One man, dressed in rags, sits stoically in his throne as a laurel wreath is gently placed atop his head by an otherworldly angel. Surrounding him is his audience; men and women varying in facial expressions, dress, and appearance. All these personalities are so dissimilar to one another, yet so familiar to us. There is Shakespeare! There is Virgil! There is Raphael Sanzio! The man in the centre turns out to be Homer, the ancient Greek epic poet. Jean-Auguste-Dominique Ingres’ depiction of historical and mythological figures in his painting, Apotheosis of Homer embodies the neoclassical movement that hit popular painting like a tidal wave from the mid-18th century to the early 19th century. Neoclassical art enjoyed popularity as a result of a backlash against the popular styles of the day which were viewed to represent the degeneracy of art. Ingres’ painting perfectly reflects the spirit of neoclassical painting: elements of the new meeting the glories of the past. Continue reading to THE ARTICLE »
The movement of neoclassicism was elevated by rejecting the popular movements of its day. Throughout the art world (centered primarily in Europe), the popular movement of the early 18th century in artistry was the Rococo style – which itself had been born as an extension to the baroque movement. To subscribers of neoclassical paintings, the rococo style embodied everything that had become degenerate about the function and aesthetics of art itself. Much like the rococo style sought to remove itself from the baroque paintings that dealt with saints, religious iconography, and the divine by focusing on the affirmation and pleasures of this life, the neoclassical painters sought to remove itself from the aloof nature of rococo. In turn, the two main ingredients that created neoclassicism became nostalgia and the romantic sentiment of rejecting contemporary society’s evils. Continue reading to THE ARTICLE »
“The most important aspects of classical art,” observed German historian and archaeologist Johann J. Winckelmann, “is its noble simplicity and calm grandeur.” As an archaeologist, Winckelmann became inspired by the ancient artifacts being recovered at the ruins of Pompeii and Herculaneum. In the late 1700s, the popular stylization in European art was baroque and rococo styles. To critics, these styles were vain and overly ostentatious to be truly considered art. Rococo art, for example, symbolized European aristocracy with its attention on great scale and themes of worldly pleasures. Likewise, baroque art became an institutionalized art because it often portrayed the grandeur and power of the Catholic Church, which supported the style. The new age of painters became disenchanted with this status quo. Occurring concurrent with societal and political shifts in Europe, neoclassical style was born. Continue reading to THE ARTICLE »
“The only way for us to become great”, observed Johann Joachim Winckelmann “lies in the imitation of the Greeks”. With this idea, the German-born art historian Johann Joachim Winckelmann encapsulated the movement of neoclassicism. Seeking to recapture the essence of classical Greek and Roman art, neoclassicism became the widespread movement in visual art in the mid-18th century. It gained popularity partly as a backlash against the baroque and rococo styles that concerned themselves with aristocracy, excess, institutionalism, and vanity. This sentimentalism towards civilizations past was not limited to art. It was rooted in the societal and political happenings of the time, especially in Europe. Neoclassicism became more than an art style to many countries: it became intertwined with the moral revolutions of the century. To Winckelmann, art needed to move its audience and teach virtue. Much like in the civilizations of Greece and Rome, art represents and serves humanity. Continue reading to THE ARTICLE »
When the name “Napoleon Bonaparte” is mentioned, the visual that immediately pops into minds is one of the former Emperor sitting on a horse, braving the stormy weather, and gesturing his hands forward to symbolize the inevitability and greatness of his conquests. This iconic image was intended by design to become indelibly linked with Napoleon Bonaparte’s accomplishments in life. The painting being alluded to is the famous, Napoleon Crossing the Alps. This picture not only embodies the allure Napoleon himself wanted to convey, but it reflects the spirit and mood of artists in that period too. This portrait was painted by the man often credited for being the most influential French painter during the neoclassical art movement, Jacques-Louis David. David personified the profound shift in societal values through his style of art: From the pre-French Revolution days of Rococo art that espoused frivolity, excess, and wealth toward more romantic, more classical, and moral-driven style of painting. Continue reading to THE ARTICLE »
In our society, an obsession with the human body is commonly interpreted to signify a perversion. To neoclassical painters, such a cynical view is understandable. Not because the person himself (let us be honest about the popularly accused gender) is perverted per se, but because etiquette and morality has trumped understanding and reason. This signifies a different sort of societal perversion; a different sort of decadence. Neoclassical painters explicitly created their works to reverse this decadence, to return to the days when proper virtue and culture reigned supreme. The classical Greek and Roman civilizations, for example, affirmed their existence and embodied all that was good and possible for humanity. Society has often gone astray from this ideal, but painting was capable of helping restore and immortalize perfection. Neoclassical painters built neoclassicism on this possibility to restore perfection. Among the most prominent figures in this neoclassical movement was Jean-August Dominique Ingres. Continue reading to THE ARTICLE »
The vision of Joseph Marie Vien had for his paintings were to resurrect a classical style of art that had been led astray. Born in France in 1748 during a time when revolutionary sentiments began cooking, Joseph Marie Vien became a revolutionary in his own form. He began a movement through his neoclassical style. Whereas the paintings of his day concerned themselves more with frivolity and design, Joseph Marie Vien concerned himself with returning to the ideals of classical Greek and Roman antiquity. His style was minimalist in shapes and design, but his goal, as an artist, was for the thematic weight of his pieces to carry its weight. Continue reading to THE ARTICLE »
The movement of neoclassicism in art is often mistakenly characterized by its secularism. French painters that became the leaders of the neoclassical movement such as Jacques Louis-David and Joseph Marie Vien dedicated their paintings to support the political and social changes of their time. Namely, the French Revolution which sought to reject in one fell swoop its historical precedents, traditions, and what individuals viewed to be institutional impediments in achieving full human potential. The Church was viewed to be among these institutions. In this way, neoclassical arts evolved to be viewed as being antithetical to the traditions that were developed in post-classical Greek and Roman civilizations. But, that is a false conclusion to draw. One of the great painters of 18th century, Continue reading to THE ARTICLE »
Though he was trained to become a goldsmith, Pompeo Batoni’s heart and talent lay elsewhere. And despite his immense talents in painting, Batoni contributions to neoclassical painting are often overlooked and forgotten. His role of bringing back to life classical antiquity in mainstream art is often ignored. That is the result of several factors, but predominantly it is due to how little is actually known about Pompeo Batoni. Questions concerning who trained him and how he developed his skill remain unanswered. Indeed, when he moved to Rome at age 19 in 1727, the first documented case of Batoni’s works appear when he needed to support himself by drawing antique objects and British tourists in the city. Essentially, Pompeo Batoni was a glorified street portraitist. But, the story of Pompeo Batoni and his art only develops from there. Continue reading to THE ARTICLE »
Jacques Louis David
When the name “Napoleon Bonaparte” is mentioned, the visual that immediately pops into minds is one of the former Emperor sitting on a horse, braving the stormy weather, and gesturing his hands forward to symbolize the inevitability and greatness of his conquests. This iconic image was intended by design to become indelibly linked with Napoleon Bonaparte’s accomplishments in life. The painting being alluded to is the famous, Napoleon Crossing the Alps. This picture not only embodies the allure Napoleon himself wanted to convey, but it reflects the spirit and mood of artists in that period too. This portrait was painted by the man often credited for being the most influential French painter during the neoclassical art movement, Jacques-Louis David. David personified the profound shift in societal values through his style of art: From the pre-French Revolution days of Rococo art that espoused frivolity, excess, and wealth toward more romantic, more classical, and moral-driven style of painting.
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