Satan Leaving the Court of Satan Leaving the Court of ChaosChaos

Table of ContentsTable of Contents Genre (slide 3)Genre (slide 3) Style (slide 4) Style (slide 4)

– Henry Fuseli (slides 5 and 6)Henry Fuseli (slides 5 and 6) Artist (slide 7)Artist (slide 7) Subject Matter (slides 8-10)Subject Matter (slides 8-10) Iconography (slides 11-18)Iconography (slides 11-18) Political Context (slide 19)Political Context (slide 19) Cultural Context (slides 20-24)Cultural Context (slides 20-24) Social Context (slide 25-27)Social Context (slide 25-27) Ownership (slide 28)Ownership (slide 28) Closing (slide 27)Closing (slide 27) Bibliography (slide 30)Bibliography (slide 30)

GenreGenre

It is classified as a historical painting It is classified as a historical painting because it’s based on a literary because it’s based on a literary scene from John Milton’s scene from John Milton’s Paradise Paradise LostLost (1667). (1667).

Romantic painting because of its Romantic painting because of its stylistic and ideological content. stylistic and ideological content.

StyleStyle Satan Leaving the Court ChaosSatan Leaving the Court Chaos is a Romantic is a Romantic

style painting: a style classified by the deep style painting: a style classified by the deep saturated tones of colors. saturated tones of colors.

There is a strong contrast between light and dark, There is a strong contrast between light and dark, as can be seen between the characters in the as can be seen between the characters in the painting and the dark background. painting and the dark background.

There is an emphasis on brushwork and the There is an emphasis on brushwork and the subjects are drawn from literature and are subjects are drawn from literature and are focused on intense emotion and passion. focused on intense emotion and passion.

intensity, masculinity, defiance of rules, and intensity, masculinity, defiance of rules, and individual genius- all are ideals that apply to the individual genius- all are ideals that apply to the solitary, heroic form of Satan. solitary, heroic form of Satan.

Strong sense of the sublime throughout the Strong sense of the sublime throughout the painting.painting.

Henry Fuseli Henry Fuseli (1741- 1825)(1741- 1825)

The Pre-Romantic ideas The Pre-Romantic ideas and techniques that and techniques that appear in Satan appear in Satan Leaving the Court of Leaving the Court of Chaos appear in the Chaos appear in the work of contemporary work of contemporary artists, especially Henri artists, especially Henri Fuseli.Fuseli.– life-long fascination with

Milton– 40 works illustrating

Milton’s poetry– Opened a Milton Gallery

in 1799http://www.metmuseum.org/toah/ho/09/euwc/ho_1980.411.htm

Fuseli ContinuedFuseli Continued Romantic style

– Use of folk tradition– Subdued color tones– light contrast– theatrical pose

Use of the sublime– Terror– nightmarish depiction– obscurity

Theatrical pose– Intemperance of body is

an association with Fuseli

– increased portrayal of extreme passion, rape of consciousness

http://www.artstor.org/artstor/mainFrame.jsp

ArtistArtist The artist who painted The artist who painted Satan Leaving the Court of ChaosSatan Leaving the Court of Chaos is is

regrettably unknown, but most likely a follower of Henry regrettably unknown, but most likely a follower of Henry Fuseli’s styleFuseli’s style

The common conception is that it was made circa 1800The common conception is that it was made circa 1800

Possible ArtistsPossible ArtistsThomas FreemanThomas Freeman

a follower of Henry Fuselia follower of Henry Fuseliexhibited a work titled exhibited a work titled Satan at the Satan at the Court of Chaos: Milton’s Paradise LostCourt of Chaos: Milton’s Paradise Lost in 1784 at the Royal Academy but in 1784 at the Royal Academy but this work, along with any other works this work, along with any other works by Freeman, have been lostby Freeman, have been lostHenry TreshamHenry Treshamalso a follower of Fuselialso a follower of FuseliPainter of historical scenesPainter of historical scenesexhibited paintings illustrating Miltonexhibited paintings illustrating MiltonVery similar styleVery similar style

http://www.manchestergalleries.org/the-collections

Subject MatterSubject Matter The painting is set in John Milton's Paradise The painting is set in John Milton's Paradise

Lost, Book Two, as Satan is fleeing from the Lost, Book Two, as Satan is fleeing from the Court of Chaos. Court of Chaos.

