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Blumauer's Aeneide, 1789. Creator: Daniel Nikolaus Chodowiecki
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Blumauer's Aeneide, 1789. Creator: Daniel Nikolaus Chodowiecki
Blumauer's Aeneide, 1789. From almanac: Konigl. Grosbritannischer Historischer Genealogischer Calender, 1790.
Aloys Blumauer's Vergils Aeneis travestirt (1783) is a travesty of the Aeneid for anticlerical purposes. Besides exploring its satirical techniques, the chapter places it in the context of the Austrian Enlightenment under Joseph II and the obsessive campaign by the enlightened against many Catholic practices
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Aeneid Aeneide Afterlife Almanac Alois Blumauer Aloys Blumauer Blumauer Aloys Chodowiecke Daniel Nikolaus Chodowiecki Daniel Chodowiecki Daniel Nikolaus Comedy Daniel Chodowiecki Daniel Nikolaus Chodowiecke Daniel Nikolaus Chodowiecki Emperor Joseph Ii Enlightenment Farce Ghost Ghosts Habsburg Lorraine Johannes Aloysius Blumauer Josef Benedikt Anton Michel Adam Josef Ii Joseph Benedict Anthony Michael Adam Joseph Benedikt Anton Michael Adam Joseph Ii Joseph Ii Holy Roman Emperor Maro Publius Vergelius Phantom Phantoms Publius Vergilius Maro Travesty Vergil Vergilio Vergilius Maro Publius Vergils Aeneis Travestirt Virgil Parody Satirical
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EDITORS COMMENTS
This print, titled 'Blumauer's Aeneid' by Daniel Nikolaus Chodowiecki, dates back to 1789 and was originally published in the 'Königl. Grosbritannischer Historischer Genealogischer Calender' almanac. The print is a visual interpretation of Aloys Blumauer's 'Vergils Aeneis travestirt' (1783), a satirical take on Virgil's Aeneid with anticlerical undertones. During the 18th century, the Austrian Enlightenment under Emperor Joseph II saw an obsessive campaign against many Catholic practices. Blumauer's travesty, with its biting humor and farcical depictions, was a reflection of the cultural climate of the time. In this print, Chodowiecki masterfully captures the essence of Blumauer's work. The figures in the image are depicted in black and white, adding to the print's historical and timeless appeal. The ghostly figures of Aeneas and other characters from the Aeneid are shown in various stages of afterlife, with America and the continent of Europe in the background. The print is a testament to the power of art as a tool for social commentary and satire. Chodowiecki's etching is a must-see for anyone interested in the history of art, the European Enlightenment, or the cultural and political climate of the 18th century. This thought-provoking piece is a valuable addition to any art collection or gallery exhibition.
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