Neoclassical late 18th - early 19th century Neoclassical art embodies the reaction against Baroque and Rococo through the revival of classical forms and subjects, belief in high moral purpose of art, and balanced, clearly articulated forms.
Neoclassicallate 18th - early 19th century
Neoclassical art embodies the reaction against Baroque
and Rococo through the revival of classical forms and
subjects, belief in high moral purpose of art, and balanced,
clearly articulated forms.
Neoclassicism is the name
given to Western
movements in the
decorative and visual arts,
literature, theatre, music,
and architecture that draw
inspiration from the
"classical" art and culture
of Ancient Greece or
Ancient Rome.
The main Neoclassical
movement coincided with
the 18th century Age of
Enlightenment, and
continued into the early
19th century, latterly
competing with
Romanticism.
Psyche revived by the kiss of Love 1793
Antonio Canova (Italian, 1757–1822)
Marble
5 ft 1 in x 5 ft 6 in x 3 ft 3 ¾ in
Neoclassicism is a revival of the
styles and spirit of classic
antiquity inspired directly from the
classical period, which coincided
and reflected the developments in
philosophy and other areas of the
Age of Enlightenment, and was
initially a reaction against the
excesses of the preceding
Rococo style.
Ancient Greek art work was being
discovered. Much of it was just
fragments but it greatly influenced
the artists of this time They often
copied the works. The style was
described by such terms as "the
true style", "reformed" and
"revival"
The Artist Moved by the Grandeur of
Antique Fragments (1778 – 1779)
Henry Fuseli (1741–1825)
Red chalk on sepia wash
16.34 in x 13.98 in
Key Vocabulary:
Neoclassical – a revival in the 18th and 19th centuries in architecture and art,
especially in the decorative arts, characterized by order, symmetry, and simplicity of
style.
neo- “new”
classicism- in the arts, refers generally to a high regard for a classical period
revival- to bring something back that was missing or gone, to bring back to life
moral purpose- The reason why you do or don’t do something. The word morality
means "manner, character, proper behavior". It is the differentiation of intentions,
decisions, and actions between those that are "good" (or right) and those that are
"bad" (or wrong).
imitate – to copy or use the style of.
antique - of or belonging to ancient times, especially of, from, or characteristic of
ancient Greece or Rome.
excesses – an amount or quantity beyond what is normal or sufficient; a surplus.
balance-- is arranging elements so that no one part of a work overpowers, or seems
heavier than any other part. The three different kinds of balance are symmetrical,
asymmetrical, and radial. Symmetrical (or formal) balance is the most stable, in a
visual sense. When both sides of an artwork on either side of the horizontal or vertical
axis of the picture plane are exactly (or nearly exactly) the same the work is said to
exhibit this type of balance.
The French Revolution (1789–1799) was a period of radical social and political
upheaval in France that had a fundamental impact on French history and on modern
history
worldwide.
The Storming of the Bastille in July 1789 is widely regarded as the most iconic event of the Revolution.
Jacques-Louis David- (30 August 1748 – 29
December 1825) was an influential French painter
in the Neoclassical style, considered to be the
preeminent painter of the era. In the 1780s his
cerebral brand of history painting marked a change
in taste away from Rococo frivolity toward a
classical austerity and severity, heightened feeling
chiming with the moral climate of the final years of
the Ancien Régime. David later became an active
supporter of the French Revolution and friend of
Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts
under the French Republic. Imprisoned after Robespierre's fall from power, he
aligned himself with yet another political regime upon his release, that of
Napoleon I. It was at this time that he developed his Empire style, notable for
its use of warm Venetian colors. David had a huge number of pupils, making
him the strongest influence in French art of the early 19th century, especially
academic Salon painting.
The Horatii were male triplets from Rome. During a war between Rome and Alba
Longa during the reign of Tullus Hostilius (approx. 672-642 B.C.), it was agreed that
settlement of the war would depend on the outcome of a battle between the Horatii
and the Curiatii. The Curiatii were male triplets from Alba Longa and of the same age
as the Horatii.
In the battle, the three Curiatii were wounded, but two of the Horatii were killed. The
last of the Horatii, Publius, turned as if to flee. The Curiatii chased him but, as a result
of their wounds, became separated. This enabled Publius to slay them one by one.
Oath of the Horatii1784 oil on canvas
This painting shows the neoclassical art style, and employs various techniques that
were typical of it:
The background is de-emphasized, while the figures in the foreground are emphasized.
Overlapping ranks of profile figures are a common motif in classical art, and that of other ancient Near Eastern cultures.
The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is
emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it.
The use of dull colors is to show the importance of the story behind the painting over the painting itself.
The picture is clearly organized, depicting the symbolism of the number three and of the moment itself.
The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.
The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subject
The men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while
the women are all curved like the arches which are held up by the columns.
The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight,
perhaps foreshadowing that only one brother would survive the encounter.
The brother closest to the viewer (presumably destined to be the sole survivor) is dressed in colors matching that of the father
while the garb of the other brothers is obscured but seems to mimic the colors being worn by the women.
The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.
The only emotion shown is from the women, who were allowed to feel, while the men show stoic determination to do their duty.
That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment
and neoclassical idealism.
Like many works by David from that decade, the painting focuses on a classical subject, in this
case the story of the execution of Socrates, as told by Plato .
In this story, Socrates, as punishment for criticizing the government with his ideas and
philosophies, he is told he must either drink the poison hemlock or face exile. Socrates, rather
than fleeing, uses his death as a final lesson for his pupils, and faces it calmly.
In the painting, an old man in a white robe sits upright on a bed, one hand extended over a cup,
the other gesturing in the
air. He is surrounded
by other men of varying
ages, most showing
emotional distress. The
young man handing
him the cup looks the
other way, with his face
in his free hand.
Another young man
clutches the thigh of
the old man Socrates.
To the left of the
painting, the wall opens
into an arched
doorway, with more
men in the background
Death of Socrates1787 oil on canvas