The painting uses one frame to capture the The painting uses one frame to capture the arrival of Satan in this chaotic court, his arrival of Satan in this chaotic court, his discussion with Chaos, and his flight on discussion with Chaos, and his flight on toward Earth. It contains several elements toward Earth. It contains several elements quoted directly from this work. quoted directly from this work.

Subject Matter ContinuedSubject Matter Continued

The background is dark, foggy, and riddled with The background is dark, foggy, and riddled with multiple perspectives, illustrating the attitude of multiple perspectives, illustrating the attitude of the landscape described by Milton: "Quenched in a the landscape described by Milton: "Quenched in a boggy Syrtis, neither sea/ Nor good dry land; nigh boggy Syrtis, neither sea/ Nor good dry land; nigh foundered, on he fares,/ Treading the crude foundered, on he fares,/ Treading the crude consistence, half on foot,/ Half flying..." consistence, half on foot,/ Half flying..."

There are enough bodies to account for all of the There are enough bodies to account for all of the characters that Milton mentions, Satan, Chaos, characters that Milton mentions, Satan, Chaos, Night, Orcus, Ades, Demogorgon, Rumor, Chance, Night, Orcus, Ades, Demogorgon, Rumor, Chance, Tumult, Confusion, and Discord. Chaos, Satan, and Tumult, Confusion, and Discord. Chaos, Satan, and Night are easiest to spot, but others have been Night are easiest to spot, but others have been attributed titles based on various characteristics attributed titles based on various characteristics and symbolism.and symbolism.

Subject Matter ContinuedSubject Matter Continued

Even Satan's flight and Chaos's "go forward" gesture Even Satan's flight and Chaos's "go forward" gesture are described by Milton, as Chaos urges Satan on his are described by Milton, as Chaos urges Satan on his quest: "'Go, and speed;/ Havoc, spoil, and ruin are my quest: "'Go, and speed;/ Havoc, spoil, and ruin are my gain.'/ He ceased, and Satan stayed not to reply.”gain.'/ He ceased, and Satan stayed not to reply.”

IconographyIconography SatanSatan

– reminiscent of reminiscent of Michelangelo’s Michelangelo’s portrayal of the human portrayal of the human body body characteristic of characteristic of

Fuseli’s workFuseli’s work– outstretched arm and outstretched arm and

extended finger is extended finger is similar to the Sistine similar to the Sistine Chapel painting of Chapel painting of Adam and God Adam and God reaching out to one reaching out to one anotheranother

– abstraction /omission abstraction /omission of the face- implies of the face- implies obscurity, complexity obscurity, complexity of emotionof emotion

http://battellemedia.com/images/sistine%20chapel.jpg

Iconography of SatanIconography of Satan ““Springs upward like a pyramid of Springs upward like a pyramid of

fire/Into the wild expanse, and through fire/Into the wild expanse, and through the shock/ Of fighting elements, on all the shock/ Of fighting elements, on all sides round/ Environed wins his way (II sides round/ Environed wins his way (II 951-1016)951-1016)

Sheer power and energy emphasized by Sheer power and energy emphasized by clothingclothing

Satan’s War Helmet and spear are Satan’s War Helmet and spear are Martial symbols that not only humanize Martial symbols that not only humanize him but also emphasize his pure him but also emphasize his pure strength and power.strength and power.

The artist's choice to hide his face The artist's choice to hide his face implies that Satan is experiencing an implies that Satan is experiencing an emotion so complex that it cannot be emotion so complex that it cannot be portrayed portrayed – A moment of humanityA moment of humanity

Iconography ContinuedIconography Continued

“ …“ …behold the Thronebehold the ThroneOf Chaos, and his dark Pavilion spreadOf Chaos, and his dark Pavilion spreadWide on the wasteful Deep; with him Enthron’dWide on the wasteful Deep; with him Enthron’dSat Sable-vested Night, eldest of things,Sat Sable-vested Night, eldest of things,The consort of the Reign; and by them stoodThe consort of the Reign; and by them stoodOrcus and Ades, and the dreaded nameOrcus and Ades, and the dreaded nameOf Demogorgon; Rumor next and Chance,Of Demogorgon; Rumor next and Chance,And Tumult and Confusion all imbroild,And Tumult and Confusion all imbroild,And Discord with a thousand various mouths.”And Discord with a thousand various mouths.”

