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Blumauer's Aeneide, 1789. Creator: Daniel Nikolaus Chodowiecki
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Blumauer's Aeneide, 1789. Creator: Daniel Nikolaus Chodowiecki
Blumauer's Aeneide, 1789. Almanac: Konigl. Grosbritannischer Historischer Genealogischer Calender, 1790.
Aloys Blumauer's Vergils Aeneis travestirt (1783) is a travesty of the Aeneid for anticlerical purposes. Besides exploring its satirical techniques, the chapter places it in the context of the Austrian Enlightenment under Joseph II and the obsessive campaign by the enlightened against many Catholic practices
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Media ID 36364317
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Aeneid Aeneide Almanac Alois Blumauer Aloys Blumauer Blumauer Aloys Chodowiecke Daniel Nikolaus Chodowiecki Daniel Chodowiecki Daniel Nikolaus Comedy Daniel Chodowiecki Daniel Nikolaus Chodowiecke Daniel Nikolaus Chodowiecki Emperor Joseph Ii Enlightenment Fallen Falling Falling Off Farce Habsburg Lorraine Johannes Aloysius Blumauer Josef Benedikt Anton Michel Adam Josef Ii Joseph Benedict Anthony Michael Adam Joseph Benedikt Anton Michael Adam Joseph Ii Joseph Ii Holy Roman Emperor Maro Publius Vergelius Publius Vergilius Maro Stool Travesty Vergil Vergilio Vergilius Maro Publius Vergils Aeneis Travestirt Virgil Hiding Face Parody Satirical
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This print by Daniel Nikolaus Chodowiecki, titled "Blumauer's Aeneid," was published in the "Königl. Grosbritannischer Historischer Genealogischer Calender" (Royal British Historical Genealogical Calendar) in 1790. The image is a visual representation of Aloys Blumauer's travesty of Virgil's Aeneid, which was published in 1783. Blumauer's work, titled "Vergils Aeneis travestirt," was a satirical take on the Aeneid, created for anticlerical purposes during the Austrian Enlightenment under Emperor Joseph II. The enlightened campaign against many Catholic practices during the 18th century provided a fertile ground for such works. In this print, Chodowiecki depicts various scenes from Blumauer's travesty, including a dog sitting on a chair, reading a book with the title "Aeneis," while a figure hides his face in embarrassment. Another figure, possibly representing America or the New World, is shown falling off a chair, with dogs playing around him. The print is a testament to the humor and conceptual depth of the Austrian Enlightenment, as well as the cultural exchange between Europe and the Americas during this period. Chodowiecki's etching masterfully captures the essence of Blumauer's farcical take on the Aeneid, offering a glimpse into the complexities of the European cultural landscape of the late 18th century.
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