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• W4313199887 abstract "Fall and Apocalypse in the Painting of Benjamin West Kathryn Wehr, Managing Editor Key Words Benjamin West, Colonial American Painter, Progress of Revealed Religion, Windsor Royal Chapel, Expulsion of Adam and Even from the Garden, Fall of Man in art, Book of Revelation in art, National Gallery of Art Washington DC Click for larger view View full resolution Our cover art is part of a series entitled Progress of Revealed Religion which was intended to decorate a new Royal Chapel at Windsor Castle. Artist Benjamin West (1738–1820) was born into a Quaker family in the colony of Pennsylvania, studied painting in Italy, and then settled in London. There he rose to great acclaim and was called “le Raphaël Americain,” receiving the patronage of the elite, including this royal commission by King George III.1 He was an important pioneer in neo-classicism, Romanticism, and in the use of contemporary dress in his paintings.2 Today he is remembered for his lasting influence on American art through his teaching of Colonial American painters who came to London to study before the Revolution.3 West’s self-described “great work” for the Royal Chapel4 was cancelled in 1801 due in large part to the king’s mental illness, but an inventory from that year shows West had already completed, sketched, or drawn plans for thirty-six works, including large-scale oil paintings and [End Page 153] plans for the chapel’s stained-glass windows.5 The selections from biblical history had been chosen so that “Christians, of all denominations, might contemplate without offence to their tenets,”6 yet, in a kingdom still largely worshipping in whitewashed churches due to Reformation and Commonwealth iconoclasm, it was a daring plan. West’s contemporary biographer John Galt writes that King George “began to think that the tolerant temper of the age was favourable to the introduction of pictures in the churches: at the same time his scrupulous respect for what was understood to be the usage, if not the law, relative to the case, prevented him for some time from taking any decisive step.”7 Church of England bishops were consulted who gravely considered the matter and concluded it was not a violation of church law and so West proceeded with the plans until told to discontinue. The Expulsion of Adam and Eve from Paradise is not currently on display at its home of the National Gallery of Art in Washington, DC, but its commanding size (over six by nine feet) would surely attract the attention of any viewer. We can read the painting from left to right: from light to darkness, from the beauty of Eden to the new disordered reality of a fallen world. Taking details from the account in Genesis 3 and Milton’s Paradise Lost, West depicts the Archangel Michael chasing Adam and Eve out of the Garden, with a flaming sword—here more like a shaft of light—hovering above. Adam and Eve are clothed in skins made by God, and Adam covers his face in shame while Eve looks back in anguish. At their feet, the serpent leads the way into the new, darker reality with details borrowed again from Milton: a lion attacking horses and an eagle fighting midair with another bird, perhaps a pelican Christ-figure. While the dark side of the painting has an unfinished quality, the central figures are alive with detail and energy. The Archangel Michael is a weak point—he is more gentle than terrifying—but our focus keeps being drawn back to the faces of Eve and Adam. In Adam’s half-covered face and Eve’s upward glance we feel their shame, their despair. However the creation of our human ancestors came about (see Kemp’s article), we too find ourselves in a world that is broken. [End Page 154] Click for larger view View full resolution Benjamin West, Destruction of the Beast and the False Prophet, 1804. Oil on Panel, 39 x 56½. Minneapolis Institute of the Arts. Public Domain. A counterbalance to The Expulsion is found in Benjamin West’s apocalyptic painting, Destruction of the Beast and the False Prophet (1804). Taking his subject from..." @default.
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• W4313199887 title "Fall and Apocalypse in the Painting of Benjamin West" @default.
• W4313199887 doi "https://doi.org/10.1353/log.2023.0003" @default.
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