From "Misery " to "Disaster": perceptions of seventeenth- and eighteenth-century warfare in the etchings of Jacques (allot and (original) (raw)

This article deals in the main with Jacques Callot's early life in Italy and with his later life in Lorraine where he produced his famous series of eighteen etchings which narrate his perception of seventeenth-century warfare known as Les Miseres et les Malheurs de la Guerre (1633). In contrast to Callot's point of view, the article closes with a brief account of Goya's Los desastres de la guerra, a series of eighty-odd etchings produced in the early nineteenth-century, which can be used to explain 64 a shift in the meaning and experience of warfare between these two centuries: from "misery " to "disaster". Abstrak Hierdie artikel handel hoofsaaklik oor die vroee lewe van Jacques Callot in Italie en sy latere lewe in Lorraine waar hy sy beroemde reeks van agtien etse gemaak het bekend as Les Miseres et les Malheurs de la Guerre (1633), wat sy indruk van sewentiende-eeuse oorlogvoering vertel. In teens telling met Callot se sienswyse, sluit die arti...

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Monstrueuse guerre!" Literature and Warfare in Late Sixteenth-Century France

2013

The end of the French Renaissance was marked by a period of violent civil conflict, often referred to as the Wars of Religion, which lasted from 1562 to 1598. While substantial work has been done on structures of violence during this period, literary scholarship has yet to engage fully with the implications of war in the development of literary discourse. Moving beyond readings in which war is relevant only as context, I recuperate both major and minor texts of this period as a corpus that offers a sustained reflection on the problem of how to represent violence in language. Because representing war requires writers to grapple with how to use language to represent violence inflicted on physical bodies, formal literary choices become part of a broader cultural discourse of how to think about and judge war. Looking at four different genres--essays, tragedy, epic, and memoir--my analysis highlights how, in the closing decades of the sixteenth century, literary form develops in part as ...

Glorious to Gruesome: Callot, Goya, and Picasso, and the Art of War

2021

This paper compares the works of Jacques Callot, Francesco Goya, and Pablo Picasso in their representations of war as gruesome. Each of these artists lived through war and captured the instances in time that stood out to them, and used art to portray the horrors of those moments to the world. While many artists throughout history have demonstrated war as heroic, mighty generals as stoic, or battles as exciting, these three artists represent the darker sides of war through depiction with their use style, color, and imagery. Demonization was used by these artists to brutalize the enemy, condemning them forever through oils, etches, and Cubism. Finally, their use of drama was used to pull in their audience and invite them into a world of tragedy and terror, whether they are willing to or not

Idea of common good (el bien general) in the series of etchings “The Disasters of War” (“Los Desastres de la Guerra”) by Francisco Goya (based on the Bohdan and Varvara Khanenko Museum of Art funds)

Text and Image: Essential Problems in Art History

The ideas of the Enlightenment (first of all the French, with the most famous of its representatives – Jean-Jacques Rousseau, Charles-Louis de Secondat, Baron de La Brède et de Montesquieu and François-Marie Arouet Voltaire) not only influenced the political sphere of the Eighteenth century but also art. Francisco José de Goya y Lucientes (1746-1828) was directly convinced by these ideas: he took a passive part in the Napoleonic wars and was a friend of the prominent representatives of the Spanish Enlightenment. The study aims at analyzing interactions between text and image in the series of etchings of F. Goya “The Disasters of War” and the reception of the idea of «common good» in the etching 71 “Against the common good”. We have chosen several theoretical and methodological tools to deal with narrative and visual sources. Hermeneutics and semiotics belong to the specific methods used in the process of analysis of engravings. Comprehensive approach is determined by the usage of F....

