MODULE 7: 18th c. art in europe: Neo-Classicism, Chapter 26 & 27

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 Modules: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16

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Neo-Classicism - a comprehensive cultural revival of ancient Greek and Roman style and aesthetics in Europe and North America (1750 to early 1800's) linked to contemporary political events (French Revolution, American Revolution, English Industrial Revolution, etc.)- Replacing what was seen as the sensuality and triviality of the rococo style with moralizing ideals, solemn austerity and rational order. Precursors to Neo-Classicism may be seen in the work of Nicolas Poussin (1594-1665). The broadest expression of Neo-Classicism may be seen architecture such as public building architecture influenced by Thomas Jefferson in America, the Regency of Classical Revival style in England, and the Empire style in France - its antecedents may be seen in the earlier Roman revival - Palladian (Andrea Palladio) style. French painter Jacques-Louis David is generally recognized as the great genius of Neo-Classic painting. David's student Jean-Auguste-Dominique Ingres continued his teacher's work into the early 1800's.

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SLIDE:
Boyle “Chiswick House” (1729) Pl. 26-22

Stylistic change in the arts occurs for a variety of reasons. Neo-Classicism was not just a change but also a rejection of Baroque and all of its attendant excesses. By appropriating the austerity of Classical Greek architecture, a moral stance was created. The Chiswick House presents the symmetrical balance of Greek temples with their fluted Corinthian columns, with an ordered landscape.

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SLIDE:
David “Oath of the Horatii” (1785) Pl. 26-48

Seldom in history, and perhaps never in the last two hundred years, has a work of art affected a significant number of citizens. The work of David, “The Oath of the Horatii,” is one of the exceptions. The socio-political environment of France in the 1780’s was extremely volatile. The “Oath…” was the kind of art that touched the revolutionary heart of the people. Expressing dedication to an ideal, this painting inflamed the populations desire for freedom and the resolve to get it.

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SLIDE:
David “Death of Marat” (1793) Pl. 26-49

Death as a political martyr gave Marat the kind of national heroism that brought people to tears. When his coffin was marched through the streets, David’s painting like a political banner followed it in solemn parade. The painting was hung at the site of Marat’s grave so all who came to honor the fallen political hero felt an enhanced gravity because of it.

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SLIDE:
Jefferson “Montecello” (1784) Pl. 26-54

Here we can see the Palladian influence has been transported to the American colonies. The colonists may have fought the British for independence and freedom, but they embraced fully the cultural traditions of England. Jefferson’s homage to Chiswick House is easy to recognize in the Neo-Classic architecture of Monticello.

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SLIDE:
Ingres “Large Odalisque” (1814) Pl. 27-4

As Neo-Classicism became institutionalized; its revolutionary passions were quelled and appropriated by the new (revived?) aristocracy. Ingres, a student of David, reformed Neo-Classic ideals into a fashionable cliché. The “Large Odalisque” demonstrates Ingres’ adherence to David’s lessons in composition.

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SLIDE:
Ingres “Portrait of Madam Raoul-Rochette” (1830) Pl. 27-5

In this drawing by Ingres, we can see the rigorously ‘tight’ focus in drawing that has led some of today’s critics, including artist David Hockney, to surmise that Ingres used a lens or camera as an aid in creating these precise images.
 

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