Caspar David Friedrich
In Wanderer above the Sea of Fog, the subject is the artist himself. Friedrich turned from the viewer with one foot forward bold and apprehensive, as he gazes out at a mysterious landscape, wide and threatening. A tumultuous sea and fog seems to give us a sense of a reflection of inner emotion. This painting evokes a mystical and somewhat melancholy feeling and is quietly profound in nature. Friedrich’s painting has symbolism even in the landscape and this reminds me of the symbolic importance of the moors described in Wuthering Heights. Emily Bronte’s constant emphasis on landscape shows that the moors as symbols of the wild threat posed by nature and describes Catherine and Heathcliff’s bond and turbulent love affair. The wanderers gazing into the sea of fog can leave us to conclude that Friedrich was asserting that he was presented with an unknown future. This apprehension, fear, or hope is something all of us can relate to at one point or another in our lives and his meticulous style leaves us to meditate on our own feelings.
Jean Auguste Dominique Ingres
Ingres rendition of Antiochus and Stratonice shows his love for ancient objects of classical antiquity. His interest in the story inspired him to make several paintings in that theme. (Gonzalez-Crussi) This 1860 neo classical painting depicts a pivotal scene from the story of Antiochus and Stratonice, as related by the ancient Greek historian Plutarch. Antiochus was a Syrian prince who fell in love with his father’s new young bride, Stratonice. In the scene Antiochus is dying because of this love for Queen Stratonice and Erasistratus tells King Seleucus of his son’s mortal affliction. The King, for love of his son, gives Stratonice to Antiochus in marriage, and saves Antiochus' life. (CHIU) Ingres painting expresses two themes of that period the glorification of dying for a cause and love of the far off and exotic. The dying Antiochus is shrouded in shadow, while the queen who is the object of both men's attention, is spotlighted in bright light. Ingres uses chiaroscuro and tenebrism beautifully to convey a dimensional look to the image and to focus specifically on Stratonice. (CHIU) We often feel that love can be a light in a dark place and this is shown beautifully. King Seleucus grieving and covered by a red cloak completes the scene. The themes of love, passion and death are further emphasized by the redness of the grieving man's cloak while obscuring the rest of the picture in dark shadowy colors. In short, Ingres' painting is a romantically themed but neoclassically rendered depiction a Plutarch tale from Classical Greek and Roman art. (CHIU) Ingres was a devout student of cultural conservatism, never straying completely from neoclassical traditional beliefs.
In contrast both paintings evoke feelings in our minds and hearts, but are completely different. I found the painting Antiochus and Stratonice even in its restraint and formal technique to be quite moving. The colors and use of light and reflect the emotion of the scene and is wonderfully detailed. The Neoclassicism inspiration comes from classical Rome and uses rationality and values of order. The wanderer above the Sea of Fog is unrestrained and more crowded in composition. The brush strokes of deep color give dimension and unbridled sense of mystery. Romanticism inspiration stems from medieval eras with values of emotion, imagination, and spontaneity. A common thread that links theses two paintings is the use of color and variances of light and shadow.
Works Cited
CHIU, WEI-WEI. CRITICAL ANALYSIS #3. 2003. 20 April 2012 <http://www.wchiu.com/ingres_antiochus.pdf>.
Gonzalez-Crussi, Hektoen International Journal: Frank. Lovesickness in art and medicine. 2009. 20 April 2012 <http://www.hektoeninternational.org/Lovesickness.html>.
