The Death of General Wolfe
Benjamin West's Style and Theatrics
West painted Wolfe in a natural style, using a contemporary event and portraying deep emotion. (Kleiner and Mamiya, p. 812) Each face in the painting shows concern or anguish, tying them together in the terrible event. Hands are clasped in prayer or make wild gestures for help, while above black storm clouds gather as if in response to the death of general. West may have painted the sky as half clear and half stormy to represent the victory over the French that also resulted in Wolfe's death.
West also made good use of theatrics in his painting, carefully placing each 'actor' on his canvas stage. (Kleiner and Mamiya, p. 812) General Wolfe is in the middle, of course, surrounded by loyal comrades. West grouped the troops around him, leaning inward toward the dying hero. All of the surrounding faces are side views or covered in dark shadow, while Wolfe's face is full and brightly lit. Maybe West was trying to make it look as if Wolfe was being lit with heavenly light, or perhaps had a halo himself.
On the right side a tall and a short man stand side by side creating a diagonal towards Wolfe, leading our eyes there. Their clasped hands give us the idea of prayer, as if a religious event were happening. It seems as though West deliberately staged this painting to mimic a religious image, giving Wolfe a saintly status and showing that God is on the side of the British. (Kleiner and Mamiya, p. 812) Perhaps it`s coincidence that Wolfe is dressed in red, the color associated with the blood of Christ and his martyrdom? As well there are twelve men surrounding Wolfe, not counting the squatting Native American, which of course reminds me of Christ's twelve apostles. Adding a religious flavor to the painting meant that viewers might associate fighting for Britain, and perhaps dying in battle, as a divine or spiritual event.
A hero's death probably appealed to some people, giving them an interest in joining the British military. Was it the artist who wanted a painting that would create patriotic fervor for Britain, or the influence of the king? By portraying Wolfe as a martyr with religious overtones it made Britain out to be the divine victor and perhaps a cause worth dying for.
Oath of the Horatii
Jaques-Louis David's Style and Theatrics
David painted in a sharp, detailed and realistic style which I believe helped him portray the deep emotion of the event. He portrayed the father in the middle of the painting, well lit as he held the swords. In contrast, the son's faces are almost hid in shadow and their bodies are back-lit. The son's arms point toward their father which draws our eyes to him as does his bright red costume and the shining swords. His face holds amazing emotion, probably designed to arouse emotion in the viewer as well.
The artist, David, believed in the Enlightenment and it's idea that paintings should, “plant the seeds of glory and devotion to the fatherland”. (Kleiner and Mamiya, p. 816) The father of the sons, looking to his Heavenly Father to bless them, as they go to fight for their fatherland. The father in Horatii looks upward, his face lit perhaps as if by heaven's light or blessing. It seems a bit strange to me that the father would be more prominently featured than the three sons. Perhaps he can also be seen as the father of Enlightenment and the virtues it describes.
As with Wolfe, this painting contains religious tones that depict the warriors as martyrs to a great cause. The lit swords suggest to me that they are being touched by a heavenly light, perhaps blessed, before being used by the brothers. The father's red clothing also reminds me of Christ and his blood. The mourning women remind me of other paintings of Mary mourning below the cross, or with the body of Christ. These religious touches could be seen as David's suggestion that the Enlightenment's ideas were divinely inspired.
These styles were to dramatically change as Europe colonized parts of the world and appropriated their styles and ideas about art. Rather than looking towards the past for inspiration, many artists would go on to create new Avante Guard pieces based on African and Oceanic styles.
Sources:
Kleiner, Fred, and Christin Mamiya. Gardner's Art Through The Ages, 12th ed.California: Wadsworth, 2005.
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