Zur Inszenierung des Rechts in der Malerei des späten 19. Jahrhunderts. Treppen als Schauplätze geschlechtsspezifischer Verherrlichung und Verurteilung

• Published in: Rechtsgeschichte : Rg : Zeitschrift des Max-Planck-Instituts für Europäische Rechtsgeschichte no. 32
• Main Author: Erk Volkmar Heyen
• Format: Journal Article
• Language: German
• Published: Max Planck Institute for Legal History and Legal Theory 01-09-2024
• Subjects: Gérôme; Segantini; stairs; status of women; Visualization of law
• ISSN: 1619-4993; 2195-9617
• DOI: 10.12946/rg32/280-297

The article begins by analysing two paintings by Francesco Hayez and Jean-Léon Gérôme, which pursue a national political interest and show women in a supporting role only. In paintings addressing socio-political themes, however, the depiction of women was much more differentiated. Particular attention is paid to an early work by Giovanni Segantini. In its first version, it shows a young, unmarried pregnant woman who has been refused absolution after confession, a scene which the work’s second version replaces with an old priest going to morning mass. The history of the creation and interpretation of both versions is presented as well as the staircase paintings that Segantini had become familiar with in the Pinacoteca di Brera in Milan and thus might have inspired his first version: in addition to the painting by Hayez, these include in particular those by Raffaello Sanzi and Federico Zandomeneghi. The article demonstrates that Segantini’s criticism of the Catholic church continues in the second version although disguised, and relates this criticism to the development of family law.