Which Art Movement Is Characterized by Heroics and the Dominance of Drawing Over Painterly Effects?

Neoclassicism

Neoclassicism refers to movements in the arts that draw inspiration from the "classical" art and culture of ancient Greece and Rome.

Learning Objectives

Identify attributes of Neoclassicism and some of its fundamental figures

Central Takeaways

Key Points

• The height of Neoclassicism coincided with the 18th century Enlightenment era, and continued into the early 19th century.
• With the increasing popularity of the Grand Tour, it became fashionable to collect antiquities as souvenirs, which spread the Neoclassical fashion through Europe and America.
• Neoclassicism spanned all of the arts including painting, sculpture, the decorative arts, theatre, literature, music, and architecture.
• More often than not speaking, Neoclassicism is defined stylistically by its utilize of straight lines, minimal use of color, simplicity of form and, of form, an adherence to classical values and techniques.
• Rococo, with its emphasis on asymmetry, bright colors, and ornamentation is typically considered to be the direct reverse of the Neoclassical style.

Key Terms

• Grand Bout: The traditional tour of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the appearance of large-scale rail transit in the 1840s.
• Enlightenment: A concept in spirituality, philosophy, and psychology related to achieving clarity of perception, reason, and knowledge.
• Rococo: A style of baroque architecture and decorative art, from 18th century France, having elaborate decoration.

The classical revival, besides known equally Neoclassicism, refers to movements in the arts that draw inspiration from the "classical" art and civilization of ancient Hellenic republic and Rome. The height of Neoclassicism coincided with the 18th century Enlightenment era, and connected into the early 19th century. The dominant styles during the 18th century were Baroque and Rococo. The latter, with its emphasis on asymmetry, bright colors, and decoration is typically considered to be the direct reverse of the Neoclassical mode, which is based on gild, symmetry, and simplicity. With the increasing popularity of the Thou Tour, it became stylish to collect antiquities as souvenirs. This tradition of collecting laid the foundations for many great art collections and spread the classical revival throughout Europe and America.

Neoclassicism grew to encompass all of the arts, including painting, sculpture, the decorative arts, theatre, literature, music, and architecture. The way can generally be identified by its utilize of straight lines, minimal employ of color, simplicity of form and, of course, its adherence to classical values and techniques.

In music, the flow saw the rise of classical music and in painting, the works of Jaques-Louis David became synonymous with the classical revival. However, Neoclassicism was felt near strongly in compages, sculpture, and the decorative arts, where classical models in the aforementioned medium were adequately numerous and accessible. Sculpture in detail had a great wealth of ancient models from which to learn, withal, most were Roman copies of Greek originals.

Rinaldo Rinaldi, Chirone Insegna Ad Achille a Suonare La Cetra : Executed in a classical style and adhering to classical themes, this sculpture is a typical instance of the Neoclassical style.

Neoclassical architecture was modeled after the classical fashion and, every bit with other art forms, was in many ways a reaction against the exuberant Rococo manner. The architecture of the Italian architect Andrea Palladio became very pop in the mid 18th century. Additionally, archaeological ruins found in Pompeii and Herculaneum informed many of the stylistic values of Neoclassical interior design based on the ancient Roman rediscoveries.

Villa Godi Valmarana, Lonedo di Lugo, Veneto, Italy: Villa Godi was 1 of the start works by Palladio. Its austere facade, arched doorways and minimal symmetry reflect his adherence to classical stylistic values.

Neoclassical Paintings

Neoclassical painting, produced by men and women, drew its inspiration from the classical fine art and culture of ancient Hellenic republic and Rome.

Learning Objectives

Talk over the overarching themes present in Neoclassical painting

Primal Takeaways

Central Points

• Neoclassical subject matter draws from the history and general culture of aboriginal Greece and Aboriginal Rome. Information technology is oftentimes described as a reaction to the lighthearted and "frivolous" subject affair of the Rococo.
• Neoclassical painting is characterized past the employ of straight lines, a smooth paint surface, the depiction of calorie-free, a minimal use of color, and the clear, crisp definition of forms.
• The works of Jacques-Louis David are usually hailed as the epitome of Neoclassical painting.
• David attracted over 300 students to his studio, including Jean-Auguste-Dominique Ingres, Marie-Guillemine Benoist, and Angélique Mongez, the last of whom tried to extend the Neoclassical tradition beyond her teacher's death.

Key Terms

• Enlightenment: A philosophical movement in 17th and 18th century Europe. Also known every bit the Historic period of Reason, this was an era that emphasized rationalism.

