9. neo classicalism
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Neo-Classicism
Neo-Classicism is:
A revival of the styles and spirit of classic antiquity.
Inspired by the classical period of Greek Art . A reaction to the excesses of Rocco art. Aimed at achieving "noble simplicity and
calm grandeur“. Johann Joachim Winckelmann.
Neo-Classicism
Refers to Painting, sculpture and Architecture as well as writing and music.
The “Grand Tour” and fashion for collecting ‘antiquities’ helped spread the revival of Classical Art throughout Europe.
Influence on Architecture.
Important artists
Jacques–Louis David (1748-1825)
Jean Dominique Ingres (1780-1867)
Antonio Canova (1757-1822)
Jacques–Louis David (1748-1825)
David trained in the studio of Boucher. Won the Prix de Rome and studied in Italy for
5 years After the French revolution became a
politician with control of much government patronage in art.
He had to leave France for exile in Brussels at the restoration of the monarchy in France.
The Oath of the Horatii 1784Jacques-Louis David
http://smarthistory.khanacadem
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The Oath of the Horatii 1784
Three Horatii brothers are given swords by their father.
They swear an oath to fight until they die for their country.
One of the Horatii sisters (pictured on the right) is married to one of the enemy (the Curiatii).
One brother survives and returns home. He is condemned by his sister for killing her husband and the father of her children.
Subject matter
The surviving brother kills his sister because she puts herself and her family before the good of her country.
The idea here is that one must be willing to sacrifice—even sacrifice one's life and family members—for the state.
This idea was very influential on the French revolutionaries of 1789.
Features of the painting
Influence of geometry. Linear perspective. Three arches frame the three sets of figures. The triple screen of Doric columns and
arches. Muted colours Symmetry
The angle of the light heightens the muscularity of the male figures.
The light, which enters the room from the upper left, sharply defines mass and volume.
There is an influence of Caravaggio in the physical qualities of the male bodies
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The Death of Marat
Marat, a leader of the Revolution, was stabbed by a young woman called Charlotte Corday while he was in the bath.
David paints him in a dignified manner. Marat is dying, head weighing heavily on
shoulder, eyes drooping. The letter and knife as well as his pen are
included.
The Death of Marat
Clear light coming from the top left hand corner illuminates the face, body and objects.
The light is soft over the features and gets harsher over the letter in his right hand.
The colours are subtle-creams and whites contrast with the green of the blanket and the dark background. The wound is very subtle.
David’s signature is clearly printed on the crate.
Jean Aguste Dominique Ingres
1780-1867 Student of David Simple, linear style Influenced by Raphael Balanced compositions Idealised forms Sensual images
La Grande Odalisque, 1814 Jean-Auguste-Dominique Ingres
http://smarthistory.khanacademy.org/grand-odalisque.html
La Grande Odalisque
Painting shows an idealised North African setting.
An odalisque is a harem slave. Peacock fan, large pearls, turban and the
hookah pipe all part of French perception of the “Orient”
Comparisons and contrasts can be made to “Venus of Urbino” by Titian (1538)
http://ww
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La Grande Odalisque
Contrast between the dark background and the pale skin.
Balanced triangular composition. Her back is unnaturally long-the legs are in a
very strange and uncomfortable position. Languid pose. Face in profile with strong use of light from left
hand side.
Valpincon Bather
Jean-Auguste-Dominique Ingres
http://ww
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Valpincon Bather
Painted in 1808 Appeals to the senses Female nude shown from the back. Full length green curtain on left hand side Nude seated on a bed Wears a turban Angle of right leg very awkward.
Valpincon Bather
Paint applied perfectly smoothly Light coming softly from the top left hand side. Soft curves in background draw the viewers eye
to seated figure. Colours are soft-creams, whites, greys and
greens with pink on turban
Antonio Canova
Antonio Canova was born in Venice in 1757 In 1779 Canova visited Rome for the first time,
and two years later he returned to settle there permanently.
He is regarded as the leading light of Neo-Classical Sculpture.
Despite a job in the Vatican as an Art collector he was no slavish imitator. Instead he wished to emulate the works of Ancient Classical artists.
Technique
The methods he used demanded absolute precision.
Working from numerous preparatory sketches he modelled the form into a life-size clay version.
He then cast a plaster model of this which he marked up with points that were transferred on to the marble block.
Antonio Canova
His assistants would carve the marble into shape.
Only then, for “the last hand”, did Canova raise his chisel, sculpting the form and polishing the marble, using wax, to a fine, glistening finish.
Psyche Revived
by Cupid's Kiss
Psyche Revived by Cupid's Kiss
Commissioned in 1787 Exemplifies the Neo-Classical devotion to
love and emotion. It represents the god Cupid in the height of
love and tenderness, immediately after awakening the lifeless Psyche with a kiss,
Appeals to the senses of sight and touch.
Psyche Revived by Cupid's Kiss
Having been recently awakened, Psyche reaches up towards her lover, Cupid, as he gently holds her by supporting her head and breast.
The two lovers appear to be alive as the execution Antonio Canova has done on the marble shows realistic smooth skin, contrasted by the elements surrounding the two figures.
Psyche Revived by Cupid's Kiss
A sheet loosely draped around Psyche’s lower body, emphasizes the difference between the texture of skin and drapery.
Rough texture provides the basis of the rock upon which the composition is placed.
Fine curls and lines provide the hair and light feathery details create realistic wings upon the landing Cupid.
Psyche Revived by Cupid's Kiss
The statue is not meant to be immobile. In fact there is a handle near one of
Psyche’s feet as the statue was meant to revolve rather than remain stationary.
Many of Canova’s sculptures had custom built settings or a device that would move the base, thus the handle provided for some of the movement of the statue
Antonio Canova, Paolina Borghese as Venus Victorious, 1804-08
Paolina Borghese as Venus Victorious
Paolina Borghese was Napoleon Bonaparte's scandalous sister and she chose to be depicted as Venus, the goddess of love.
She is shown lying back on a couch. Canova captures the soft texture of her skin. Her head is slightly raised and in her hand
she holds an apple
Paolina Borghese as Venus Victorious
Her hair, a mass of curls bound in a Psyche knot, serves as a visual connector between old and new, being worn in imitation of ancient Greek styles, as was the fashion of the day.
Its careful arrangement offsets the smooth shallow planes of her torso.
Paolina Borghese as Venus Victorious
The couch Paolina lies on is carved from a different type of marble.
The base part of which is covered in rhythmically flowing drapery, much like on a catafalque (a raised platform used to bear coffins)
In Greek and Roman art the reclining female figure is frequently found on sarcophagus lids.
Acknowledgements
Art Associates Maria Moore
Margaret O’Shea
Local Facilitator TeamAine Andrews
Joe CaslinJane Campbell
Siobhan CampbellNiamh O’Donoghue
Niamh O’NeillKeith O’Rahilly
Sheena McKeonTony MorrisseyMonica White
Many thanks to the following for their invaluable contribution to the European Art History and Appreciation series of workshops and resource materials.
PDST Professional Development Service for Teachers
PDST Professional Development Service for Teachers
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Skills under the National Development Plan 2007 -
2013
Cultural & Environmental Education
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