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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 Almanac Alois Blumauer Aloys Blumauer Blumauer Aloys Candlelight Chodowiecke Daniel Nikolaus Chodowiecki Daniel Chodowiecki Daniel Nikolaus Comedy Daniel Chodowiecki Daniel Nikolaus Chodowiecke Daniel Nikolaus Chodowiecki Emperor Joseph Ii Enlightenment Farce 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 Publius Vergilius Maro Sitting On Lap Travesty Vergil Vergilio Vergilius Maro Publius Vergils Aeneis Travestirt Virgil Parody Satirical
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EDITORS COMMENTS
This print by Daniel Nikolaus Chodowiecki, titled "Blumauer's 'Aeneid', 1789," is a fascinating glimpse into the satirical and anticlerical spirit of the Austrian Enlightenment during the reign of Emperor Joseph II. The image is derived from Aloys Blumauer's travesty of Virgil's Aeneid, titled "Aeneis travestirt," published in 1783. Blumauer's work was a farce that mocked the Catholic Church and its practices, making it a controversial and daring publication during the time. The print by Chodowiecki, which was featured in the "Königl. Grosbritannischer Historischer Genealogischer Calender" (Royal British Historical Genealogical Calendar) of 1790, depicts a scene from Blumauer's travesty. In the image, we see a figure of Aeneas, the hero of Virgil's epic poem, holding a book labeled "Aeneis travestirt" and surrounded by various figures representing different aspects of the Catholic Church. A child, perhaps symbolizing the innocence and ignorance of the masses, holds a candle, illuminating the scene. The print is a testament to the cultural and artistic climate of the time, where the enlightened campaign against Catholic practices was a prevalent theme. The use of humor and satire in Blumauer's work and Chodowiecki's depiction reflects the spirit of the Enlightenment, which emphasized reason, individualism, and skepticism towards traditional authority. The print also highlights the European context of the period, with its focus on classical literature and the influence of the Italian Renaissance on artistic and intellectual thought. Overall, this print offers a unique perspective on the complex and nuanced history of the 18th century, and is a must-see for anyone interested in the history of art, culture, and European history.
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