Background and Characteristics

Neoclassicism is the term for movements in the arts that describe inspiration from the classical fine art and civilisation of aboriginal Greece and Rome. The peak of Neoclassicism coincided with the 18th century Enlightenment era and connected into the early 19th century. With the advent of the Thousand Bout—a much enjoyed trip around Europe intended to innovate young men to the extended culture and people of their world—information technology became fashionable to collect antiquities as souvenirs. This tradition laid the foundations of many dandy collections and ensured the spread of the Neoclassical revival throughout Europe and America. The French Neoclassical style would profoundly contribute to the monumentalism of the French Revolution, with the emphasis of both lying in virtue and patriotism.

Neoclassical painting is characterized by the employ of directly lines, a smooth paint surface hiding brush piece of work, the delineation of calorie-free, a minimal use of color, and the clear, well-baked definition of forms. Its subject affair normally relates to either Greco-Roman history or other cultural attributes, such equally allegory and virtue. The softness of paint application and light-hearted and "frivolous" subject affair that characterize Rococo painting is recognized as the opposite of the Neoclassical style. The works of Jacques-Louis David are widely considered to be the epitome of Neoclassical painting. Many painters combined aspects of Romanticism with a vaguely Neoclassical style before David'south success, but these works did not strike any chords with audiences. Typically, the subject field thing of Neoclassical painting consisted of the depiction of events from history, mythological scenes, and the architecture and ruins of ancient Rome.

The School of David

Neoclassical painting gained new momentum with the great success of David'south Adjuration of the Horatii at the Paris Salon of 1785. The painting had been commissioned by the imperial government and was created in a style that was the perfect combination of idealized structure and dramatic effect. The painting created an uproar, and David was proclaimed to accept perfectly divers the Neoclassical taste in his painting style. He thereby became the quintessential painter of the movement. In The Oath of the Horatii, the perspective is perpendicular to the picture plane. Information technology is divers by a night arcade backside several classical heroic figures. At that place is an chemical element of theatre, or staging, that evokes the grandeur of opera. David soon became the leading French painter and enjoyed a smashing bargain of authorities patronage. Over the course of his long career, he attracted over 300 students to his studio.

Jacques-Louis David. The Oath of the Horatii (1784): Oil on canvas. Musée du Louvre, Paris.

Jean-Auguste-Dominique Ingres, a Neoclassical painter of history and portraiture, was one of David's students. Securely devoted to classical techniques, Ingres is known to have believed himself to be a conservator of the way of the ancient masters, although he afterwards painted subjects in the Romantic fashion. Examples of his Neoclassical work include the paintings Virgil Reading to Augustus (1812), and Oedipus and the Sphinx (1864). Both David and Ingres made use of the highly organized imagery, straight lines, and conspicuously defined forms that were typical of Neoclassical painting during the 18th century.

Virgil Reading to Augustus past Jean-Auguste-Dominique Ingres (1812): Oil on canvas. The Walters Art Museum.

While tradition and the rules governing the Académie Française barred women from studying from the nude model (a necessity for executing an effective Neoclassical painting), David believed that women were capable of producing successful art of the style and welcomed many every bit his students. Amongst the most successful were Marie-Guillemine Benoist, who eventually won commissions from the Bonaparte family, and Angélique Mongez, who won patrons from as far away as Russia.

Self-Portrait by Marie-Guillemine Benoist (1788): In this untraced oil on sail, Benoist (then Leroulx de la Ville) paints a section from David's acclaimed Neoclassical painting of Justinian's blinded general Belisarius begging for alms. Her return of the viewer's gaze and classical attire show her confidence as an artist and conformity to artistic trends.

Mongez is best known for existence one of the few women to paint monumental subjects that often included the male nude, a feat for which hostile critics oftentimes attacked her.

Theseus and Pirithoüs Immigration the Earth of Brigands, Deliver Two Women from the Hands of Their Abductors by Angélique Mongez (1806): Oil on canvas. Hermitage Museum, St. Petersburg, Russia.

Mongez and Antoine-Jean Gros, another of David's students, tried to carry on the Neoclassical tradition after David'due south death in 1825 but were unsuccessful in face of the growing popularity of Romanticism.

Neoclassical Sculpture

A reaction against the "frivolity" of the Rococo, Neoclassical sculpture depicts serious subjects influenced by the aboriginal Greek and Roman past.

