Reproduction only for non-commercial use. |
© April 2004; revised 7 August 2006
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Gallery Exhibit, Catalog No. 40 |
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Portraits of Melancholy Introduction |
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DURING THE 17TH CENTURY, melancholy was an umbrella term which covered everything from schizophrenia to a lover’s moping to religious ecstasies, revelations and visions. It was fashionable, too, having become a popular affectation of Elizabethan scholars, humanists, and artists during the 1580s. The English “vogue for melancholic affectation,” as Roy Strong has described it, owed much to the Florentine neoplatonist and natural magician, Marsilio Ficino (14331499). It was Ficino who initiated the Renaissance revaluation of melancholy, transforming “what had hitherto been regarded as the most calamitous of all the humours into the mark of genius.” (Strong 1969, p. 352) According to conventional humoral theory, there were four basic human temperaments:
In the Galenic medical tradition, melancholy (because of its cold and dry qualities) was considered inimical to life. However, Aristotelian physiology associated melancholy with heightened imaginative and intellectual powers. As Galenic and Aristotelian teachings were both current in the Renaissance, there was some confusion about the true nature of melancholy, both as a disease and an identity:
Given Ficino’s emphasis on the creative connection, it didn’t take long for the attitudes of melancholy to become “an indispensable adjunct to all those with artistic or intellectual pretensions,” especially in what were considered the deeper arts of philosophy (both natural and moral), politics, and poetry. But melancholy was also a political disease the physical expression of “malcontents,” usually “gentlemen of good birth who had suffered frustration in their careers or who were out of tune with the prevailing political or religious attitudes of the day” (Strong 1969, p. 352). And the politics of melancholy crossed gender lines, too, as Robert Burton well knew:
As constructed in Elizabethan and Jacobean portraiture, the most fashionable form of melancholy developed a visual vocabulary connoting deep thought, superior wit, and an artistic bent. The visual idiom of the melancholic has been identified by Strong, and included:
There is a sense in which Robert Burton’s The Anatomy of Melancholy was an appropriate critical response to the romanticized image of melancholy then emerging. Burton’s scientific study (one of the premier texts of cultural biology) rejected the trappings of fashionable melancholy in preference of ancient ambiguities. His book was an unsettling account of the complex ways in which biological, social, and cultural processes interweave to produce the phenomena we experience as melancholy.
adding that “both men and women must take notice” of it. In her essay on the character of Ophelia in Shakespeare’s play, Hamlet, Elaine Showalter comments that the
Ophelia is exemplar of this:
Certainly, Burton would never have agreed with this. While accepting that Difficilis curatu in viris, multo difficilior in feminis because of women’s humoral predispositions, Burton did not believe in some clear-cut, gendered nature/culture polarity. Rather, as cited above, his statement concerning the politics of women’s melancholy invites us to attend to the many ambiguities found in early modern cultural representations of melancholy. |
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Portrait of a melancholic
Abraham Cowley (16181667), painted by Sir Peter Lely. View an enlarged 850 x 1022 pixel JPG image (182KB) |
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The playing of a musical instrument
(especially a lute or guitar), symbolizing love and pleasure, was a favorite Lely device. Although Oliver Cromwell demanded not to be “flattered” when Lely painted his portrait in 1654, but to have every facial blemish and roughness duly noted for posterity, cavalier poets such as Cowley preferred to be heroically idealized in a manner associated with the pre- and post-revolutionary court. Two different versions of manhood were at play here, with gender identities used to signify competing ideologies of power and social status. It is worth remembering that no matter how “feminine” Cowley’s idealized melancholic self may strike us today, Cowley pushed a male supremacist agenda, at one point even chiding painters for emasculating the sciences by (as was traditional) giving them female form. |
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17th-century engraving,
after another painting of Cowley by Sir Peter Lely. View an enlarged 600 x 749 pixel JPG image (99KB) |
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This less romantic portrait of Cowley drops the symbolic trappings of the melancholic poetic swain in favor of a more realistic portrayal of the whole man.
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» next (Portrait I)
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» Portrait I (Dürer’s Melencolia I, 1514) » Portrait II (Burton’s Anatomised Melancholy, 1628) » Portrait III (Cavendish’s “Studious She is and all Alone” frontispiece, 1655) » Portrait IV (Emblems for Melancholy and Pensiveness, 1709) |
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Related Links | ||||||||||
• an IN BRIEF topic on Melancholy’s other half, the gay she-philosopher • an IN BRIEF biography of Abraham Cowley • a GALLERY exhibit on Sir Peter Lely’s skill at psychological portraiture
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