COLLECTIONS FROM THE ARTS
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CHURBAN ARTWORK |
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The Destruction of Jerusalem by Titus
(Zerstoerung
Jerusalems durch Titus)
1846
Acquired directly from the artist by
King Ludwig I
Oil on canvas, 585 x 705 cm // Neue
Pinakothek, Munich
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"Kaulbach's
interpretation of the destruction of Jerusalem by the Romams as
a heavenly punishment brought upon the sinful people of Israel
by Divine wrath, and as a fulfillment of the Old and New
Testament prophecies, follows a long tradition already apparent
in the teachings of early Christian writers such as Tertullian."
Portrait Wilhelm von Kaulbach. Photo: Friedrich
Bruckmann, München, 1864
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Kaulbach's huge painting,
The Destruction of Jerusalem by Titus, is the most
mature example of the new theatrical history painting in
the 19th Century. The artist does not show the real
event, rather this is idealistic didacticism. We are
given an interpretation that transcends time and is
intended to be of significance for the whole world. But
when Kaulbach places "Christianity" on the right in his
painting and an extremely ugly figure of "the Wandering
Jew" fleeing the city in the opposite direction, the
facets and dangers of the 19th-century view of history
are only too plain. |
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Preterist
ARTchive |
WHAT OTHERS HAVE SAID
Kaulbach's Wandering Jew (With
Jewish Responses)
PDF FILE
"Kaulbach transformed the historical event
into a visual Christian allegorical sermon according to which the destruction of
Jerusalem was a divine punishment wrought upon the Jews for their rejection of
Christ. The destruction of Jerusalem is seen as marking the downfall and
dispersion of the Jewish people and also the end of their ancient religion, and
the triumphal emergence of the new faith - Christianity."
Insecula.com
"The
character anti-semite of this fabric, which reports the destruction of Jerusalem
into 70 after Jesus-Christ, is manifest. The artist will represent a judgement
that God had wanted and put at execution (detailed printed comment attached to
this table). The large prophets and the seven angels are represented at the top.
The Titus emperor and his soldiers appear on the right. The Large Priest, to the
center, gives himself death. The Jew eternal, represented on the left, is
continued by the demons, while a group of Christians, incarnating the ideal of
the beauty of Nazaréens, is saved. Louis Ier, who had imposed dimensions of this
fabric, will regard it as most important of the collection of Neue Pinakothek.
He will pay it 35.000 guilders."
POORLY
TRANSLATED HISTORY
Ludwig I. appoints William of Kaulbach in the year 1837 his yard painter. At the
same time Kaulbach sketches the cardboard for the painting “the destruction
Jerusalems by Titus” today in the residents of Munich new Pinakothek to see is.
In the next year it manufactures a color sketch. The order of the monarch to the
enormous enterprise it receives 1841. It is locked in the year 1846. The
monumental work of representative statesmanship measures approximately six on
seven meters. In the newly built royal picture gallery the colourful history
picture gets its firm place. It finds massive spreading as reproduction
pressure. Kaulbach is in its time one of the most famous painters, the
materially most successful artist. One becomes enthusiastic at historical
contents of its compositions. Kaulbach refers to passages in the text of the old
person and new will and the “history of the Jewish war” from Flavius Josephus.
The legend is printed and held ready as an interpretation assistance for
helpless viewers of the vielfigurigen scenery. To Colonel the prophets Jesaias,
Jeremias, Ezechiel and Daniel float. They measure with the
Prophetendarstellungen from the Sixtini chapel. They lend Biblical
authentication to the entire kompositorischen plant, are the truth of the holy
writing for Kaulbachs work to stress. Among them angels float. They are
reinforced with flaming swords. They raise their weapons gracefully swinging, in
order to let the destruction of the place of worship by Roman troops appear as
“göttliches criminal court”.
The official catalog of the new Pinakothek derives Kaulbachs picture reproach
from the Biblical book Daniel. Is actual to the quoted Stelle1 „the pointing
saying of the seventy year weeks “. The prophet reports of revealing, which let
it foresee the future its people from the Babylonian exile to pursuit in the
time of the Syrerkönigs Antiochus IVTH Epiphanes: „The people of a prince, who
will come, brings a spoiling over the city and the Heiligtum. “The Bible place
refers thus surely not to the destruction Jerusalem by Roman troops in the year
70 n.Chr., but to a mischief, that over the city in the sixth Syrian war in the
year 167 v. Chr. fallow, when Antiochos in Jerusalem abolished the Jahwekult and
in the by any means destroyed temple did not insert its ruler cult. Daniel said
even the end of this foreign rule „to spoiling, which is decided, over which
wild comes “. In the following years takes place a collection of the Jews under
guidance of the Judas Makkabaios, which leads after two-year duration to release
Jerusalems.