The Spanish Fury in Frans Hogenberg’s Engravings (1535–1590): “Wandering” Images of the Eighty Years’ War

Vox medii aevi, 2018

This paper aims to analyse the construction of the “Spanish Fury” image in engravings during the Eighty Years War. In the focus of this research are engravings by Frans Hogenberg published in 1572–1576 and depicting “the bloodbaths” in Naarden, Zutphen as well as the capture and looting of Antwerp later named “the Spanish Fury.” They were used to illustrate two co-existing phenomena: constructing of the image of “the Spanish Fury” by Hogenberg himself and copying as well as borrowing of certain elements from his engravings in other ones (published to illustrate “the History of Spanish Tyranny in the Netherlands” and tractate “Origin, Beginning, and Continuation of the Dutch Wars” by Pieter Bor). Current research has detected two key topics addressed by this series: the city on fire and the tortures committed by Spanish soldiers (“the tyranny”). The city was considered to be the symbol of the prosperity of the Nether-lands that gave a huge potential to contrasting it with its antitype — the razed and looted ruins. The second topic is related with the outrageous scale of atrocities committed by “the godless” (Ger. “gottlosen”) Spaniards associating them with the established perception of the Spanish Inquisition introduced in the Netherlands in the 1520s by Charles V.It is evident that Hogenberg had been consciously constructing his war images. They underwent numerous further constructions and deconstruc-tions serving the needs of the audience and authors, and have become an essential tool of the anti-Spanish propaganda of the Seventeenth century United Provinces.

‘A clash of arms to be eternally remembered’: The depiction of war and chivalry during the Hundred Years War in ‘Le Trône d'Argile’ and ‘Crécy’

"Cultures of War in Graphic Novels", 2018

War has long been a central issue in graphic novels, and the exploration of conflict in this medium has been subject to increasing academic study. This focus has been mainly concentrated, however, on contemporary conflicts. Whilst understandable, this paper argues that temporal distance from conflict does not negate its significance nor does it mean that the issues raised by the graphic novel’s treatment of the genre are of little or no relevance to the contemporary reader. Accounts of medieval conflict have long been immortalised on the page: only the medium has changed over the centuries. Chroniclers of the period have long been recognised for their stylised descriptions of both individuals and battle, and so the graphic novel would appear a natural successor. As with any fictional rendering, however, historical veracity may at times cede to the demands of narrative or aesthetics, and readers and critics must bear in mind that modern depictions of the medieval are informed by the style, mores and culture of the present day and therefore have the ability to also misrepresent medieval warfare, or at least to portray it through a modern lens. This paper will focus therefore on two texts depicting the Hundred Years War. While this conflict, fought in the fourteenth and fifteenth centuries between the kingdoms of England and France, is not a ‘small war’ as such, the conflict can be seen as a complex series of individual campaigns that had an important impact on medieval society and on the French countryside. Indeed, the graphic novels chosen facilitate this approach by focusing on specific, short periods of the war. Warren Ellis’s Crécy provides a warts-and-all depiction of one of the pivotal battles of the conflict focalised through an English archer who narrates his experiences in the war to the reader. More than a simple account of the battle itself, the novel also provides a depiction of medieval warfare in the Middle Ages from an English perspective. The series Le Trône d'Argile, conversely, is a product of the French bande dessinée which provides this paper with a counterpoint view of the conflict. Focusing on the fifteenth century phase of conflict this series also provides a vivid depiction of medieval warfare and combat. Both texts emphasise the violence of contemporary war, but it is important to consider the nature of this portrayal and its relevance to both medieval and modern understanding of warfare. This paper will therefore consider the depiction of warfare in these works, focusing on the visualisation of medieval warfare and medieval behaviour. In particular, by considering conduct in war, the importance and place of chivalry, and the impact of war on both individual and society, it will provide a thorough analysis of these works and the view of the medieval that they provide to a modern audience.

War as the Result of Failure of Reason in La Chanson de Roland

In this essay I consider how the 11th century chanson de geste, La Chanson de Roland engages with the genesis, and tragedy, of war and argue that war and the tragedy of war result from a failure of Reason. War begins not when armies clash but when we lose a certain attitude of peaceful coexistence and adopt an unwise attitude of belligerence which brings about mutual loss of peace and mutual destruction. The Song of Roland even as it deals with the historical event of an attack on Emperor Charlemagne’s rearguard during his military campaign in Spain in 8th Century and refashions it as the battle between Christians and Pagans refuses to glorify the crusading spirit; instead, it focuses on the vulnerability of human consciousness when faced with the brutality of war. Examining how the heroic epic describes the pre-war councils and the war scenes and deals with the effect of death and destruction on those who survive, I conclude that The Song of Roland could be read as an anti-war epic.

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