The Temptation of Saint Anthony (1878) Félicien Rops
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| - | :''[[The Temptation of St. Anthony]][http://www.museerops.be/tech/drawing/tentation.html] | + | :''[[The temptation of St. Anthony in visual arts]] |
| - | '''''The Temptation of Saint Anthony''''' ([[1878]]) is a [[watercolor painting ]] by Belgian artist [[Félicien Rops]]. [[Freud]] commented on this work in his essay "[[Delusion and Dream in Jensen's Gradiva]]": | + | '''''The Temptation of Saint Anthony'''''[http://jahsonic.tumblr.com/post/157885561/the-temptation-of-saint-anthony-1878-is-a][http://www.museerops.be/tech/drawing/tentation.html] ([[1878]]) is a [[watercolor painting]] by Belgian artist [[Félicien Rops]]. The drawing shows [[Saint Anthony]] who kneels before the cross of Christ, on which Christ has been replaced by a naked woman. The inscription [[INRI]] is replaced by the word EROS. The devil, who is behind the cross, is the one who has pushed Christ away and replaced her with a woman. The putti have also been replaced by skeleton versions. The book in front of Anthony has a title "De Continentia Josephi" (about the abstinence of [[Joseph]]). |
| - | :"Eine bekannte Radierung von Felicien Rops illustriert diese wenig beachtete und der Würdigung so sehr bedürftige Tatsache eindrucksvoller" | + | [[Sigmund Freud]] commented on this work (in relation to [[sexual repression]]) in his essay "[[Delusion and Dream in Jensen's Gradiva]]": |
| - | :Ein asketischer Mönch hat sich - gewiss vor den Versuchungen der Welt - zum Bild des gekreuzigten Erlösers geflüchtet. Da sinkt dieses Kreuz schattenhaft nieder und strahlend erhebt sich an seiner Stelle, zu seinem Ersatze, das Bild eines üppigen nackten Weibes in der gleichen Situation der Kreuzigung. | + | :"The engraver has chosen the model case of withdrawal into the life of saints and penitents. An ascetic monk takes refuge - probably to escape worldly temptations - near the image of the crucified Saviour. This cross fades like a shadow and in its place the radiant image of a naked woman in full bloom, takes its place, also in the shape of a crucifixion. Other painters, whose psychological insight was not as penetrating, positioned their analogous representations of temptation, with sin insolent and triumphant, somewhere alongside the Saviour on the Cross. Only Rops made it take the place of Our Lord Himself on the Cross; he seemed to know that the repressed thought returns at the very moment of its [[repression]]..." --Translation [[James Strachey]] |
| + | Original German: | ||
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| + | :"Eine bekannte Radierung von [[Felicien Rops]] illustriert diese wenig beachtete und der Würdigung so sehr bedürftige Tatsache eindrucksvoller, als viele Erläuterungen es vermöchten, und zwar an dem vorbildlichen Falle der Verdrängung im Leben der Heiligen und Büßer. Ein asketischer Mönch hat sich — gewiß vor den Versuchungen der Welt — zum Bild des gekreuzigten Erlösers geflüchtet. Da sinkt dieses Kreuz schattenhaft nieder und strahlend erhebt sich an seiner Stelle, zu seinem Ersätze, das Bild eines üppigen nackten Weibes in der gleichen Situation der Kreuzigung. Andere Maler von geringerem psychologischen Scharfblick haben in solchen Darstellungen der Versuchung die Sünde frech und triumphierend an irgend eine Stelle neben dem Erlöser am BIreuze gewiesen. Rops allein hat sie den Platz des Erlösers selbst am Kreuze einnehmen lassen ; er scheint gewußt zu haben, daß das Verdrängte bei seiner Wiederkehr aus dem Verdrängenden selbst hervortritt." | ||
| - | :"The engraver has chosen the model case of withdrawal into the life of saints and penitents. An ascetic monk takes refuge - probably to escape worldly temptations - near the image of the crucified Saviour. This cross fades like a shadow and in its place the radiant image of a naked woman in full bloom, takes its place, also in the shape of a crucifixion. Other painters, whose psychological insight was not as penetrating, positioned their analogous representations of temptation, with sin insolent and triumphant, somewhere alongside the Saviour on the Cross. Only Rops made it take the place of Our Lord Himself on the Cross; he seemed to know that the repressed thought returns at the very moment of its repression..." | ||
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| + | [[Category:Icons of erotic art]] | ||
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The Temptation of Saint Anthony[1][2] (1878) is a watercolor painting by Belgian artist Félicien Rops. The drawing shows Saint Anthony who kneels before the cross of Christ, on which Christ has been replaced by a naked woman. The inscription INRI is replaced by the word EROS. The devil, who is behind the cross, is the one who has pushed Christ away and replaced her with a woman. The putti have also been replaced by skeleton versions. The book in front of Anthony has a title "De Continentia Josephi" (about the abstinence of Joseph).
Sigmund Freud commented on this work (in relation to sexual repression) in his essay "Delusion and Dream in Jensen's Gradiva":
- "The engraver has chosen the model case of withdrawal into the life of saints and penitents. An ascetic monk takes refuge - probably to escape worldly temptations - near the image of the crucified Saviour. This cross fades like a shadow and in its place the radiant image of a naked woman in full bloom, takes its place, also in the shape of a crucifixion. Other painters, whose psychological insight was not as penetrating, positioned their analogous representations of temptation, with sin insolent and triumphant, somewhere alongside the Saviour on the Cross. Only Rops made it take the place of Our Lord Himself on the Cross; he seemed to know that the repressed thought returns at the very moment of its repression..." --Translation James Strachey
Original German:
- "Eine bekannte Radierung von Felicien Rops illustriert diese wenig beachtete und der Würdigung so sehr bedürftige Tatsache eindrucksvoller, als viele Erläuterungen es vermöchten, und zwar an dem vorbildlichen Falle der Verdrängung im Leben der Heiligen und Büßer. Ein asketischer Mönch hat sich — gewiß vor den Versuchungen der Welt — zum Bild des gekreuzigten Erlösers geflüchtet. Da sinkt dieses Kreuz schattenhaft nieder und strahlend erhebt sich an seiner Stelle, zu seinem Ersätze, das Bild eines üppigen nackten Weibes in der gleichen Situation der Kreuzigung. Andere Maler von geringerem psychologischen Scharfblick haben in solchen Darstellungen der Versuchung die Sünde frech und triumphierend an irgend eine Stelle neben dem Erlöser am BIreuze gewiesen. Rops allein hat sie den Platz des Erlösers selbst am Kreuze einnehmen lassen ; er scheint gewußt zu haben, daß das Verdrängte bei seiner Wiederkehr aus dem Verdrängenden selbst hervortritt."
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