Morality and the Arts | Classical Era

 Resilience

This painting in particular has a special place in my heart. My first copy of Frankenstein by Mary Shelley had the wounded Philoctetes painting as its cover. While at first, I simply thought that the cover was beautiful because of its value and form, years later I realized it had served a purpose. Both pieces talk about issues of suffering, loneliness, and rejection by society (Tremper, 2017). Philoctetes is left behind because of his agonizing wound, similar to Frankenstein’s monster who was rejected by his creator (Green, 2019). Both of the characters had no control over their situation, it was simply unfair. The presentation of Philoctetes's suffering resonated with the creature's emotional pain, which aligned with the novel's theme of empathy and humanity.

Abildgaard, N. (1775) ‘The Wounded Philoctetes’. Copenhagen, Denmark: Nicolai

The piece portrays the story of Philoctetes. The hero was bitten on the foot by a snake and his cries of agony led his comrades to leave him on the barren island of Lemnos, where he was left alone to endure the pain for years. He was only allowed to return after the Greeks were told that they would win the war using his bow. His story tells one of betrayal, suffering, and eventual redemption, the painting celebrates the moral principle of patience and resilience in suffering, a theme celebrated in Neoclassical and Classical art. Abildgaard's sensitivity to the agony of Philoctetes' emotional and physical suffering increases the realism of the moment (Tremper, 2017). The stare of the figure, the bared teeth, and the straining of his muscles are all depicted in such a manner that the viewer cannot help but identify with Philoctetes. This type of emotional realism was important in the Neoclassical exploration of human nature (Irwin, 2025). The composition of the painting serves to emphasize the heroic human condition in its focus on the inner resilience necessary to withstand suffering. Philoctetes stands for a morally rich figure, a hero who has been forsaken yet still endures. 

Corruption

The artwork depicts the moment when Susannah bathes peacefully without knowing that two older judges are observing her from the side as they are infatuated with her beauty. When they try to impose their unwelcome advances on her, Susannah resists them demonstrating courage and integrity in her refusal. The elders are not pleased with her denial and charge her with adultery, leading her to be put on trial for her execution. When no one bears witness to establish her innocence, the heavens overheard her cries and she was rescued (Glancy, 2009). Despite the serene landscape and the vibrant colors, the painting is a moral tale of the dramatic tension between virtue and corruption. 

Batoni, P. (1751) ‘Susannah and the Elders’. Rome, Italy: Pompeo

Batoni's use of values in the composition emphasizes the ethereal glow of Susannah's appearance. The dark tones of the elders create a dramatic effect making the emotional impact of the story more intense. Her soft appearance highlights the purity and innocence of Susannah, whereas the darker tones of the elders reflect their malicious motives. This strong contrast allows the audience to view Susannah as the embodiment of righteousness, strongly defying the elders and their intentions. While the Rococo style is often criticized for being sensual and indulgent, Botani rises above the criticism because of how he can depict a greater meaning in the representation of the piece (Lotha, 2025). Through his work, he takes a brightly colored scene and turns it into a profound analysis of the theme of virtue, making the viewer consider the lesson of the painting more seriously.

Innocence

The painting shows a young lady seated with an anguished look over a dropped basket, an older lady is scolding her alongside a young man who stands there. A boy nearby holds the broken eggs trying to piece it back together as it spills out of his hands. At first glance, the scene looks as though it is depicting an innocent accident. However, the broken eggs here may represent lost innocence or a moral fall. The innocence brought by the boy fixing the eggs contrasts with the implied moral lesson in the adult characters as if he is trying to bring back the girl's lost innocence (Panero, 2021). Broken eggs in art are often symbolic of lost virginity or moral decay (French, 1970). Considering Greuze's use of moral narratives, the painting is likely referring to a seduced woman or an act of seduction (Panero, 2021). While the painting is rich in its symbolism as well as its visual aspects, I found myself having mixed emotions towards this particular piece. The colors and lighting appear natural, giving the painting a more realistic tone. I find myself focusing more on the story than the painting itself, it almost feels like we should not be witnessing the scene. 

Greuze, J. B. (1756) ‘Broken Eggs’ Rome, Italy: Jean-Baptiste

While keeping the Rococo style’s elegant characteristics, this piece was one of the beginnings of what would inspire Neoclassical principles. The painting fills the divide between the Rococo style's decorative elegance and the Neoclassical style's rational storytelling (Irwin, 2025). The connection of the painting with classical-era notions of art and morality lies in the way that 18th-century art developed from Rococo's sensual playfulness to more moralistic efforts under the influence of Neoclassicism (Zucker & Harris, 2025). Jean-Baptiste Greuze, although he worked during rococo times, inclined toward a moral narrative in a manner that would serve as inspiration for Neoclassical ideals. 

Works Cited

French, J.-B.G. (1970) Jean-Baptiste Greuze: Broken eggs, The Metropolitan Museum of Art. Available at: https://www.metmuseum.org/art/collection/search/436579 (Accessed: 19 March 2025).

Glancy, J.A. (2009) Susanna: Apocrypha, Jewish Women’s Archive. Available at: https://jwa.org/encyclopedia/article/susanna-apocrypha (Accessed: 19 March 2025).

Green, A. (2019) The monster is us: Mary Shelley on disability, gwallter. Available at: https://gwallter.com/literature/the-monster-is-us-mary-shelley-on-disability.html (Accessed: 18 March 2025).

Irwin, D. (2025) Neoclassical art, Encyclopedia Britannica. Available at: https://www.britannica.com/art/Neoclassicism (Accessed: 19 March 2025).

Lotha, G. (2025) Pompeo Girolamo Batoni, Encyclopedia Britannica. Available at: https://www.britannica.com/biography/Pompeo-Girolamo-Batoni (Accessed: 17 March 2025).

Panero, J. (2002) Erotic prudery, The New Criterion. Available at: https://newcriterion.com/article/erotic-prudery/ (Accessed: 19 March 2025).

Queensland Art Gallery: Gallery of Modern Art (2021) Queensland Art Gallery | Gallery of Modern Art. Available at: https://www.qagoma.qld.gov.au/stories/genre-painting-understanding-a-moral-message-european-masterpieces-from-the-metropolitan-museum-of-art-new-york/#:~:text=Broken%20Eggs%201756%2C%20a%20genre,innocence%20to%20repair%20the%20damage (Accessed: 19 March 2025).

Tremper, A. (2017) Grotesque triple decker: A casual scholar’s description of Mary Shelley’s Frankenstein, Aaron Tremper. Available at: https://aarontremper.wordpress.com/2013/09/04/grotesque-triple-decker-a-casual-scholars-description-of-mary-shelleys-frankenstein/ (Accessed: 18 March 2025).

Zucker, S. and Harris, B. (2025) Rococo art, an introduction, Smarthistory. Available at: https://smarthistory.org/a-beginners-guide-to-rococo-art/ (Accessed: 19 March 2025).