The Dream of Erwin von Steinbach; Art and religion, gender and genius An essay by Tori Dearborn The Strasbourg Cathedral Designed by Erwin von Steinbach, constructed from 1176-1439 The Medieval Architect and the Gothic Revival Erwin von Steinbach, Architect of the Strasbourg Cathedral 1244 - 1318 Johann Wolfgang von Goethe, Moritz von Schwind, Author of On German Architecture His biggest fans Painter of the Dream of Erwin von Steinbach 1749 - 1831 1804 -1871 Schwind, The Dream of Erwin von Steinbach, 1822 The Sanctification of the Arts The 19th century saw a steady decrease in religious belief, spurred by the scientific developments of the Enlightenment. In its place rose the worship of the arts. It was the beginning of “art for art’s sake,” a term aptly coined during the late 19th century. Veit, The Arts Introduced in Germany by Christianity 1834 to 1836 Worship of the Arts How is religious symbolism applied to Art? Hoff after Franz Pforr, Durer and Raphael at the Throne of Art, 1832 Overbeck, Durer and Raphael at the Throne of Art, 1810 The Romantic Nightmare Goya, The Sleep of Reason Produces Monsters, 1797 Gustave Dore, Harpies in the Forest of Suicide The Romantic Motif of Dreaming The Dream as Religious Vision Blake, Jacob’s Dream, 1799-1806 Führich, Dream of St. Bernard as a Child, 1830 The Dream as Artistic Vision The dream as religious revelation soon became the dream as artistic inspiration. Koch, The Dream of Dante Blake, Dreams of the Youthful Poet, John Milton, 1816 The Genius as Pseudo Religious Art Idol “The life of the divine genius seeks expression in enraptured melodies; the more this beauty pervades the soul of a genius so that it seems to have originated with him, so that nothing else satisfies him, so that he can bring nothing else out of himself, the more fortunate is the artist, the more splendid is he, and the more reverently do we stand there and worship God’s anointed.” -Goethe, On German Architecture Schwind’s choice to show Steinbach as a child Because genius is not cultivated through education and practice, but endowed at birth, showing Steinbach as a child suggests that he is a genius independent of age or learned skill. Steinbach was 33 when he started work on the cathedral. Phillipe Grass, Sculpture of Erwin von Steinbach, 19th century Traditional Depictions of Guardian Angels Ignaz Gunther, Guardian Angel, 1763 Marcantonio Raimondi, Guardian Angel, 1527 Guardian Angel, 17th century Traditional Annunciation Scenes Francesco di Simone da Santacroce, Annunciation, 1504 Piermatteo d’Amelia, The Annunciation, 1487 The White Lily in Annunciation Scenes Key Differences Between Sketch and Painting King David, Strasbourg The Role of Gender in the Muse / Guardian Angel Schwind, The Dream of Erwin von Steinbach Winged Muse with Lyre Romantic Depictions of Artists and their Muses Moreau, Hesiod and a Muse, 1891 Ingres, Cherubini and the Muse of Lyric Poetry, 1842 Positioning of the Muse and the Genius Gendering of the Angel and Steinbach Schwind, The Dream of Erwin von Steinbach, 1822 Schwind’s Treatment of Gender There’s another female figure edited out of the scene — that of Sabine von Steinbach. Schwind, Sabine von Steinbach Carving Statue for Strasbourg Cathedral, 1844 The Laborer vs the Dreamer Her expression is one of careful focus, eyes open, unlike the serene, otherworldly face of Steinbach the dreamer. Sabine is shown more as a laborer than a visionary; her crude sculptor’s tools remind the viewer of the simplicity of her artistry. What do women dream of? Hint: women only dream of men Bryullov, The Nun’s Dream, 1831 Thomas Stothard, A Young Girl’s Dream 1827 Where is her muse? Wow look it’s the Strasbourg Cathedral Schwind, The Dream of Erwin von Steinbach.