Art in Service of Revolution is a look at the importance of art in revolutions and how revolutions are depicted in artistic works. It will look at works representing the French, American, Russian, and the Chinese Cultural Revolutions. The exhibition will look into the role that art plays in building support for ruling regimes, whether it be through narrative scenes or propagandistic posters. Reversely, how art is used to show dissent or frustration with the ruling powers or the revolution itself will also be explored. How certain events or people important to the revolution are depicted also has an impact on how the works of art are meant to be received by the viewers. The exhibition will also delve into the influence that revolutions have on artistic movements. Although these revolutions take place across the span of hundreds of years, the importance and influence of art in moments of revolution is displayed throughout each work represented here.
The painting depicts three brothers swearing an oath to their father that they will die to end a bloody war between Alba and Rome. While it was painted years before the start of the French revolution, David was commissioned by the French Administrator of Royal Residences at a time when paintings urging loyalty to the state were abundant. The Oath of the Horatii is an imposing painting meant to inspire a sense of duty to the king among the viewers. However, David would later create paintings (one in particular that showed a grieving Roman leader who had condemned his sons to death for the sake of his county) that would be banned from the royal court for its revolutionary support. David would eventually join the National Convention and vote for the execution of the king.
Marat Assassinated, Jacques-Louis David, 1793, From the collection of: Royal Museums of Fine Arts of Belgium
David would complete his transition to become the “Painter of the Revolution” with this painting of the assassination of Jean-Paul Marat in his bathtub. Marat was a political theorist, physician, and scientist, however he was best known for being a radical journalist, supporter of the sans-culottes (French peasants), and a Jacobin during the French Revolution. He was murdered by a Girondin sympathizer from an impoverished royal family. David was commissioned by the republican parliament to paint Marat as a martyr to the republican cause and to help rally continued support from the French citizens.
Marie-Antoinette de Lorraine-Habsbourg, queen of France, and her children, Elisabeth Louise Vigée-Lebrun, 1787, From the collection of: Palace of Versailles
This portrait of the French Queen and her children is an example of how an artist can suffer from her close relationship to the royals when revolution comes. Throughout her career, Vigée-Lebrun benefited greatly from patronages from members of noble families. She was commonly seen as Marie Antoinette’s official portraitist, after the Queen granted her patronage. When the French Revolution began and the Royal Family was arrested, Vigée-Lebrun was forced to flee, as she was a firm royalist, the official court painter, and was named on a list of counter-revolutionary émigrés. She would only be allowed to return to France during the reign of Napoleon I, but her relationship with the rulers of the nation would never recover.
George Washington (Lansdowne Portrait), Gilbert Stuart, 1796, From the collection of: Smithsonian's National Portrait Gallery
Stuart’s iconic portrait of George Washington shows how ideals of revolutions can be depicted in paintings created even after the revolution is finished. The portrait was commissioned as a gift for the British Prime Minister William Petty FitzMaurice, who was an American sympathizer and helped secure peace with the Americans during his term. The portrait is steeped in symbolism, such as Washington holding a ceremonial sword representing democratic government rather than monarchy. In the sky in the background, there are storm clouds on the left and a rainbow on the right, symbolizing the American Revolutionary War giving way to the peace of the new United States.
The British surrendering their Arms to Gen: Washington after their defeat at York Town in Virginia October 1781., Tanner, Vallance, Kearny & Co., 1819, From the collection of: The Museum of Fine Arts, Houston
This depiction of the British army surrendering to Washington is an important example of how battle victories were represented in art to help boost morale and feelings of nationalism. The print shows the British surrender, which would lead to the resignation of the British Prime Minister, who was replaced by FitzMaurice. He began the peace process, which resulted in the Treaty of Paris and peace with the American colonies. Prints like this were used to show American strength and success.
Nicholas II, Tsar of Russia, Pietro Canonica, 1906/1910, From the collection of: Museo Pietro Canonica
Nicholas II was the last Tzar of Russia and was executed during the Russian Revolution. This bust was made after the Revolution of 1905, proving that although there was unrest in the country he still had support. He would still have support in the 1917 Revolutions from a segment of the population, yet would be forced to abdicate under pressure from the Bolsheviks. This would create fear of revolution spreading to other countries across Europe.
Under the Banner of Lenin for Socialist Construction. Poster, Gustavs Klucis, 1930, From the collection of: Latvian National Museum of Art
Although this poster was made long after the Russian Revolution, it is a good example of the type of propaganda that would be released to persuade people to join in the Bolshevik and later Soviet cause. The image of Lenin superimposed over the face of Stalin works to link the two Soviet leaders in their ability to rule and to inspire loyalty among the people.
Suprematism, Kazimir Malevich, 1915, From the collection of: The State Russian Museum
Malevich developed the Suprematism movement in the years leading up to the Russian Revolution. The movement valued the supremacy of artistic feeling rather than the depiction of objects. Before the revolution he was allowed to flourish and for a few years after it he taught at schools and was head of the Petrograd State Institute of Artistic Culture. However, Stalinism quickly cracked down on the freedom of artists and the Russian avant-garde was persecuted in particular. Abstraction was banned and Social Realism became official party policy. This is an example of how someone who once benefited from the Revolution would eventually fall out of favour.
Former residence of Qiu Jin, Wu Guanzhong, 1988, From the collection of: Hong Kong Museum of Art
Wu Guanzhong is widely recognized as the founder of modern Chinese painting. Yet he was condemned to hard labour and many of his early works were destroyed during the Cultural Revolution, as they were seen as not complying with political interests of Mao Zedong. Here he shows the ancestral home of Qiu Jin, who was a Chinese revolutionary, feminist, and writer. She was executed after a failed uprising against the Qing Dynasty. This is an example of one artist who was persecuted during one revolution representing another artist who was also persecuted during a separate revolution, and attempting to create a common thread between them.
Poster, Yu Pujie, 1960/1980, From the collection of: Museum of Ethnography
This poster shows members of the Red Guards, which was a student group during the Cultural Revolution in China, who were manipulated by Mao Zedong to help him regain control of the country. The Red Guards used the slogan “to rebel is justified” and terrorized people and institutions. Eventually, at the risk of civil war, Mao had to call in the army to help restore peace, leaving some Red Guards feeling betrayed and attempting rebellion. This was quickly squashed by the army. The poster is an example of propaganda used to promote the Red Guards role in the Cultural Revolution.
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