Shakespeare's plays illustrated by Blake and Fuseli: The artists as critics - publié le 25/07/2007

Résumé du document

It has judiciously been pointed out that "pictures from Shakespeare account[ed] for about one fifth -some 2 300- of the total number of literary paintings recorded between 1760 and 1900" (R. Altick). As a matter of fact, the renewed interest in nineteenth century British art in the last few decades has made it easier to identify and see reproductions of the many paintings based on Shakespeare's plays. These "history paintings", as they were called, reveal how deeply painters, actors, directors and critics influenced one another, and how interdependent they were in their critical interpretations, depictions and productions of Shakespeare's masterpieces. In the nineteenth century, the relationship between literature and the graphic arts was much closer and the definition of "literary" criticism was broader than it is now. Some painters were even called "poets painters", in reference to the concept of "ut pictura poesis" and the traditional analogy between painters and poets, which was known for "identifying the painter with the players, as artists equally capable of realizing the narrative import and the dramatic potential of the poet's imagined picture" (M. Meisel).

Extraits

[...] Blake entitled the picture A Spirit vaulting from a Cloud to turn and wind a Fiery Pegasus; to this title, he added a witty annotation, stating that, in his illustration, Horse of Intellect is leaping from the Cliffs of Memory: it is a barren Rock: it is also called the Barren Waste of Locke and Newton”. W. M. Merchant suggested that this personal commentary typically “wed[ded] the Shakespearean theme to [Blake's] own mythology”. In the painting, the barren reason that Blake rejects is literally superseded by creativity and spontaneity. All the elements of the fairy world are gathered in this picture: from the white, majestic horse to the angle-like woman lying on the cloud, nothing is missing. [...]

[...] Even if the fate of Lear and Cordelia seem desperate, the scene also marks their reunification and reconciliation. In this respect, Blake managed to recreate that impression of a poignant and miserable, but nevertheless hopeful situation, where the recovered love of a father for his daughter -and reciprocally- can overcome everything. c. Henry Füseli, The Death of Cardinal Beaufort (1772) The source for this poignant picture is Henry VI, Part II, Act III, scene 3. In this part of the play, the Cardinal is having hallucinations, hanging on to his bed in terror. [...]

[...] May the artist be suggesting, through the nature of the fairy world, with a light and quiet scene on the one hand and a darker, shadowy part on the other side of the painting -indeed, even if it is not really noticeable here because of the small size of the picture, the characters are surrounded by darkness- an emblematic depiction of the two sides of human nature? Here again, this attempted symbolic interpretation of the painting reflects some of the major themes in Shakespeare's plays. c. Henry Füseli, Titania Awakening (1789) The source is, once again in this section, A Midsummer Night's Dream, Act IV, scene 1. Titania awakes and says: My Oberon, what visions I have seen! Methought I was enamoured of an ass. Oberon, then, as it is clearly discernible in the painting, points to Bottom, sleeping beside her. [...]

[...] The Fairy World of Dreams and Fantasy a. William Blake, Oberon, Titania and Puck with Fairies Dancing (1785) The painting draws its inspirations from the end of A Midsummer Night's Dream. Titania, Oberon, Puck and their band of fairies obey the commands of their King and Queen: Oberon: Through the house give gathering light, By the dead and drowsy fire: Every elf and fairy sprite Hop as light as bird from brier; And this ditty, after me, Sing, and dance it trippingly. [...]

[...] Character Sketches of Romance, Fiction and the Drama vols. New York: Selmar Hess Buell, William A. The Hamlets of the Theatre. New York: Astor-Honor, Inc Callan, Georgina, editor. The Art of Shakespeare. Corkey, Inc Cannon-Brookes, Peter. The Painted Word: British History Painting: 1750- 1830. Woodbridge, Suffolk: Boydell Press Christian, John, editor. Shakespeare in Western Art: 29 October-24 November Isetan Museum of Art, Tokyo. Tokyo: Tokyo Shimbun Friedman, Winifred. [...]