Milton, Paradise Lost

Iconography continuedIconography continued The snakeThe snake

– references Hell and the Fall of Man - Eve tempted by references Hell and the Fall of Man - Eve tempted by Satan as a snake in EdenSatan as a snake in Eden

– general reference to evil and cunninggeneral reference to evil and cunning Clouds and Darkness:Clouds and Darkness:

– imagery of the depths of Hell, void, lost, unwelcoming, imagery of the depths of Hell, void, lost, unwelcoming, negativenegative

– HoweverHowever- there are positive Biblical references to - there are positive Biblical references to darkness and clouds- possibly on purpose by Milton?darkness and clouds- possibly on purpose by Milton? He [God] made darkness his secret place; his pavilion He [God] made darkness his secret place; his pavilion

round about him were dark waters and thick clouds round about him were dark waters and thick clouds of the skies. (Psalm 18:11)of the skies. (Psalm 18:11)

Then said Solomon, The LORD hath said that he Then said Solomon, The LORD hath said that he would dwell in the thick darkness. (2 Chronicles 6:1)would dwell in the thick darkness. (2 Chronicles 6:1)

Iconography continuedIconography continued ChaosChaos

– Displayed as the central figure of the groupDisplayed as the central figure of the group– LeaderLeader– Old, as if he is an ancient rulerOld, as if he is an ancient ruler– Outstretched hand symbolizes his role in ‘sending Satan Outstretched hand symbolizes his role in ‘sending Satan

forth’forth’ NightNight

– Obvious reference to darkness with the cloakObvious reference to darkness with the cloak– Extremely old, witheredExtremely old, withered– Similarities to SatanSimilarities to Satan

““claw-like” hands and feetclaw-like” hands and feet Emphasis on handsEmphasis on hands Hidden faceHidden face

Iconography continuedIconography continuedOther Characters (identified according to the Other Characters (identified according to the

research of T. Riggs, identity of characters is research of T. Riggs, identity of characters is debatable)debatable)

DiscordDiscord– Described as having “a thousand Described as having “a thousand

various mouths” in Miltonvarious mouths” in Milton– Snake-like hair can be symbolic of these Snake-like hair can be symbolic of these

thousand mouths, each snake with a thousand mouths, each snake with a separate mouthseparate mouth

ConfusionConfusion– Identified by as the pale figure with the Identified by as the pale figure with the

elongated faceelongated face– Reference to the “confused look” on his Reference to the “confused look” on his

faceface– The pale color of this figure could The pale color of this figure could

indicate the blank state that the feeling indicate the blank state that the feeling of confusion leaves in a personof confusion leaves in a person

Note: according to C. DouglassNote: according to C. Douglass– Confusion is identified as the Confusion is identified as the

blindfolded figure blindfolded figure – blindfold symbolizes the undirected, blindfold symbolizes the undirected,

“confused” state of the figure“confused” state of the figure– grasping the hair of the figure next to grasping the hair of the figure next to

him- indicates the need to grasp onto him- indicates the need to grasp onto something concrete, as someone does something concrete, as someone does when they are confusedwhen they are confused

Confusion

Discord

Iconography continuedIconography continued

TumultTumult– Identified as the blindfolded figure holding a sword Identified as the blindfolded figure holding a sword – Associated with battle in Greek mythology- significance of Associated with battle in Greek mythology- significance of

the swordthe swordNote: according to C. DouglassNote: according to C. Douglass

– identified as the snake-haired figure who is, according to identified as the snake-haired figure who is, according to Milton, “all embroiled with Confusion”Milton, “all embroiled with Confusion”

ChanceChance– Identified as a feminine characterIdentified as a feminine character– Associated with goddess FortunaAssociated with goddess Fortuna– The turning of the head could symbolize her need to look The turning of the head could symbolize her need to look

away from what she symbolizes but cannot control- away from what she symbolizes but cannot control- “chance” “chance”

Note: the female qualities that are attributed to the above could Note: the female qualities that are attributed to the above could also be given to Discord, who, in Greek mythology, was the also be given to Discord, who, in Greek mythology, was the goddess, ‘Discordia’goddess, ‘Discordia’

RumorRumor– Characteristics of the “wind”Characteristics of the “wind”

