Jealousy in art deals with the way in which writers, musicians and graphic artists have approached the topic of jealousy in their works.
Jealousy in art deals with the way in which writers, musicians and graphic artists have approached the topic of jealousy in their works.
Literary works use a variety of devices to explore its possibilities and reveal its wider implications. Most famously, perhaps, Schahriar's destructive jealousy in One Thousand and One Nights is what precipitates Scheherazade's creative outpouring of stories. In Ariosto’s Orlando furioso (1516) jealousy leads to such a distortion of the world that the sufferer is driven to madness. Shakespeare's later play, the Winters tale (1613) is predominately about the jealousy felt by Leontes' and his supposed adulterous wife.
E. T. A. Hoffmann’s Princess Brambilla (1821) is more concerned with the interplay between jealousy and the theater, between reality and masks. In Charlotte Brontë’s Villette (1853) jealousy becomes a game of reflections and speculations, a potent denial of sexual stereotypes, and, like many novels written by women, an angry rejection of the violation of the individual caused by the gaze of the jealous lover. Anthony Trollope uses both He Knew He Was Right (1869) and Kept in the Dark (1882) to analyze not only double standards used to judge how men and women behave but also the relationship between mind and body. Tolstoy’s The Kreutzer Sonata (1889) offers a compelling exploration of jealousy acting as a front for repressed homosexuality. Proust’s In Search of Lost Time (1913–1927), especially the section concerning Albertine, represents the claustrophobic nature of the passion of jealousy through the tropes of imprisonment, illness and death, while Michal Choromanski’s Jealousy and Medicine (1932) creates a landscape and a climate that recreate to the full the physical experience of jealousy. Freud’s reading of jealousy and his emphasis on repetitive structures inspires Iris Murdoch’s A Word Child (1975) in which the London subway symbolizes endless repetition of the same.
Other novelists have used jealousy to explore the relationship between writer and reader, as well as that between fiction and reality. Alain Robbe-Grillet’s Jealousy (1965) develops the image of the window blind (in French “la jalousie” means both the emotion and the window blind) to lock the reader into the jealous person's mind, while in Julian Barnes’s Talking it Over (1991), the writer’s jealousy of the reader’s attention is as much a part of the story as the sexual jealousy it also examines. A. S. Byatt’s Possession (1990) is in part an analysis of the ways in which writing and reading operate to silence other voices.
The topic also comes up in Isaac Disraeli's writing as a literary tool. [1]
In art, depicting a face reflecting the ravages of jealousy was a frequent studio exercise: see for instance drawings by Charles Le Brun (1619–1690) or Sébastien Leclerc the Younger , or in a fuller treatment, the howling figure on the left in Bronzino’s An Allegory with Venus and Cupid (probably 1540-50). Albrecht Dürer’s 1498 drawing, Hercules’s Jealousy depicts jealousy as a powerfully built woman armed with a sword. [2] The theme of jealousy is frequently conveyed through images of the gaze as in Jean-Auguste-Dominique Ingres’s Paolo and Francesca (1819) which reveals the jealous husband’s gaze catching the young lovers’ first kiss. [3]
Edvard Munch’s many depictions of jealousy, however, tend to place the husband at the front of the painting with a couple behind him as if to suggest that jealousy is created more by the mind than by the gaze. This suggestion is intensified by his use of symbolic colors. [4] There are, nevertheless, lighter moments, as when Gaston La Touche (1854–1913), in Jealousy or the Monkey shows a love scene interrupted by a monkey tugging on the woman's dress. [5] While popular images of jealousy tend to the lurid, it remains a source, both in literature and in painting, of highly creative artistic strategies that have little to do with the negative and destructive sides of the emotion itself.
On a larger scale, this was also prevalent as Italian cities competed with one another for prestige as an art destination. [6]
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists.
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Théodore Chassériau was a Dominican-born French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria. Early in his career he painted in a Neoclassical style close to that of his teacher Jean-Auguste-Dominique Ingres, but in his later works he was strongly influenced by the Romantic style of Eugène Delacroix. He was a prolific draftsman, and made a suite of prints to illustrate Shakespeare's Othello.