Learning Objectives

Explain what motifs are common to Neoclassical sculpture

Key Takeaways

Key Points

• Neoclassicism emerged in the second half of the 18th century, following the excavations of the ruins of Pompeii, which sparked renewed involvement in the Graeco-Roman world.
• Neoclassical sculpture is divers by its symmetry, life-sized to awe-inspiring scale, and its serious subject affair.
• The subjects of Neoclassical sculpture ranged from mythological figures to heroes of the past to major contemporary personages.
• Neoclassical sculpture could capture its subject as either idealized or in a more than veristic manner.

Key Terms

• verism: An ancient Roman technique, in which the subject is depicted with "warts and all" realism.

Every bit with painting, Neoclassicism made its way into sculpture in the 2d half of the 18th century. In addition to the ideals of the Enlightenment, the excavations of the ruins at Pompeii began to spark a renewed interest in classical culture. Whereas Rococo sculpture consisted of pocket-sized asymmetrical objects focusing on themes of love and gaiety, neoclassical sculpture assumed life-size to monumental scale and focused on themes of heroism, patriotism, and virtue.

In his tomb sculpture, the Enlightenment philosophe Voltaire is honored in truthful Neoclassical form. In a way influenced by aboriginal Roman verism, he appears equally an elderly man to honor his wisdom. He wears a contemporary commoner's blouse to convey his humbleness, and his robe assumes the appearance of an ancient Roman toga from a distance. Like his ancient predecessors, his facial expression and his body language advise an air of scholarly seriousness.

Voltaire's tomb.: Panthéon, Paris.

Neoclassical sculptors benefited from an abundance of ancient models, albeit Roman copies of Greek bronzes in nearly cases. The leading Neoclassical sculptors enjoyed much acclaim during their lifetimes. One of them was Jean-Antoine Houdon, whose work was mainly portraits, very often as busts, which do not sacrifice a stiff impression of the sitter's personality to idealism. His style became more classical as his long career continued, and represents a rather smooth progression from Rococo charm to classical dignity. Different some Neoclassical sculptors he did non insist on his sitters wearing Roman dress, or being unclothed. He portrayed most of the groovy figures of the Enlightenment, and traveled to America to produce a statue of George Washington, besides equally busts of Thomas Jefferson, Benjamin Franklin, and other luminaries of the new commonwealth. His portrait bosom of Washington depicts the beginning President of the United States every bit a stern, notwithstanding competent leader, with the influence of Roman verism evident in his wrinkled forehead, receding hairline, and double mentum.

Bust of George Washington by Jean-Antoine Houdon (c. 1786)

National Portrait Gallery, Washington, DC.

The Italian artist Antonio Canova and the Danish artist Bertel Thorvaldsen were both based in Rome, and besides as portraits produced many ambitious life-size figures and groups. Both represented the strongly idealizing tendency in Neoclassical sculpture.

Hebe by Antonio Canova  (1800–05).: Hermitage Land Museum, St. Petersburg, Russia.

Canova has a lightness and grace, where Thorvaldsen is more severe. The divergence is exemplified in Canova'southward Hebe (1800–05), whose contrapposto well-nigh mimics lively trip the light fantastic steps as she prepares to pour nectar and ambrosia from a small amphora into a chalice, and Thorvaldsen's Monument to Copernicus (1822-30), whose subject sits upright with a compass and armillary sphere.

Monument to Copernicus by Bertel Thorvaldsen (1822–xxx).: Bronze. Warsaw, Poland.

Neoclassical Architecture

Neoclassical architecture looks to the classical by of the Graeco-Roman era, the Renaissance, and classicized Bizarre to convey a new era based on Enlightenment principles.

Learning Objectives

Identify what sets Neoclassical architecture apart from other
movements

Key Takeaways

Cardinal Points

• Neoclassical compages was produced by the Neoclassical movement in the mid 18th century. Information technology manifested in its details equally a reaction against the Rococo fashion of naturalistic ornament, and in its architectural formulas as an outgrowth of the classicizing features of Late Baroque.
• The first phase of Neoclassicism in France is expressed in the "Louis XVI style" of architects like Ange-Jacques Gabriel (Petit Trianon, 1762–68) while the second stage is expressed in the late 18th-century Directoire style.
• Neoclassical architecture emphasizes its planar qualities, rather than sculptural volumes. Projections and recessions and their furnishings of light and shade are more than flat, while sculptural bas- reliefs are flatter and tend to exist enframed in friezes, tablets, or panels.
• Structures such as the Arc de Triomphe, the Panthéon in Paris, and Chiswick Firm in London have elements that convey the influence of aboriginal Greek and Roman architecture, as well as some influence from the Renaissance and Late Bizarre periods.

