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The invention of the secular devotional picture

Abstract The rise of the ‘historical genre’, the genre historique, in the 1820s mirrored not only the ascent of history as ‘the paradigmatic form of knowledge to which all others aspired‘,1 but signified also the gradual dissolution of the traditional hierarchy of chosen subjects, a process that represents one of the distinctive characteristics of nineteenth- century art. Combining elements both of genre and history painting, the historical genre created a new mode for staging history that differed decisively from traditional history painting. Above all, the focus of both artists and audience shifted from the depiction of action to that of pure emotion as the agent of meaning, and thus the historical genre denounced the narrative that was still implied in the image but no longer fully articulated in the sense of a specific temporal succession. The decline of the narrative accompanied a profound concentration on the psychological state of the protagonists and the tendency towards sentimentalization that together contributed crucially to the disintegration of the traditional demarcations in genre.