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''Goethe in the Roman Campagna'' is a painting from 1787 by Johann Heinrich Wilhelm Tischbein, a German Neoclassical painter, depicting Johann Wolfgang von Goethe whilst the writer was travelling in Italy. Goethe's book on his travels to Italy from 1786–88, called ''Italian Journey'', was published in 1816–17; the book is based on his diaries. Since 1887, the painting has been in the possession of the Städel museum in Goethe's hometown Frankfurt.〔(【引用サイトリンク】title=goethe-in-the-roman-campagna-and-its-antecedents )〕〔(【引用サイトリンク】title=goethe-roman-campagna-1787 )〕 ==Painting== The painting is a full-length portrait. Goethe is gazing out through the landscape, with his eyes resting at infinity.〔(【引用サイトリンク】title=goethe-roman-campagna-1787 )〕〔(【引用サイトリンク】title=Goethe-in-the-Campagna )〕 The painter, Johann Heinrich Wilhelm Tischbein, whom Goethe met in Italy, portrays the writer as an idealized, almost otherworldly, person. Goethe wears a large wide-brimmed grey hat, fashionable among German artists in Rome at the time, and a creamy white traveler's duster. He is portrayed in a classical manner, sitting in the open air, surrounded by Roman ruins, with the Campagna di Roma in the background.〔(【引用サイトリンク】title=roman-campagna-revisited )〕 The artwork typically reflects the culture of the time in which it is created. The ruins in the background indicate the Neoclassicist love of antiquity. In contrast to the asymmetry of dominant Baroque and Rococo styles, Neoclassicism praised simplicity and symmetry and the classic principles of the arts of Rome and Ancient Greece. The love of classicism bound together the two artists, who both shared this interest, which is mirrored in the painting. Et in Arcadia ego (in ''German Auch ich in Arkadien!'' ) is the motto of the Italian Journey. The artists consciously chose a spiritual collaboration to produce the painting and used the Arcadian motif of the Roman Campagna.〔(【引用サイトリンク】title=The Enlightened Eye: Goethe and Visual Culture - page 37 )〕 The composition is balanced and the colours are restricted.〔(【引用サイトリンク】title=Auch ich in Arkadien? The Allure of Italy for the German traveller in Goethe’s Italienische Reise, Eichendorff ’s Aus dem Leben eines Taugenichts and Heine’s Reise von München nach Genua )〕〔(imagines Italy as a pre-industrial pastoral idyll, an Arcadia where he can escape the pitfalls of the modern world. By identifying it with Arcadia, Goethe portrays Italy as a place unspoilt by modern civilization, offering an escape from the pressures of the technologically advanced societies of northern Europe. Goethe’s critique of northern industrialized society was not unique, and foreign authors often ‘used the example of premodern and primitive Italy to critique the ambiguities and forms of alienation that accompanied modernity’ )〕 At the time Goethe was preoccupied with his verse drama ''Iphigenia in Tauris'', and he recited extracts to Tischbein. He was very impressed by it and depicted the scene of Iphigenia meeting her brother in the painting, on the relief behind Goethe to his left.〔(【引用サイトリンク】title=goethe-roman-campagna-1787 )〕 Also, both artist shared an interest for painting. Goethe's occupation with painting resulted seven years earlier Goethe's Theory of Colours ( ''Zur Farbenlehre'' ) is a book about the poet's views on the nature of colours and how these are perceived by humans. He published it in 1810, and it contained detailed descriptions of phenomena such as coloured shadows, refraction, and chromatic aberration.〔(【引用サイトリンク】title=Goethe's Theory of Colours )〕 The painting is a result of these many interest they had in common. In 1887 the painting was donated to the Städel museum by the private collector (1843–1922), at a time when the Goethe cult was at its peak. The new German Empire was looking for significant cultural icons which could form a collective past: Goethe and Schiller were elevated to national status. Tischbein's portrait became symbolic of the German high life of knowledge, art and culture. The painting is one of the highlights of the Städel collection, and is considered an icon of German national painting. It played an indisputable role in shaping the image of Goethe as he is perceived today, as embodying Germany's classical humanistic ideal.〔(【引用サイトリンク】title=The birth of a myth )〕〔(【引用サイトリンク】title=Goethe in the Roman Campagna )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Goethe in the Roman Campagna」の詳細全文を読む スポンサード リンク
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