Wind-blown hair and drapesWind-blown hair and drapes Swollen faceSwollen face

– reference to wind symbolizes the quick spread of words reference to wind symbolizes the quick spread of words through rumorsthrough rumors

Tumult

Chance

Rumor

Iconography ContinuedIconography Continued DemogorgonDemogorgon

– Dark figure in the far rightDark figure in the far right– Always portrayed as part monster, Always portrayed as part monster,

sometimes with no human sometimes with no human qualitiesqualities

– Possible that the “snake” is an Possible that the “snake” is an extension of himself as a tailextension of himself as a tail

– Symbolic that his back is turnedSymbolic that his back is turned He is identified as a He is identified as a

“mysterious and terrifying “mysterious and terrifying deity of the underworld”deity of the underworld”

OrcusOrcus– Helmeted figure, a god of the Helmeted figure, a god of the

UnderworldUnderworld– Punisher of broken oathsPunisher of broken oaths

AdesAdes– Also known as “Hades” God of the Also known as “Hades” God of the

UnderworldUnderworld– The fact that he is older and The fact that he is older and

bearded gives the figure kingly bearded gives the figure kingly featuresfeatures

Demorgorgon

Orcus

Ades

Political ContextPolitical Context

French Revolution (1789-1804) estimated date of French Revolution (1789-1804) estimated date of painting (1800-1830).painting (1800-1830).

French Revolution and American Revolution could French Revolution and American Revolution could have been inspirations. have been inspirations.

Satan could also represent a new voice and hope Satan could also represent a new voice and hope for the old demons; analogy to the new hope for the old demons; analogy to the new hope given by the National Assembly to the lower given by the National Assembly to the lower classes. classes.

The Catholic Church lost prestige and power in The Catholic Church lost prestige and power in French government. The Church did not agree French government. The Church did not agree with the revolution and so some people began to with the revolution and so some people began to dissociate themselves from it. (Satan, Death, and dissociate themselves from it. (Satan, Death, and Sin mockery of The Holy Trinity.)Sin mockery of The Holy Trinity.)

Cultural ContextCultural Context

The artist’s attempt to instill extreme The artist’s attempt to instill extreme passion, spirituality, and qualities of passion, spirituality, and qualities of the sublime in the work reflect the sublime in the work reflect common stylistic and ideological common stylistic and ideological trends of its time.trends of its time.

Cultural Context ContinuedCultural Context Continued

This unknown artist inherits and conveys an This unknown artist inherits and conveys an understanding of Paradise Lost held by many understanding of Paradise Lost held by many contemporary thinkers.contemporary thinkers.

These terms, in general, consisted of the These terms, in general, consisted of the Humanization and Romanticization of Satan as a Humanization and Romanticization of Satan as a tragic, epic hero, and appeared in the work of tragic, epic hero, and appeared in the work of intellectuals such as William Blake and Edmund intellectuals such as William Blake and Edmund Burke, who are both shown below.Burke, who are both shown below.

http://www.abm-enterprises.net/artgall1/william-blake-portrait.jpg http://www.let.rug.nl/usa/images/2003/burke.jpg

Cultural Reflections: William Cultural Reflections: William Blake and Edmund BurkeBlake and Edmund Burke

The most significant function of this obscurity is The most significant function of this obscurity is its contribution to the painting is its’ qualities of its contribution to the painting is its’ qualities of the sublime.the sublime.

As Edmund Burke explains, “whatever is in any As Edmund Burke explains, “whatever is in any sort terrible, is a source of the sublime.” Burke sort terrible, is a source of the sublime.” Burke Further notes that, “to make anything very Further notes that, “to make anything very terrible, obscurity seems in general to be terrible, obscurity seems in general to be necessary.”necessary.”

William Blake says that Milton was “of the Devil’s William Blake says that Milton was “of the Devil’s party without knowing it.”party without knowing it.”– And he “wrote in fetters when he wrote of Angels & God, And he “wrote in fetters when he wrote of Angels & God,

and at liberty when of Devils & Hell.”and at liberty when of Devils & Hell.”(The marriage of heaven and hell, 74-75)(The marriage of heaven and hell, 74-75)

Cultural Reflections ContinuedCultural Reflections Continued

The painting demonstrates other Romantic idealsThe painting demonstrates other Romantic ideals– ““Romantics asserted that freedom is the right Romantics asserted that freedom is the right

and property of one and all,” and that in the and property of one and all,” and that in the style of Romanticism an intense desire for style of Romanticism an intense desire for freedom can be depicted.freedom can be depicted.

