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Artistic scandal refers to a rejection or controversy over a work of art, whether in its exhibition or publication, (e.g. visual art, literature, scenic design, or music).
The provocativeness of the scandal may relate to a controversial subject or style, seen according to the personality of the artist, the political, religious, social, or moral context where the work emerged.
The history of art is punctuated by highly celebrated scandals, from the nudity of Michelangelo's Last Judgement to the showing of Olympia by Manet, or the debut performance of Stravinsky's ballet music for The Rite of Spring(1913) .
History[edit]
16th century[edit]
Venus of Urbino by Titian scandalized though its profane character. Originally, the young nude woman not identified as a goddess; rather, she was reclining in a setting that could be identified as the bedchamber of Guidobaldo della Rovere, who had commissioned the painting. She was deliberately called "Venus" by Vasari to minimize the scandal, in the context of a decree issued by the Council of Trent, imputing to artists the responsibility for everything arising from their creative representations.[1]
During 1536–1541, the profusion of nude figures in The Last Judgment raised the ire of religious authorities. In spite of this, the work continued under Popes Paul III and Julius III, but but in 1564, under the order of the Council of Trent, the genitalia were painted ober by the Mannerist painter Daniele da Volterra, who became known as "Il Braghettone" ("the breeches maker").[2].
The The Feast in the House of Levi (1573) by Paolo Veronese was investigated by the Roman Inquisition, who asked, "Does it seem suitable to you, in the Last Supper of our Lord, to represent buffoons, drunken Germans, dwarfs, and other such absurdities?"[3] · [4] and gave him three months to make changes. Veronese simply retitled it The Feast in the House of Levi.[5]
17th century[edit]
Many of Caravaggio's works were rejected by his patrons, judged as being too vulgar, scandalous, like the first version of Saint Matthew and the Angel (1602). The canons of the Contarelli Chapel were appalled by the dirty legs and arms, minutely reproduced from the peasant model, and the ambiguity of the angel his side. The painting was passed over, and Carvaggio was made to do a second that conformed better to the idealized representation preferred by the churchmen, The Inspiration of Saint Matthew.[6] Caravaggio created a stir by his provocative Conversion of Saint Paul, with its prominent portrayal of the rump of the horse, who is poised to trample the saint.[7] The Death of the Virgin (1606), intended for the Carmelite church of Santa Maria della Scala in Trastevere, Rome, was rejected as blasphemous.[8].
18th century[edit]
At the Salon of 1799, Girodet exhibited a painting of Mademoiselle Lange which provoked the famous actress and merveilleuse. She wrote him a letter, "Please, Monsieur, do me the favor of withdrawing from the exhibit a portrait which, people say, does nothing for your glory, and which compromises my reputation for beauty." Furious, Girodet ripped up the original painting and made another, the Portrait of Mademoiselle Lange as Danaë, a satirical allegory in which the heads of most figures are crowned with peacock feathers, but her husband Michel-Jean Simons, a wealthy purveyor to the French army, is represented by a turkey, while golden coins fall from the sky. [9].
In Spain, La Maja desnuda, painted sometime during 1797–1800 by Francisco Goya, shows a reclining nude with pubic hair looking at the viewer without any sense of shame. Although hung in a private room of Manuel Godoy, it came to the attention of the Spanish Inquisition in 1808, along with other works. Godoy and his curator, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were "so indecent and prejudicial to the public good."[10]
19th century[edit]
In 1819, to a public accustomed to historical tableaux painted in the Neoclassical style, Théodore Géricault presented the brooding Raft of the Medusa depicting survivors of a shipwreck in 1816, an embarrassment to the restored Bourbon monarchy, as Louis XVIII had appointed an incompetent nobleman as the captain for political reasons.[11]
In 1824, The Massacre at Chios, a large painting by Eugène Delacroix, supported state policy by favoring the Greeks, but his depiction of suffering devoid of heroism and glory was regarded as "a massacre of art" (Antoine-Jean Gros).[12][13].
In 1831, the lithograph Gargantua by Honoré Daumier in the satirical periodical La Caricature, depicting Louis Philippe I as Gargantua, with scatological implications, resulted in six months of imprisonment for the artist.[14].
At the Salon of 1850, the monumental painting A Burial At Ornans by Gustave Courbet was denounced for the unflattering faces of the mourners and their plainness. The "explosive reaction" brought Courbet instant fame.[15][16].
Critics were divided in 1857 by The Gleaners painted by Jean-François Millet: some saw the gleaning women as a symbol of a popular uprising ("the scaffolds of 1793"[17]), others complained about the realistic representation of the rural poor on a large canvas of the size reserved for religious scenes. [18].
20th century[edit]
21th century[edit]
References[edit]
- ^ Karim Ressouni-Demigneux 2008, p. 19
- ^ Karim Ressouni-Demigneux 2008, p. 25
- ^ Transcript of Veronese's testimony
- ^ Transcript translated per Crawford, Francis Marion: "Salve Venetia". New York, 1905. Vol. II: pages 29–34.
- ^ Karim Ressouni-Demigneux 2008, p. 28
- ^ Pierre Cabanne 2007, p. 58
- ^ Pierre Cabanne 2007, p. 59
- ^ Pierre Cabanne 2007, p. 60
- ^ Duvaleix, de Jean-Pierre (2005-09-28). "Girodet au Louvre" (in French). Journal des peintres. Retrieved May 19, 2020.
- ^ Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004. ISBN 1-58243-307-0 page 196.
- ^ A "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the Ancien Régime". Wilkin, Karen. "Romanticism at the Met". The New Criterion, Volume 22, Issue 4, December 2003. 37
- ^ Wellington, Hubert, The Journal of Eugène Delacroix, introduction, pages xii, 16. Cornell University Press, 1980. ISBN 0-8014-9196-7
- ^ "La présentation de la scène des massacres de Scio en 1824". Retronews - Le site de presse de la BnF (in French). 2018-03-22. Retrieved May 23, 2020.
- ^ "Gargantua: Histoire et analyse d'images et oeuvres". www.histoire-image.org (in French). Retrieved 2019-10-18.
- ^ Pbs.org. Gustave Courbet's A Burial at Ornans
- ^ "Musée d'Orsay: Gustave Courbet Un enterrement à Ornans". www.musee-orsay.fr. Retrieved 2019-10-18.
- ^ Kimmelman, Michael (August 27, 1999). "ART REVIEW; Plucking Warmth From Millet's Light". The New York Times. New York City. Retrieved 2008-01-10.
- ^ profondeurdechamps (2014-11-18). "Ces oeuvres qui font scandale, ou Les dangereuses Glaneuses de Jean-François Millet". Profondeur de champs (in French). Retrieved 2019-10-18.
Bibliography[edit]
- Ressouni-Demigneux, Karim (2008). Les grands scandales de l'histoire de l'art (in French). Paris: Beaux-Arts éditions. Karim Ressouni-Demigneux.
{{cite book}}: Cite has empty unknown parameters:|sous-titre=,|numéro d'édition=,|lien éditeur=,|pages totales=,|lire en ligne=,|passage=,|tome=, and|lien auteur1=(help) - Cabanne, Pierre (2007). Le scandale dans l'art. Matière d'image (in French). Paris: la Différence. ISBN 978-2-7291-1660-6. Cabanne2007.
{{cite book}}: Cite has empty unknown parameter:|lien éditeur=(help) - Claire Maingon, Scandales érotiques de l'art, BeauxArts édition, 2016.
See also[edit]
- Succès de scandale: Some scandals successfully boost the artist's career.
