Neoclassical Art (Unit 2)

1700s in the middle of the Enlightenment

When the Neoclassical period in the Academy began

Archaeology and art history

The absence of these disciplines is why Roman and Greek art are synonymous in classicism.

Rediscovery of Pompeii

Kickstarted a new obsession (Neoclassical) for all things classical

Winckelmann

Key figure to neoclassicism and art history. Authored what is considered the first art history book

The History of Ancient Art

By Winckelmann. Considered by many to be the first art history book containing initial discourses on art history

3-part progression

Winckelmann’s way of studying ancient art that lives beyond his lifetime. The first stage is primitive, the middle is the apex, and the third is the decline. Winckelmann felt that all art styles / movements went through this progression

Archaic Abstraction

The first stage in Winckelmann’s 3-part progression

Ideal naturalism

Or classical Greek art. The middle stage in Winckelmann’s 3-part progression and the highest point of a style and what all modern artists should strive toward

Overstylized decline

The third stage of Winckelmann’s 3-part progression. Followed the idea that all styles eventually declined and could not live up to their prime

Noble simplicity

The attribute that Winckelmann praised Mengs’ art for possessing

Not hiding classical influences

Mengs’ more blatant classical symbolism and inspiration. Praised by Winckelmann who believed he “got it”

Parnassus

Mengs’ piece of the sacred mountain of Apollo surrounded by muses

Apollo Belvedere

The Roman copy of an original Greek statue that Mengs directly took from in his piece, Parnassus

Female nudes

Present in the Rococo but not in Neoclassical work. Seen as a distraction and something that appealed to viewers’ sensibilities instead of their intellect

Male nudes

Everywhere in Neoclassical art. Inspired by the Greeks’ belief that the male body was the perfect body and a representation of the ideal human

Grand Tour

A very Enlightenment thing. Young aristocrats would travel and tour the cultural capitals of Europe: Rome, Florence, Madrid, Paris, London, etc. and would learn culture by osmosis. Helped spread Neoclassicism by igniting interests in classicism

Best rules from the best masters, learn from the past

The central premises for formal art academies starting with the French Academy

Academies of Art

Helped spread Neoclassical ideas. By the 1700s, every country that hoped to be a cultural player had one of these, and they are now seen as preservers of tradition and good morals. They assume more power during the Neoclassical era, and their grip on the art world is ironclad

Moralistic art

A Neoclassical idea that good art could make one a better person (and bad art would do the opposite). Stemmed from the idea that experiences better oneself

Academy anatomy studies

Done by instructing students to draw bits of a classical statue until their efforts were satisfactory (which meant assembling the statue further). Once they had achieved technical mastery, they were then allowed to work on live models

academies (senior theses)

The final for students of formal art academies, where they would render a live male model in the form of a classical statue, essentially correcting nature

Women

Were often not admitted to formal art academies since the curriculum necessitated sketching male nude models (as well as being generally discouraged from the career path and encouraged to take care of children instead). Those who were artists were pushed into portraits of children and dogs as well as still lifes as they did not involve male nude models. Those who were wealthy could afford to be outside this norm

Angelica Kauffman

One of the few women who made it into a formal art academy during the Neoclassical period. Made a living as a history painter tackling tales, myths, and stories from the classical past that emphasized womanly values (which meant she never needed male nude models in the neoclassical view)

Rococo in Great Britain

Never fully took off since it was seen as a French institution, and the country wanted nothing to do with France. Poked fun at the movement; their flavor of Neoclassicism functioned as an illustration of the reality of the fancifulness of it

Hogarth

Neoclassical artist. Set up a painting series about moral decay that followed an aristocratic family that fell apart: unhappy marriage, infidelity, flagrant spending, and the eventual fate of the countess who died in debt. A clear satire on Rococo values

The Grand Manner

Sir Joshua Reynolds’ new art form. Neoclassically-inspired. Doubled down on portraiture suggesting information about its subject and aimed to fuse history painting and portraiture

Sir Joshua Reynolds

One of the earliest champions of his British Neoclassical style. Became head of the British Academy and delivered a series of lectures where he laid out his vision for a new British art form: The Grand Manner

Neoclassicism in Britain

Not as political as it is in France. Involved itself in traditional concerns involving class and birthright. Avoided ruminations on political issues

Neoclassicism in France

The style of the revolution

Jacques-Louis David

Leader of the French Revolution and the biggest name in French Neoclassicism. Began painting Rococo art but revolutionized his style after his trip to Rome

Rome Prize

Incredibly prestigious scholarship that sent French artists to Rome on the government’s bill. Reserved for the top artists. Awarded to David and changed his art and outlook forever

