03/02/2021
“Anguish” by August Friedrich Schenck (1876/1880)
“Via Google Arts & Culture: ‘In this painting, Schenck has given his distraught ewe an expression suggestive of despair mingled with stoic determination. Recognising these decidedly human responses, the viewer might be expected to identify immediately with the animal’s grim predicament. The ewe’s bravery in the face of the threat posed by the murderous circle of crows is perhaps, however, somewhat overstated in her defiant stance above the bleeding lamb. There is little subtlety evident in this work.’
Interestingly, if we accept that there is an anthropomorphic quality in Anguish, then the surreal massing of the crows may well be Schenck’s method of alluding to the inhumanity prevalent in society. He may here be examining the broader human condition, in the context of an animal painting. Text by Laurie Benson from 19th century painting and sculpture in the international collections of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2003, p. 60.
Via Timeout - Nicola Dowse: ‘In its time, ‘Anguish’ (and paintings like it) were incredibly popular. Schenck specialised in showing paintings of animals in distress – especially sheep – and was very successful in that endeavour. Death and suffering were very fashionable during the late 19th century, partly because Queen Victoria had entered an unrelenting period of mourning for her husband, Prince Albert, and partly because death was literally everywhere. ‘People loved these allegories of animals taking on human emotions,’ says Gott. ‘A mother visiting the [Paris] salon can imagine if her own child was ill or if she had lost a child. That was very common in the 1860s, '70s and '80s because there wasn’t proper sanitation.’”
Repost via Philly Death Doula Collective. Image via Google Arts and Culture.