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The Plains of Mars, European War Prints, 1500-1825 Schmucker Art Catalogs Schmucker Art Gallery Fall 2018 The Plains of Mars, European War Prints, 1500-1825 Melissa Casale Bailey R. Harper Gettysburg College Felicia M. Else Gettysburg College Shannon Egan Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/artcatalogs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the European History Commons Share feedback about the accessibility of this item. Recommended Citation Casale, Melissa; Harper, Bailey R.; Else, Felicia M.; and Egan, Shannon, "The Plains of Mars, European War Prints, 1500-1825" (2018). Schmucker Art Catalogs. 28. https://cupola.gettysburg.edu/artcatalogs/28 This open access art catalog is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. The Plains of Mars, European War Prints, 1500-1825 Description Over fifty original prints yb renowned artists from the sixteenth through the early nineteenth century, including Albrecht Dürer, Lucas Cranach, Théodore Géricault, and Francisco de Goya, among many others, are featured inThe Plains of Mars: European War Prints, 1500-1825. On loan from the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, the works of art included in this exhibition examine the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. Also on display is Goya’s compelling “Disasters of War” series, completed in response to the brutality of the Spanish War of Independence. Goya’s prints serve as a powerful testament to the horrors faced by both soldiers and civilians. Under the direction of Professor Felicia Else and Shannon Egan, Melissa Casale ‘19 and Bailey Harper ‘19 have researched and written didactic labels, catalogue essays, and created an interactive digital interface to complement the exhibition. Together, Melissa and Bailey will lead public tours of the exhibition. A Gallery Talk by Prof. Peter Carmichael will draw connections between the depictions of warfare on view in the Gallery with representations of the American Civil War. James Clifton, Director of the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, will be delivering a lecture in conjunction with the exhibition. Dr. Clifton, who also serves as curator of Renaissance and Baroque painting at MFAH, curated the exhibition in its first iteration and wrote the exhibition catalogue (published by Yale University Press). Dr. Clifton’s lecture not only will provide an overview of the exhibition, but also will focus on the concept of “mediated war.” A full-color catalogue with images and essays by Bailey Harper ’19 and Melissa Casale ’19, under the supervision of Profs. Felicia Else and Shannon Egan, is planned to accompany the exhibition. Keywords Gettysburg College, Fine Art, War Prints, Sarah Campbell Blaffer Foundation Disciplines Ancient, Medieval, Renaissance and Baroque Art and Architecture | European History Publisher Schmucker Art Gallery, Gettysburg College Comments Exhibit curated by Schmucker Art Gallery at Gettysburg College. This art catalog is available at The Cupola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/ artcatalogs/28 THE PLAINS OF MARS E UROPEAN W AR P RINTS , 1500-1825 S ELECTIONS FROM THE C OLLECTION OF THE S ARAH C AMPBELL B LAFFER F OUNDATION M ELISSA C ASALE ’19 AND B AILEY H ARPER ’19 U NDER THE D IRECTION OF F ELICIA E LSE AND S HANNON E GAN THE PLAINS OF MARS E UROPEAN W AR P RINTS , 1500-1825 S ELECTIONS FROM THE C OLLECTION OF THE S ARAH C AMPBELL B LAFFER F OUNDATION M ELISSA C ASALE ’19 AND B AILEY H ARPER ’19 U NDER THE D IRECTION OF F ELICIA E LSE AND S HANNON E GAN 2 T ABLE OF C ONTENTS 5 Acknowledgments S HANNON E GAN 7 Renaissance Personifications: Putting a Face to Warfare and Peace M ELISSA C ASALE ’19 11 Soldiers and Their Weapons: The New Infantry and Artillery for the Renaissance Age M ELISSA C ASALE ’19 16 “English Dogs and French Frogs”: British Political Caricature in the Eighteenth Century B AILEY H ARPER ’19 21 No se puede mirar (One cannot look at this): Early Romantic Depictions of the Napoleonic War B AILEY H ARPER ’19 29 Selected Prints 30 Albrecht Dürer, The Knight on Horseback and the Landsknecht M ELISSA C ASALE ’19 33 Hendrick Goltzius, Allegory of War M ELISSA C ASALE ’19 34 Lucas Cranach the Elder, The Second Tournament with Lances, Staves, and Swords (The Second Tournament with the Tapestry of Samson and the Lion) M ELISSA C ASALE ’19 36 Jacques Callot, The Miseries and Misfortunes of War M ELISSA C ASALE ’19 41 Nicholas-Toussaint Charlet, Soldier at a Print-Seller’s Stand (Seriez-vous sensible?) B AILEY H ARPER ’19 42 Theodore