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