Further the place from the gospel after Lukas (21,24), aforementioned in the
museum catalog for the Biblical authentication of Kaulbachs painting, 2 is to
understand as call to „the heath mission “. 3 this Christianisierung is the
condition for the establishment of the realm of God. After its introduction in
Jerusalem Jesus announces the future destruction of the city and the temple. It
remains unclear whether with it conquest Jerusalems under Vespasian, actually
taken place, is meant by its son and successor Titus. Christi „speech over the
end time “is coined/shaped by the consciousness it imminent of death. The other
EH gelists Markus and Matthäus delivers its words than reference to the world
end, which is to break with the fall Jerusalems. Also with Lukas “the promise of
messianischer Wiederkunft and the release follows after the vision of the
apokalyptischen „court over Jerusalem. Lukas leads Jerusalem from the God word
„will from the heaths zertreten to become, until those fulfill themselves the
times of the heaths “off that the Bekehrung of the Andersgläubigen is a
necessary condition for „coming the people son “.
On the stages of the burning temple Kaulbach shows the “leaders of the Jews”
according to indication of the museum catalog. The mischief-announcing angels
float directly on it too. The military defenders of their hometown designated as
Johannes of Gischala and Simon, “the Gioras son”. Ohnmächtig pursue it from its
increased point of view the terrible happening. Its face courses, its beard,
their helmets are arranged according to an age-old enemy picture. The nose
lowers itself trunk-like or grabbird-similarly over the Oberlippe. Chin beards
sting dämonisch from the face. The helmets are provided with essays, which let
think of the gehörnten hat, that Jews already in the picture world of the Middle
Ages denunziert. As source the “history of the Jewish war” of the historian
serves Flavius Josephus. Josephus, the son of Matthias leads still two years
before the case Jerusalems the command in the district Galiläa.4 of the province
commanders of Roman grace to the reign of the emperor Nero, thus sees itself
confronted with the resistance of the Joannes from Gischala, the Levi son. 5
this “behind-cunning humans from Gischala” is “strike and maliciously” and does
not frighten not before a Mordkomplott against it back. It tries to break a
secession from the fence to which must strike down Josephus as a commander
militarily.
Flavius Josephus must argue in this time with Simon, the Gioras son. It
describes the later Beschützer of the Ringmauer around Jerusalem than one in
Judaea marodierenden robbers, bandits and Mörder.6 the Jewish historical writer
may the FE storage and conquest of the city from the side of the Roman
aggressors out observe. He pursues the happening from the view of the Roman
winners. It relies on reports by defectors, who must count on it, into the
slavery to be sold. It appoints itself with its report to the agreement of the
triumphierenden field gentleman Titus. It does not shrink from itself to mention
late atrocity genüsslich cannibalized by Kaulbach: Maria, the daughter Eleazars
from the Dorfe Bethezob, in the catalog mentioned “Matrone from Bethezob” is in
the illusion of hunger their own baby murdered and roasted haben.7 lies here it
for the royally Bavarian yard painter close to use verlogene picture plates over
alleged Jewish ritual murders which it on his Rome journeys on the way through
run with Innsbruck or could be met Trient.
In the foreground this Jew picture is continued to implement. Money and
Geschmeide pour from a precious vase over the soil to linking the armed one
breeding with dark view. Its covered head is to mark it exactly the same as
gläubigen Jews, like the mosaisch flowing beard. The shape right of it,
down-stretched in the death fight, leaves one under its chest blood-purely on
the soil. At the point of its sword blood sticks. Also the knife beside the boy
corpse left over it is blood-smeared. That directly perpendicularly under it
standing metal boilers lets think of earlier ritual murder lies against Jews. A
ikonographischer connection with representations of blood accusations as with
the alleged murder of the Simon of Trient is possible.
The happening stands in the relationship-rich connection with a group of figures
in the right lower half screen. Nut/mother Maria including Joseph, Jesusknaben
and Johannes ride similarly as during the feed in Jerusalem on two donkeys. The
course bekrönt of angels, who carry a measuring cup including communion wafer
floating over it. Beside the süsslich anekdotischen donkey, which eats a
straight stachelige thistle, three children kneel. They lift the hands as in
Anbetung, or in the term, in order to ask their life. Over it the play unfolds
more rächender, right of creative Roman Staatsmacht. Emperor Titus moves in the
triumph course in front. Its authentication underlined by the carried
Liktorenbündel, the indication of legitimate national force practice. In the
picture center the victorious field character of the senate and people of Rome
stands. Among them a herkulischer Legionär tries in vain to order to
mörderischen driving in Jerusalem stop.
