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.
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July 27th, 2009 | Category: Neoclassical Art, Neoclassical Painting | 2 comments - (Comments are closed)
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. July 26th, 2009 | Category: Neoclassical Art, Neoclassical Painting | Comments are closed
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. July 21st, 2009 | Category: Neoclassical Art, Neoclassical Painting | Comments are closed
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, July 20th, 2009 | Category: Neoclassical Art, Neoclassical Painting | One comment - (Comments are closed)
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. July 19th, 2009 | Category: Neoclassical Art, Neoclassical Painting | 2 comments - (Comments are closed)
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