Allston, Elijah in the Desert발음듣기
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Allston, Elijah in the Desert
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(piano music) Dr. Steven Zucker: One of the most interesting paintings by an American artist early in the nation's history is Washington Allston's "Elijah in the Desert."발음듣기
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These are all traits that are so at odds with most of the American painting that we know of from this period.발음듣기
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Dr. Beth Harris: That's true, but they were things that especially interested Washington Allston.발음듣기
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Like so many American artists at the end of the 18th and early 19th century, he went to London.발음듣기
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Dr. Zucker: He actually went to Rome and spent a good deal of time with Coleridge, spent time with John Vanderlin, another American artist, but importantly focused on the ruins in ancient Rome.발음듣기
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It looks like it has lived an enormously long life and suffered and has finally, perhaps by lightning, been blasted and is now dead.발음듣기
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As if that wasn't enough, there is this raven in its bow and then another down close to the figure of Elijah himself, and of course, this is central to the story of Elijah.발음듣기
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Dr. Harris: Right, where Elijah is sent into the wilderness by God but cared for by God there by ravens who feed the prophet.발음듣기
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Allston was interested in these biblical subjects and using landscape as a means to convey these biblical stories, so this is as much a landscape or more a landscape than it is the biblical story.발음듣기
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That is, this notion that the landscape in America could convey ideas of redemption, could convey ideas of the ancient, could convey spiritual themes.발음듣기
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One way of also elevating landscape to a higher position in the subject matter of art is to place something significant happening within that landscape, like a biblical story or something heroic.발음듣기
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This is critical because if you think back to the kinds of paintings that were being done either during the Colonial period or soon thereafter in the Federalist period, you have painting that is generally portraiture.발음듣기
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But here is an attempt to create a real narrative, something that's serious but also informed by the European tradition quite strongly.발음듣기
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Dr. Harris: And you can see that, I think, in the color and the way that Allston's painted this.발음듣기
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He learned a glazing technique while in London, a way of applying paint in thin layers that really makes the color rich.발음듣기
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Dr. Zucker: He was also especially in love with the work of Veronese and of Titian, and you can see the influence of the Venetians in this painting.발음듣기
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The color really is much more subtle than what we see in most American painting of this time.발음듣기
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Dr. Harris: We can see that really in the clouds, in the mountains in the distance, in the highlights of the sun on that blasted tree in the foreground.발음듣기
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This moral, serious, biblical subject in this wild imaginative landscape is something a little bit at odds with American culture, its emphasis on the practical and the material.발음듣기
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I think for a lot of artists in America in the early 19th century and also in the late 18th century, there was this conflict between wanting to create something very serious and meaningful and in a European tradition but also the needs of a more practical American culture.발음듣기
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