Falckeysen after Benjamin West, The Death of General Wolfe B AILEY H ARPER ’19 45 Fransisco de Goya, Tristes presentimientos de lo que ha de aconter (Sad presentiments of what must come to pass) B AILEY H ARPER ’19 46 Jean-Pierre-Marie Jazet after Horace Vernet, Le Soldat de Waterloo (The Waterloo Soldier) B AILEY H ARPER ’19 3 4 A CKNOWLEDGMENTS his exhibition is made possible by a generous loan from the Sarah Campbell Blaffer Foundation. I am grateful for early conversations between Felicia Else, TProfessor of Art History at Gettysburg College, and James Clifton, Director of the Sarah Campbell Blaffer Foundation and Curator of Renaissance and Baroque Art at the Museum of Fine Arts, Houston, for initiating this opportunity to view over fifty original prints by renowned artists from the sixteenth through the early nineteenth century. The Plains of Mars: European War Prints, 1500-1825 features works by Albrecht Dürer, Lucas Cranach, Théodore Géricault, and Francisco de Goya, among many others, and is an iteration of the larger exhibition curated by Dr. Clifton. The exhibition catalogue of the same title, published by Yale University Press, was written by Dr. Clifton and Leslie M. Scattone with Emine Fetvaci, Ira D. Gruber, and Larry Silver, and serves as a significant source for understanding the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints in this exhibition depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. The earliest battle depicted in the exhibition is the French invasion of Italy in 1494 and the latest prints address the end of the Napoleonic Wars; many of the prints directly examine the emotional and physical effects of vicious conflict. For instance, Goya’s compelling “Disasters of War” series, completed in response to the brutality of the Spanish War of Independence, are included in the exhibition and serve as a powerful testament to the horrors faced by both soldiers and civilians. Art history students Melissa Casale ’19 and Bailey Harper ’19 researched and wrote the essays that follow in this catalogue. Thanks are due to the Kolbe Summer Fellows Program and to Maureen Forrestal, Assistant Provost for Student Scholarly Engagement and Dean of Fellowships, Scholarships and Undergraduate Research and Creative Activity, for the support of Bailey’s study of the late eighteenth- and early nineteenth- century prints, and to Prof. Else for her dedicated attention to Melissa’s research of prints from the Renaissance. Special thanks are given to Professor Peter Carmichael, Director of the Civil War Institute, for drawing connections between the depictions of warfare on view in the Gallery with representations of the American Civil War in a public Gallery Talk. We are honored, too, that Dr. Clifton will be delivering a lecture in conjunction with the exhibition. Dr. Clifton not only will provide an overview of the exhibition, but also will focus on the concept of “mediated war.” John Obsta, Associate Registrar for the Museum of Fine Arts, Houston, and Josine Corstens, Curatorial Assistant for the Sarah Blaffer Campbell Foundation, provided invaluable assistance with the loan of the prints from Texas. Leslie Casteel, Academic Administrative Assistant for Schmucker Art Gallery, and Sydney Gush, Preparator, Outreach Coordinator and Digital Scholarship Assistant, for Schmucker Art Gallery and Special Collections and College Archives, Musselman Library, are owed tremendous thanks for their committed and consistently excellent work. I am always appreciative of Ayumi Yasuda’s elegant and impeccable graphic design. Finally, the exhibition is supported in part by the Civil War Institute, the Department of Art and Art History, and EPACC, Gettysburg College. I am grateful for the Schmucker Art Gallery Advisory Committee and the larger Gettysburg College community for their dedication to our exhibitions and programs. — Shannon Egan, Ph.D. Director, Schmucker Art Gallery 5 TOP Stefano Della Bella (Italian, 1610-1664) Death on the Battlefield c. 1648 etching with engraving 9 8 ¾ × 11 ⁄16 in. Sarah Campbell Blaffer Foundation, Houston BF.2000.25 BOTTOM Cornelius Schut (Netherlandish, 1597-1655) Fortune and Peace c. 1630 etching and engraving 7 10 ¾ × 7 ⁄8 in. Sarah Campbell Bl affer Foundation, Houston BF.2000.16 6 Renaissance Personifications: Putting a Face to Warfare and Peace M ELISSA C ASALE ’19 rtists in the Renaissance often represented abstract figure of Victory (Victoria) hovers over the scene on a concepts such as life, death, love, virtue, and justice cloud in the upper center.
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