Graphic Arts
In art, depicting a face reflecting the ravages of jealousy was a frequent studio exercise: see for instance drawings by Charles Le Brun (1619–1690) or Sébastien Leclerc (the Younger) (1676–1763), or in a fuller treatment, the howling figure on the left in Bronzino’s An Allegory with Venus and Cupid (probably 1540-50). Albrecht Dürer’s 1498 drawing, Hercules’s Jealousy depicts jealousy as a powerfully built woman armed with a sword. The theme of jealousy is frequently conveyed through images of the gaze as in Jean-Auguste-Dominique Ingres’s Paolo and Francesca (1819) which reveals the jealous husband’s gaze catching the young lovers’ first kiss. Edvard Munch’s many depictions of jealousy, however, tend to place the husband at the front of the painting with a couple behind him as if to suggest that jealousy is created more by the mind than by the gaze. This suggestion is intensified by his cunning use of symbolic colors. There are, nevertheless, lighter moments, as when Gaston de La Touche (1854–1913), in Jealousy or the Monkey shows a love scene interrupted by a monkey tugging on the woman’s dress. While popular images of jealousy tend to the lurid, it remains a source, both in literature and in painting, of highly creative artistic strategies that have little to do with the negative and destructive sides of the emotion itself.
Read more about this topic: Jealousy In Art
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