Stuck at home with a sore throat and cough, which I know will get me glares from my fellow library users, I decided to take Maria’s advice and think of my favorite things. Since I study art history, I tend to think of paintings and sculptures and papers with doodles over doorbells and sleigh bells and schnitzel with noodles.
Therefore, I am focusing on this early-nineteenth century painting, Italia and Germania, in the Neue Pinakothek here in Munich, rather than the fact that my throat is so sore it feels like I have been chugging battery acid. In my opinion the Neue is the weakest of the three Pinakotheks. Only the last four or five rooms have anything worth the price of admission. (By price of admission, I mean the Sunday price of a euro. It is certainly not worth the full admission price of 7 euros).
Why is this one of my favorite paintings? Do I respond to the Raphael-like composition and bright colors? No, of course not! I love that Germania (the blond) is comforting Italia (the brunette). “There, there Italia. You had a good run. Let Germany handle art from now on. Come to think of it, let us handle everything else.”
It may not surprise you to learn that this is the work of the German artist Friderich Overbeck, who spent most of his life in Rome. By all accounts he seems to have been a fun sponge. He primarily wanted to renew religious art. He was part of a group known as the Nazarenes, a gaggle of German painters who reacted against Neo-Classicism. They wanted their art to be more spiritual, they considered Antique art to be pagan crap, and were not too keen on late Renaissance art. Everything up to Raphael, however, was deemed ok. (Big surprise there, since this painting practically reeks of him.) They were called the Nazarenes by their detractors because of their strict monastic lifestyle and the fact that many went around wearing long, trailing cloaks and had long, flowing hair. Overbeck refused to draw the female nude and wrote a lot of dry, tedious things.
This painting was meant as response to a painting by his friend, fellow painter Franz Pforr. With him and their gang of German painters, Overbeck had moved to Rome in 1810 and soon took up residence in an abandoned monastery. They considered Pforr their leader, because of his spiritual intensity. When Pforr died from TB in 1812, however, they decided living in an abandoned monastery was not such a great idea.
Overbeck lived much longer, painted a lot, and tried to get rid of sensuality in art. See! Total fun sponge!