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2 results

  • Chapter 18 - Epilogue: Géricault Goes to Cato Street

  • from Part Five - The Executions
  • Vic Gatrell, University of Cambridge
  • Book:
    Conspiracy on Cato Street
    Published online:
    06 April 2022
    Print publication:
    12 May 2022, pp 379-389

  • Summary

    Géricault’s preliminary sketch of a hanging was the most original of all his works in London, though it has been little discussed. Its depiction of the Cato Street executions still passes unrecognised. This chapter proves that these were indeed its subject. More widely, for the first time in art history it shows a hanging without making the execution stand for something other than itself – sharing kinship in this with Goya’s Third of May 1808 (though that work was unknown to Géricault). Géricault’s unflinching pity may anticipate our own.

  • THE WRITING BEHIND THE WALL: TEXT AND IMAGE IN LATE MEDIEVAL CHURCH DECORATION

  • Madeleine Gray
  • Journal:
    The Antiquaries Journal / Volume 102 / September 2022
    Published online by Cambridge University Press:
    19 January 2022, pp. 228-251
    Print publication:
    September 2022
    • Article
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  • The relationship between text and image in later medieval art is complex and has a growing literature. Wall paintings in two churches in South Wales suggest ways in which text could inspire sophisticated programmes of paintings. At Llandeilo Talybont, a sequence telling the story of the Crucifixion through the Instruments of the Passion relates to medieval devotions to the Instruments and to readings from the Holy Week liturgy. At Llancarfan, a medieval satirical poem on fashionable clothing and a verse translation of the life of St George suggest links between the wall paintings of Death and the Gallant, the Seven Deadly Sins and St George. Apparently random collections of wall paintings may therefore reflect a process of interaction between public art and public knowledge of texts.