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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 Cave Caves 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 Looking At Each Other Maro Publius Vergelius Publius Vergilius Maro 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,' was created in 1789 for the 'Königl. Grosbritannischer Historischer Genealogischer Calender,' an almanac published in Vienna during the Austrian Enlightenment. The image is a depiction of Aloys Blumauer's 'Vergils Aeneis travestirt,' a satirical travesty of Virgil's Aeneid, which was published in 1783 for anticlerical purposes. Blumauer's work was a farce that poked fun at various Catholic practices, making it a controversial piece during the reign of Emperor Joseph II, who was known for his obsessive campaign against such traditions. The print by Chodowiecki illustrates several figures from the Aeneid, including Aeneas and the Sibyl, as they explore the caves of the underworld. The image is etched in black and white, adding to its dramatic and timeless quality. The print can be seen as a commentary on the cultural and geographical features of the time, with Europe and America depicted as continents, and the Habsburg Lorraine represented by an emperor and empress. The figure of Johannes Aloysius Blumauer, the author of the travesty, is also present, holding a book and looking towards the New World. This print is an intriguing piece of historical art, showcasing the humor and conceptual depth of the Austrian Enlightenment era. It is a reminder of the complexities of the time, as well as the power of art to challenge and provoke.
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