Neoclassical compages, which began in the mid 18th century, looks to the classical past of the Graeco-Roman era, the Renaissance, and classicized Baroque to convey a new era based on Enlightenment principles. This movement manifested in its details as a reaction confronting the Rococo style of naturalistic ornament, and in its architectural formulas every bit an outgrowth of some classicizing features of Late Baroque. In its purest course, Neoclassicism is a manner principally derived from the architecture of Classical Greece and Rome. In form, Neoclassical architecture emphasizes the wall and maintains separate identities to each of its parts.

The first phase of Neoclassicism in France is expressed in the Louis Xvi manner of architects like Ange-Jacques Gabriel (Petit Trianon, 1762–68). Ange-Jacques Gabriel was the Premier Architecte at Versailles, and his Neoclassical designs for the regal palace dominated mid 18th century French compages.

Ange-Jacques Gabriel. Château of the Petit Trianon.: The Petit Trianon in the park at Versailles demonstrates the neoclassical architectural style under Louis Sixteen.

After the French Revolution, the second phase of Neoclassicism was expressed in the late 18th century Directoire style. The Directoire style reflected the Revolutionary belief in the values of republican Rome. This style was a menstruation in the decorative arts, fashion, and especially furniture design, concurrent with the post-Revolution French Directoire (November 2, 1795–November 10, 1799). The style uses Neoclassical architectural forms, minimal carving, planar expanses of highly grained veneers, and applied decorative painting. The Directoire style was primarily established past the architects and designers Charles Percier (1764–1838) and Pierre-François-Léonard Fontaine (1762–1853), who collaborated on the Arc de Triomphe in Paris, which is considered emblematic of French neoclassical architecture.

Arc de Triomphe: The Arc de Triomphe, although finished in the early 19th century, is emblematic of French neoclassical architecture that dominated the Directoire period.

Though Neoclassical architecture employs the same classical vocabulary as Late Baroque architecture, it tends to emphasize its planar qualities rather than its sculptural volumes. Projections, recessions, and their effects on calorie-free and shade are more apartment. Sculptural bas-reliefs are flatter and tend to be framed in friezes, tablets, or panels. Its clearly articulated individual features are isolated rather than interpenetrating, autonomous, and consummate in themselves.

Even sacred architecture was classicized during the Neoclassical period. The Panthéon, located in the Latin Quarter of Paris, was originally built equally a church dedicated to St. Geneviève and to house the reliquary châsse containing her relics. Yet, during the French Revolution, the Panthéon was secularized and became the resting place of Enlightenment icons such every bit Voltaire and Jean-Jacques Rousseau. Designer Jacques-Germain Soufflot had the intention of combining the lightness and effulgence of the Gothic cathedral with classical principles, but its role as a mausoleum required the bully Gothic windows to be blocked. In 1780, Soufflot died and was replaced past his student, Jean-Baptiste Rondelet.

Jacques-Germain Soufflot (original architect) and Jean-Baptiste Rondelet. The Panthéon.: Begun 1758, completed 1790.

Like to a Roman temple, the Panthéon is entered through a portico that consists of 3 rows of columns (in this case, Corinthian) topped by a Classical pediment. In a fashion more closely related to aboriginal Greece, the pediment is adorned with reliefs throughout the triangular space. Beneath the pediment, the inscription on the entablature translates as: "To the great men, the grateful homeland." The dome, on the other mitt, is more influenced by Renaissance and Bizarre predecessors, such as St. Peter's in Rome and St. Paul'southward in London.

Intellectually, Neoclassicism was symptomatic of a want to render to the perceived "purity" of the arts of Rome. The movement was besides inspired by a more than vague perception ("ideal") of Aboriginal Greek arts and, to a lesser extent, 16th century Renaissance Classicism, which was also a source for bookish Late Bizarre compages. In that location is an anti-Rococo strain that tin be detected in some European architecture of the before 18th century. This strain is virtually vividly represented in the Palladian compages of Georgian Great britain and Ireland.

Lord Burlington. Chiswick House: The pattern of Chiswick House in West London was influenced by that of Palladio'due south domestic architecture, particularly the Villa Rotunda in Venice. The stepped dome and temple façade were clearly influenced by the Roman Pantheon.

The trend toward the classical is also recognizable in the classicizing vein of Belatedly Baroque compages in Paris. It is a robust compages of self-restraint, academically selective at present of "the best" Roman models. These models were increasingly available for close report through the medium of architectural engravings of measured drawings of surviving Roman architecture.

French Neoclassicism continued to exist a major force in bookish art through the 19th century and beyond—a constant antonym to Romanticism or Gothic revivals.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/neoclassicism/

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