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Painting the Cannon's Roar: Music,the Visual Arts and the Rise of an Attentive Public in the Age of Haydn

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Overview

"From c.1750 to c.1810 the paths of music history and the history of painting converged with lasting consequences. The publication of Newton's Opticks at the start of the eighteenth century gave a 'scientific' basis to the analogy between sight and sound, allowing music and the visual arts to be defined more closely in relation to one another. This was also a period which witnessed the emergence of a large and increasingly receptive audience for both music and the visual arts - an audience which potentially included all social strata. The development of this growing public and the commercial potential that it signified meant that for the first time it became possible for a contemporary artist to enjoy an international reputation. Nowhere is this better illustrated than in the career of Joseph Haydn." Although this phenomenon defies conventional modes of study, the book shows how musical pictorialism became a major creative force in popular culture. Haydn, the most popular living cultural personality of the period, proved to be the key figure in advancing the new relationship. The connections between the composer and his audiences and leading contemporary artists (including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt, Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West) are examined here for the first time.
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Editorial Reviews

W. Dean Sutcliffe
This is a fascinating project, well conceived and of great interest not just to Haydnists but any who are interested in later eighteenth-century music.
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Product Details

  • ISBN-13: 9780754603931
  • Publisher: Ashgate Publishing, Limited
  • Publication date: 11/1/2001
  • Pages: 526
  • Product dimensions: 6.34 (w) x 9.49 (h) x 1.69 (d)

Table of Contents

List of Illustrations
Preface
Abbreviations
I Introduction: Painting and Music at the Crossroads 1
1 The Middle Ages and Renaissance 1
2 Newton's Opticks 7
3 Harmony for Ear and Eye 9
4 The Crossroads 13
II Popularity, Music and the Visual Arts 20
1 An International Language 20
2 Musical Biography: Carpani Exploding the Cannon 33
3 Vox Populi 50
III Steps to Parnassus 79
1 'How eye and ear are entranced': Haydn and Esterhazy Patronage 79
2 Artaria & Compagnie: Dealers in Prints and Music 95
3 Haydn and Goya 97
IV Talking Pictures and Moving Images: The Discourse on the Visual Arts in Eighteenth-Century Opera 124
1 Sacrificing Iphigenia: Algarotti, Tiepolo and Vanloo 125
2 Gluck and the Visual Arts 133
3 Painting the Cannon's Roar 150
V Musical Icons and the Cult of Haydn 162
1 A Public Image 162
2 Updating the Image 166
3 The Reluctant Sitter 169
4 Age and Youth 176
5 The Cult of Haydn 179
6 Physiognomy, Phrenology and Frankenstein 194
7 Hero 201
VI Developing Tastes: The Culture of Looking in England in the Early 1790s 207
1 A Visual Education: Haydn as Collector 207
2 A Popular Collection 229
3 Looking and Listening in London 242
VII 'Picture after picture': The Creation and The Seasons 258
1 Creating Waves 258
2 'Pictures for the ear' 269
3 Motion and the Dynamics of Light 277
4 Observing Nature 285
5 Moving Pictures 292
VIII 'Last Judgement' 305
1 Evolutionary Ends 305
2 Still Courting Popularity 314
3 Beyond the Crossroads 322
App Haydn's Collection 324
Notes 328
Bibliography 431
Index 473
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