Belisarius Begging for Alms

David’s return work and his acceptance piece into the Salon of 1781. Incredibly controversial for its overt messaging in its criticism of the Royal Court in France by comparing it to the scheming nobles of the Imperial Court who got Belisarius fired. Made David himself a sensational radical

Salon of 1781

The event where David’s controversial work criticizing the French Royal Court was displayed

Caravaggio

The Italian Baroque artist whom David studied extensively during his trip to Rome, resulting in his radical style experimentation and change

Oath of the Horatii

Reimagination of a Roman story. The 3v3 battle is three brothers against three brothers who are also the brothers of the formers’ wives. Only one Horatii brother survived the ordeal, and he kills the anguished women for their lack of patriotism. Hot painting and pro-revolutionary

Statement canvases

Become popular during the Neoclassical period. The larger a work, the more important it is

Horatii

Fought their cousins or brothers-in-law in the classic Roman story adapted by David. The surviving brother who kills the grieving women is meant to be a heroic figure to encourage the audience to do extreme things in the name of nationalism

Allegiance to a nation

A revolutionary idea in David’s Oath of the Horatii. Direct rebellion against the French monarchy, since it was specifically not allegiance to a king

Renaissance conventions

Apparent in David’s Oath of the Horatii. Grid pattern, use of triangular composition, and the repetition of 3s.

Rejection of the Rococo

Perpetuated by David’s pieces. No fuzziness or receding background with subjects in the picture plane and heavy tenebrism. No distractions. Wants the viewers to reject Rococo and prepare themselves to defend their nation

Bastille

Taken in 1789. Considered the apex of the French Revolution

New Republican government

Established post-revolution. Sets David in charge of the first Salon and the primary mover in the art of the future. Led by other Jacobins

Jacobins

The extremist wing of the French revolutionaries. Wanted all aristocrats dead and churches destroyed and advocated for a complete eradication of the old society. Found themselves in charge immediately following the revolution

Marat

Jacobin journalist who was tasked with purging anti-revolutionary sentiment in post-revolutionary France. Would send dissenters (or traitors) and their associates to be executed via guillotine. Eventually assassinated

Bathtub

Where Marat spent most of his time because of his itchy skin

Reign of Terror

Followed the French Revolution. Mass executions of those who opposed the revolutionaries in power. Led by Robespierre and other Jacobins in the government

The Death of Marat

By David, a friend of his who agreed with him politically. Presented Marat as a Christ-like figure struck down by the evilness of the royalists and their sympathizers. Portrayed as kind, gentle, and pathetic man of the people. Illustrated writing a letter that emphasized his philanthropy. Misconstrued the identity of his assassin as well as his own character and ignored the deaths he directly caused

Marat quote

“Society must be purged of its corrupt limbs. Five or six hundred cut off heads would have guaranteed freedom and happiness”

Marat’s assassin

Although interpreted as a royalist by David and other Jacobins, she was sympathetic to the revolution’s cause, only opposing the current leaders whom she believed corrupted the revolutionary spirit. Acted to protect her family members that would have otherwise been executed

David’s style

Although he claimed his work always sought a “noble Greek style,” his art was more stylistically similar to the Baroque works of Caravaggio using a similar style and techniques like tenebrism and only bore similarities to Greek and Roman art in subject matter

David’s politics

Glossed over a bit but are inseparable from his work. Evident that he is advocating for an extremist version of the revolution. Seen clearly in The Death of Marat where he went through various efforts to honor him

Neoclassicism style

Contains multitudes; not just Greek art / Roman art but Greek and Roman art filtered through the lens of the Italian Baroque, lacking a pure connection to classical art. Although artists learned from Greek and Roman sculpture, “learning the best rules” referred to learning from Renaissance and Baroque art and studying how those artists used their version of classicism

Robespierre

A jacobin and the main architect behind the Reign of Terror. About one year after David finished The Death of Marat, he is overthrown and executed

Minister of propaganda

David’s role/responsibility in the Reign of Terror

Napoleon Bonaparte

Spared David’s life after he is sentenced to death. Appoints him as his official painter of the new government. Although it differed from his politics, David faced imprisonment if he refused the offer

Its name recognition and popularity

What Napoleon appreciated about Jacques-Louis David’s style

Napoleon Crossing the Alps

A propaganda piece by David for Napoleon comparing him to the long history of conquerors who charged over the alps. Includes “Bonaparte,” “Hannibal,” and “Carlos Magnus” at the bottom of the piece

Hannibal

The Carthaginian general who invaded the Roman Republic

Carlos Magnus

aka Charlemagne

David’s Workshop

Arguably David’s most long-lasting contribution to the arts above his style. He trained an immense number of younger artists, meaning his ideas and aesthetic last well beyond his lifetime

Ingres

Jacques-Louis David’s most famous pupil