– “ “The path to freedom was through imagination The path to freedom was through imagination rather than reason and functioned through rather than reason and functioned through feeling rather than thinking.” This emphasizes feeling rather than thinking.” This emphasizes the feeling and emotion behind the painting.the feeling and emotion behind the painting.

– Romantics portray “a world of fantasy, Romantics portray “a world of fantasy, including the ghoulish, the infernal, the including the ghoulish, the infernal, the terrible, the nightmarish, the grotesque, the terrible, the nightmarish, the grotesque, the sadistic, and all other imagery that comes from sadistic, and all other imagery that comes from the chamber of horrors when reason is asleep.”the chamber of horrors when reason is asleep.”

Cultural Context ContinuedCultural Context Continued Blake’s illustration of

Book IV - Satan as an innocent, angelic figure. striking physical similarities to Adam and Eve.

The serpent around his body identifies him as Satan, but portrayed as a burden.

Downcast glance- sense of regret and despair he feels in Book IV.

Social ContextSocial Context Assuming it was done Assuming it was done

before or during the French before or during the French Revolution:Revolution:– Links with Romanticism Links with Romanticism

Exemplifies the rights of the Exemplifies the rights of the individual individual

Illustrates religious rebellionIllustrates religious rebellion– Milton may have been Milton may have been

viewed as a radical during viewed as a radical during this time this time Satan’s revolt against God Satan’s revolt against God

parallels the Third Estate’s parallels the Third Estate’s revolt against the Old Regimerevolt against the Old Regime

Satan becomes the heroSatan becomes the hero

http://www.accd.edu/SAC/ENGLIsh/bailey/milton.htm

Social Context ContinuedSocial Context Continued Assuming the painting is painted after the Assuming the painting is painted after the

French Revolution: French Revolution: – The painting shows a new unity in the French The painting shows a new unity in the French

peoplepeople This is a direct allusion to the French This is a direct allusion to the French

Revolution; the masses joining together Revolution; the masses joining together under Napoleon to fight for their freedom.under Napoleon to fight for their freedom.– Satan is the unconventional hero, who is Satan is the unconventional hero, who is

representing the crowd of characters left in the representing the crowd of characters left in the Court of Chaos.Court of Chaos.

Social Context ContinuedSocial Context Continued

To show Satan’s power over the To show Satan’s power over the people, he is depicted as the ideal people, he is depicted as the ideal symbol of strength and power symbol of strength and power through his taut, muscular frame. through his taut, muscular frame.

He is visually equivalent in size to all He is visually equivalent in size to all the other characters combined.the other characters combined.– This emphasizes his control and This emphasizes his control and

strength over those around him.strength over those around him.

OwnershipOwnership

Purchased in the 1970s by Spencer Purchased in the 1970s by Spencer A. Samuels and Company, Ltd., New A. Samuels and Company, Ltd., New York from a widow of an European York from a widow of an European “amateur” collector.“amateur” collector.

Then Purchased on December 3, Then Purchased on December 3, 1975 by the Ackland Art Museum.1975 by the Ackland Art Museum.

ClosingClosing

Satan Leaving the Court of Chaos Satan Leaving the Court of Chaos is is one artist’s visual interpretation of a one artist’s visual interpretation of a scene from Milton’s scene from Milton’s Paradise LostParadise Lost..– But it takes into account the Romantic But it takes into account the Romantic

era of painting.era of painting.– Also the painting embraces the politcal, Also the painting embraces the politcal,

social and cultural frameworks that were social and cultural frameworks that were intertwined with the time. intertwined with the time.

BibliographyBibliography Blake, William. The Marriage of Heaven and Hell.

Oxford University Press, 1975. Burke Edmund. A Philosophical Inquiry into the

Origin of our Ideas of the Sublime and the Beautiful. Oxford University Press, 1998.

Kleiner, Fred, and Christin Mamiya. Art Through the Ages. Belmont, CA: Thomson and Wadsworth, 2005.

Milton, John. Paradise Lost. London, England: Penguin Classics, 2000.

http://www.manchestergalleries.org/the-collections http://www.artstor.org/artstor/mainFrame.jsp