which appears to be a velvety curtain. In addition to the three figures, the room also contains a cabinet with a bible open, an icon, and a medal. The mood or the message of the painting is one of beauty and, sorrow. The young woman is beautiful as the angel pulls her upwards. Light flows from above, showering her as she gestures to the young man. Although Vernet had previously mostly painted battle scenes, he creates a microcosm where only the young woman, angel, and young man exist. Art historians have written little about Vernet’s divergence from historical subject. The figures Vernet paints are clouded with mystery. Who is this young woman? What relationship does she have with this young man? Why is the Angel of Death taking her at such a young age? The sparse setting of the room suggests that the young woman is suffering from an illness. The room is bare in order to provide rest. The bible, icon, and medal, provide spiritual strength, and healing. The young man kneels on the young woman’s bed possibly praying and watching over her. Vernet depicts the exact moment at which the young woman dies. The black hooded figure with its enormous enveloping wings gently cradles her as they ascend upwards. The young woman does not appear frightened but has a serene expression. Her gesture also suggests that she wishes to tell the young man that she is dying, but will be entering heaven. This intimate gesture and the apparent devotion of the young man suggest the nature of their relationship. Perhaps they are brother and sister, maybe husband and wife. It is known that Horace Vernet’s

daughter suddenly passed away in 1845, seven years before this painting was executed; however, the young man’s light brown hair, his attire, and his kneeling position suggest that he is a much younger man. Is Vernet depicting Louise Vernet, his daughter, and her husband Paul Delaroche? Or perhaps these are simply fictional characters. Whatever the relationship between the two characters it is apparent that Vernet’s work is a break from his previous historical subject. Vernet’s painting is direct expression of mortality and the passing of life. It is important to analyze why Vernet choose to depict the passing of a young woman, when all of his previous works have been historical in subject. It is possible that with his life coming to a close Vernet was contemplating his own mortality and the experience of death. Perhaps this is Vernet’s peaceful, serene, and comforting depiction of the passage from life into death. It is also a possibility that this is indeed Louise Vernet and her husband Paul Delaroche. It has been noted that Paul Delaroche’s love for Louise Vernet was consuming and he used her as the model for his work, Head of an Angel. Perhaps Vernet was also shocked by his daughter’s death and painted an idealized portrayal of death, what he had hoped his daughter experienced. This interpretation also has its inconsistencies, and should be further researched in order to come to a conclusion. The subject of Vernet’s work could be entirely fictional. Perhaps towards the end of his life, Vernet reflected on his previous works and chose to depict a more stylistically romantic painting. Horace Vernet’s career is characterized by his historic battle-scenes, which

he quickly executed. Vernet’s involvement in the Defense of Paris in 1814, his politically overt paintings, and the establishment of his private exhibition distinguish him as strong individual who was politically and socially conscious. In terms of Vernet’s Angel of Death it is perhaps time to consider Horace Vernet’s work not as a historical work, but as a result of the emotions and events he experienced towards the end of his life.

Works Cited Romanticism. Retrieved 11 December 2008, from Encyclopedia Britannica Online.

Athanassoglou-Kallymer, Nina Maria. “Imago Belli: Horace Vernet’s L’Atelier as an Image of Radical Militarism under the Restoration.” The Art Bulletin, Vol. 68. No. 2 (Jun., 1986). Hauptman, William. “Juries, Protests, and Counter-Exhibitions before 1850.” The Art Bulletin. Vol. 67. No.1 (March. 1985). Turner, Jane The Grove Dictionary of Art: From David to Ingres Early 19th Century French Artists. St. Martha’s Press: New York.

Fig. 1. Joseph’s Coat by Horace Vernet

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Fig. 2. L’Atelier by Horace Vernet

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Fig. 3. Clichy Gate: The Defense of Paris by Horace Vernet

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Fig.4. Angel of Death by Horace Vernet

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