Skip to main content. Log in Sign up Home. Contact us. Your Benefits Join as an Artist F. Missing you Motivational. Toggle background. Lorenz Eitner, ed. Neoclassicism and Romanticism, Sources and Documents, vols.
What is Neoclassicism? Winterer on classical imagery and American ideas For European and American opinion makers, clergy, and writers, Greco-Roman literature and philosophy were central to formal education; classical works were the common currency of cultural exchange.
Neoclassical Aesthetics With profound enthusiasm for the new aesthetic they were creating, 18th-century scholars, archaeologists, architects, and even political leaders examined newly discovered artifacts, not only manuscripts but also old pottery and coins, for example, looking for historical clues to what made a great civilization and culture.
For more about Johann Winckelmann The Invention of Antiquity : an exhibition with photographs Neoclassicism left an array of paintings, sculpture, buildings, and furniture freighted with inventive and sometimes radical forms. To define and categorize Neoclassicism, the art historian George Heard Hamilton stated in The use of Greek and Roman forms for symbolic as well as functional purposes, which was a continuous and often dominant tendency in Western art for a century after , has been called the Classic Revival, or Neoclassicism, and can be divided into two periods, with a Roman phase conspicuous until and a Greek one thereafter.
Washington Monument, The obelisk was both an Egyptian and Roman symbol of perpetuity and power. For more about the Washington Monument Between the s and s, with many long interruptions, Americans built a colossal obelisk in the middle of the national capital, a symbolic fixture of ancient Egypt and Rome, and called it the Washington Monument. Defining Neoclassicism According to the Art Institute of Chicago: Neoclassicism is a term used to describe works of art that are influenced stylistically or thematically by Classical Greek and Roman sources.
To explain Neoclassicism, one course of study stresses three points of introduction: In aspirations, Neoclassicism idealizes purity of ancient Greece and republican Rome. Conviction runs through Neoclassicism that there are universals that embody permanent truths about what things are that can be discovered in the collected wisdom of antiquity. Classical ethics run deeply through the political and cultural aspirations of 18th and 19th century Americans. How does Neoclassicism extend classicizing tendencies from the Renaissance and previous centuries?
How is it different and new? How did Americans adapt the concepts of a republic , senate , rule of law , and capitol , borrowing them from ancient Rome? How is Neoclassicism part of larger American interest in the ancient Mediterranean? What is the "romantic" element of 18th- and 19th-century antiquarianism? In style and form how does Neoclassicism compare with the rococo that precedes it? What are the purposes of each building?
What are their prototypes? What emotions are they trying to convey through their antique references? Where do other temples and triumphal arches exist in the United States? Hugh Honour, Neo-classicism , Penguin, David Irwin, Neoclassicism , Phaidon, Small Herculaneum Woman B. Geschichte der Kunst des Alterhums Vol. Parnassus c. An Experiment on a Bird in the Air Pump depicted a scientific experiment as a heroic moment.
Oath of the Horatii was drawn from an account of the Horatii family in ancient Rome. Mercury was his reception piece for the French Royal Academy. Quick view Read more. Ingres was one of the last painters of the French Neoclassist tradition, whose charismatic portraits opened the path to the more passionate and modern Romantic movement.
Jacques-Louis David. William-Adolphe Bouguereau. Bouguereau was a French Academic painter that epitomized the Neoclassical tradition in his idealized bodies and setting.
His work was later derided by the Impressionists, who found oldfashined his artistic style and his continued instistance on the Neoclassical approach to art. Angelica Kauffman. The cultured, widely travelled, and multi-lingual Angelica Kauffman was a highly-respected Neoclassical artist of her day.
Arnold Bocklin. Arnold Bocklin was a Symbolist and Romantic Swiss painter whose mythological and fantastical figures are often combined with bizarre subject-matter. Lord Frederic Leighton. Lord Frederic Leighton was a leading figure in Victorian art and the President of the Royal Academy for almost two decades.
His works depicted historical, biblical and classical subject matter. Benjamin West. West took on the Neoclassical style and painted large-scale paintings that established his fame.
Antonio Canova. Antonio Canova drew inspiration from Greek and Roman art to become the leading and iconic sculptors of Neoclassicism. Jean-Antoine Houdon.
Houdon was the preeminent sculptor of the age of Enlightenment making portraits of greats like Voltaire and George Washington. Anton Raphael Mengs. Mengs was regarded by many in his day as Europe's most important painter and he was a strong advocate of formal arts education and national art academies with many of his former pupils going on to achieve prominent positions in Academies of Europe.
Classical Art. His figure, creating the base of a pyramidal grouping that rises to the partially furled flag above, and his pale face are lit up with a Christ-like illumination, making him the visual and emotional center of the work. To the left a group of officers stand in attendance, conveying a distress reminiscent of depictions of the mourning of Christ. In the left foreground, a single Indigenous man sits, his chin in his hand, as if deep in thought. Two more officers on the right frame the scene, while in the background the opposing forces mill, and black smoke from the battlefield and storm clouds converge around the intersecting diagonal of the flag.
A sense of drama is conveyed as the battle ends with a singular heroic sacrifice. Thomas Hinde tries to staunch the general's bleeding, and Lieutenant Colonel Simon Fraser of the 78 th Fraser Highlanders is shown in his company's tartan. While these identifiable portraits created a sense of accuracy and historical importance, almost all of them were not at the scene, and their inclusion reflects the artist's intention to compose an iconic image of a British hero.
The Indigenous warrior has attracted much scholarly interpretation, including the argument that he represents the noble savage, a concept advanced by the French philosopher Jean-Jacques Rousseau who extolled the simpler and therefore nobler character of "primitive" peoples.
At the same time, his inclusion also places the scene firmly within the New World, for the artist has carefully selected all the significant elements. For instance, in the background a British soldier is racing toward the group, as he carries the captured French flag. As historian Robert A. Bromley wrote, the overall effect is "so natural Sir Joshua Reynolds, along with other notable artists and patrons, urged the artist to depict the figures in classical Roman clothing to lend the event greater dignity, but West replied, "The same truth that guides the pen of the historian should govern the pencil of the artist.
William Woollett's engravings of the painting found an international audience, and West was commissioned to paint four more copies of the painting. The work, influencing the movement of many artists toward contemporary history painting, paved the way for David's Oath of the Tennis Court and John Trumbull's Declaration of Independence Its cultural influence continued well into the modern era, as, during the British Empire, as historian Graeme Wynn noted it, "became the most powerful icon of an intensely symbolic triumph for British imperialism," and in the British donated the work to Canada in recognition of their service in World War I.
Venus, the goddess of love, was jealous of Psyche, widely admired for her beauty, and sent her son, Cupid, so that his arrows would make the girl marry the ugliest of men.
Instead, Cupid fell in love with her, and, learning that the two were lovers, Venus sent Psyche to bring back a jar containing a "divine beauty" from the underworld. Though instructed to not open the jar, Psyche did so, only to fall into the sleep of the dead, as the jar actually contained the "sleep of innermost darkness.
The flowing lines of Psyche's reclining form are echoed in the drapery that partially covers her, and Cupid's melting embrace. Dubbed in his time as the "sculptor of grace and youth," Canova here creates a sense of heroic and innocent love, triumphing over death itself. Canova's innovative sculptural technique allowed him to convey the effect of living skin, feathered wings, realistically folding drapery, and the rough rock at the base.
Reflecting a Neoclassical scientific approach, his study of the human form was rigorous, as he employed precise measurements and life casts in preparation for working on the marble. For his depiction of Cupid, he was inspired by a Roman painting, which he had seen at the excavation site of Herculaneum.
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