In the left foreground Kaulbach shows Jew” eternal of Furien floated the “. It
seems to flee before the boy murder scene. Ahasver does not come of to the
Biblical excessive quantity. The motive „of the eternal Jew “goes back on in the
year 1602 a brochure with the title, appeared at an unknown place in Germany,
„to cure TZE description and Erzehlung/from a Jew with name Ahasverus: which bey
the Creutzigung Christi personal been the Crucifige over Christum have helffen
schreyen/unnd for Barrabam to please also after the Creutzigung Christi never
towards Jerusalem can come also its woman and children never saw: unnd seithero
in the life gebieben/and etlich years ago towards Hamburg come also anno 1599 in
the December to Dantzig arrive. “8 the catalog of the new Pinakothek criticized
formally „the whole problem of this idealistic history painting “9 it related
however not the baroque Moritat of the dämonengejagten Jewish Wiedergänger,
placed large sized into the foreground. The kompositorisch central revenge
angels with their flame swords are spent uncritically on „executors of the
göttlichen criminal court “10.
The picture reproach „of the destruction of the temple in Jerusalem “is twice
treated by Nicolas Poussin. The first version from the time around 1625
encourages its call as „peintre philosophe “, which understands it to bring
antique history and historiography with its painting in agreement. He works in
Rome on behalf of the Pope nephew Francesco Barberini. 11 it becomes estimated
from all art experts of the eternal city. The painting for the undersecretary of
state and cardinal improves Poussins financial situation crucially and forms the
condition for its following shining ascent. The Titus advancing from right in
the float of the Marc Aurel highly to Ross alludes to the diplomatic role
Barberinis. It tried as an envoy in France and Spain to prevent a war between
two catholic powers. The publicly recognized, „enlightened “and humanitarian
Kaisertum of the Marc Aurel is a model for it. However Poussins suggests picture
that in martial entangling even the best emperor cannot be always master of the
situation.
Despite the repelling hand movement of the commander in chief the flames from
the roof timberwork of the place of worship blaze, liturgical equipment are
geplündert, defenselessly at the soil lying attacked. Poussin outlined preparing
a relief of the Titusbogen. There one puts out, how the robbed temple treasure
is carried including siebenarmigem Leuchter in the triumph course of the Roman
ruler. On the painting the moment of the robbery is produced. The guilty
knowledge is to be marked to the face of the right Legionärs clearly. The front
front of Poussins that of the Roman Pantheons resembles temples. The respect for
geweihten places is underlined. The painter philosopher follows the report of
the Flavius Josephus with his battle painting. Therefore Titus, unfortunately
unsuccessfully arranges 12 to delete the burning temple. It wants to move the
Legionäre by personal employment - however in vain - to the rescue of the
opposing sanctify around. It tried, likewise without effect, „the impetuous of
its like racing soldiers become “resist. 13 these rob, which falls them into the
hands and metzeln „, they found the Jews to hundreds down. “14 the intruders
does not know a grace against children and Greise, a layman and priest.
Unfortunately the Cäsar cannot prevent that its people, without instruction of
it or its officers, more than six thousand humans in the temple district to
burn. A quantity, predominantly women and children flee into the still intact
resound the outside temple yard. Titus can watch only, like the building of
marodierenden Romans been into fire wird.15
1Die Bible, old and new will, unit translation, Stuttgart 1980, Daniel 9, 26, P.
1010
2Die Bible, a.a.O., P. 1182
3Die Bible, a.a.O., P. 1147
4Flavius Josephus, history of the Jewish war, translated and with an
introduction provide P. 286 from Dr. Heinrich Clementz, Brauweiler 1900, Reprint
Wiesbaden o.J.,
5Flavius Josephus, a.a.o., P. 289 FF.
6Flavius Josephus, a.a.O., P. 300
7Flavius Josephus, a.a.O., P. 300
8Stefan Rohrbacher, Michael Schmidt, Jew pictures, culture history of
anti-Jewish myths and anti-Semitic prejudices, Reinbek 1991, P. 246 FF
9Bayerische state painting States of, new Pinakothek, explanations concerning
the issued works, Munich 1981, P. 149
10Bayerische state painting collections, a.a.O., S 148
11 Nicolas Poussin, the destruction of the temple in Jerusalem, battle pictures
from Jewish history, catalog art-historical museum, Vienna 2001, P. 12
12 Poussin, a.a.O.P. 17
13 Flavius Josephus, a.a.O., P. 589
14 Flavius Josephus, a.a.O., P. 591
15 Flavius Josephus, a.a.O., P. 593
OTHER WORKS OF NOTE
The king Maximilian II out of dress
of knight about Saint-Hubert
König Maximilian II als
Hubertusritter
Kaulbach's Studio