Olympia is a painting by Édouard Manet, first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a bed being brought flowers by a servant. Olympia was modelled by Victorine Meurent and Olympia's servant by the art model Laure. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute. The French government acquired the painting in 1890 after a public subscription organized by Claude Monet. The painting is on display at the Musée d'Orsay, Paris.
Léon Spilliaert was a Belgian symbolist painter and graphic artist.
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Venus Anadyomene is one of the iconic representations of the goddess Venus (Aphrodite), made famous in a much-admired painting by Apelles, now lost, but described in Pliny's Natural History, with the anecdote that the great Apelles employed Campaspe, a mistress of Alexander the Great, for his model. According to Athenaeus, the idea of Aphrodite rising from the sea was inspired by the courtesan Phryne, who, during the time of the festivals of the Eleusinia and Poseidonia, often swam nude in the sea. A scallop shell, often found in Venus Anadyomenes, is a symbol of the female vulva.
Félix Edouard Vallotton was a Swiss and French painter and printmaker associated with the group of artists known as Les Nabis. He was an important figure in the development of the modern woodcut. He painted portraits, landscapes, nudes, still lifes, and other subjects in an unemotional, realistic style.
Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism.
Envy is an emotion which occurs when a person lacks another's superior quality, achievement, or possession and either desires it or wishes that the other lacked it.
Napoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres.
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The Turkish Bath is an oil painting by Jean-Auguste-Dominique Ingres, initially completed between 1852 and 1859, but modified in 1862. The painting depicts a group of nude women at a pool in a harem. It has an erotic style that evokes both the Near East and earlier western styles associated with mythological subject matter. The painting expands on a number of motifs that Ingres had explored in earlier paintings, in particular The Valpinçon Bather (1808) and La Grande odalisque (1814).
The Source is an oil painting on canvas by French neoclassical painter Jean Auguste Dominique Ingres. The work was begun in Florence around 1820 and not completed until 1856, in Paris. When Ingres completed The Source, he was seventy-six years old, already famous, and president of the École des Beaux-Arts. The pose of the nude may be compared with that of another by Ingres, the Venus Anadyomene (1848), and is a reimagination of the Aphrodite of Cnidus or Venus Pudica. Two of Ingres' students, painters Paul Balze and Alexandre Desgoffe, helped to create the background and water jar.
The Duel After the Masquerade is a painting by the French artist Jean-Léon Gérôme, of which multiple copies exist. The original, Suite d'un bal masqué, first shown in 1857, is in the Musée Condé in Chantilly, France.
Raphael and La Fornarina was painted in 1813, in Italy, by Jean-Auguste-Dominique Ingres. It is the first of five versions of the painting, which he completed between 1813 and his death in 1867. In 1814 his first version was exhibited at the Salon. The work shows the renowned painter, Raphael, sitting in his studio with his mistress, La Fornarina, on his knee. His embrace reflects his affection and desire for her, while his gaze towards his own artwork, his portrait of his mistress, indicates his love for art. This contrast represents the painter's major conflict between who he loves and what he loves. The mistress makes eye contact with the viewer and her posture, specifically her arms resting on his shoulders, shows how proud and satisfied she is with being his mistress and inspiration. The Fornarina's sensual gaze at the viewer claims her importance and place both within the artist's studio and profession. Although Ingres thoroughly researched the Renaissance artist's life through biographies by Giorgio Vasari and Angelo Comolli, and planned to create a series of paintings based on his life, in the end he only produced two scenes: Raphael and La Fornarina and the Betrothal of Raphael. The depiction of the Fornarina resembles not only the Virgin Mary in the painting in the background of the Madonna della seggiola, but also Ingres's depiction of the promiscuous Grande Odalisque. The parallel highlights a connection between Raphael and Ingres as they both paint what they desire.
Portrait of Madame Duvaucey is an 1807 oil on canvas painting by Jean-Auguste-Dominique Ingres. It shows Antonia Duvauçey of Nittis, the lover of Charles-Jean-Marie Alquier, then ambassador to the Holy See. Duvaucey is positioned in a flat pictorial space, gazing frontally at the viewer, dressed in lavish clothing and accessories. The portrait is the first female portrait painted during the artist's stay in Rome. Portrait of Madame Duvaucey is acclaimed for exhibiting her enigmatic charm, and as "not a portrait that gives pleasure..[but]...a portrait that gives rise to dreams".
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