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UNIT SHEET #31 – 19TH CENTURY NEOCLASSICISM History: late 18th Century Europe: 1789 – French Revolution begins with the First French Republic from 1792 to 1794. 1796 – Rise of Napoleon Bonaparte (made Emperor by 1804) and defeated at Waterloo in 1815, exiled to Alba 1830 – July Revolution and overthrow of Bourbon monarchy. Louis Philippe reigns as constitutional monarch. Context: 1. Neoclassicism is a reaction against Rococo art-- Rejection of art made primarily to please, was decorative, escapist, bucolic, pastoral, and fantasy. 2. Neoclassicism is a logical conclusion to 18th century Naturalism – Expresses new sensibility in art which reflects new thinking in France of middle class people. The nobility of work and the simple life (Rousseau), reason and moral integrity (not hedonism/luxury) (Voltaire), and edification/content (not escape/fantasy) (Diderot). 3. Neoclassicism is an expression of The Enlightenment (The Age of Reason) – Rousseau, Locke, Diderot, Voltaire. - Thinking about the world, independent of religion, myth, or tradition. - Mankind can only find truth by using rational thought and evidence to support it – Doctrine of Empiricism forms the philosophical basis of Neoclassicism. 4. Revival of interest in Ancient Greece/Rome – Winckelmann’s writings, new discoveries of antiquity, Herculaneum/Pompeii, Piranesi’s prints of Rome. 5. The French Revolution adopts Neoclassicism and the Greek ideal of liberty and democracy in the light of reason and in reaction to the repressive monarchy. Propaganda – painting was used to promote the revolutionary ideals and highest virtues of the revolution. 6. Napoleon adopts Neoclassicism – painting and architecture served political agenda – propaganda – Napoleon saw himself as the new “Caesar” of a new empire, with Paris as the new Rome. Architectural programs promote that grandiose self-image – glorification of Napoleon in paintings. 18th Century Neoclassicism Artworks: David – Oath of the Horatii; Death of Marat Kaufmann – Cornelia Pointing to her Children as her Treasures West – Death of General Wolfe Houdon – George Washington Soufflot – Pantheon Jefferson – Monticello Boyle & Kent – Chiswick House 19th Century Neoclassicism Artworks: Painting David Napoleon Crossing the St. Bernard Coronation of Napoleon Ingres Grande Odalisque Apotheosis of Homer Girodet-Trioson Burial of Atala Sculpture Canova Pauline Borghese as Venus Architecture Vignon La Madeleine (Paris) 1800 1805 1814 1827 1808 1808 1807-1842 NEOCLASSICISM Intellectual Idealistic (collective good) Somber Objective Didactic - ideological Antiquity (Greece and Rome) - Events from past used metaphorically Archaeological discoveries Pompeii & Herculaneum Academic, political, and theoretical writing - Winckelmann Political and imperial ambitions - French Revolution - Napoleon Manifesto-like Detached presentation of subject matter Pontifical and propaganda Stage-like organization of figures Paint surface polished Physical accuracy Form is linear – clarity of contour Relief-like shallow space Harsh clear handling of light and shadow Sculpture-esque sharpness of modeling Severe simplicity Rigid (vertical/horizontal) orderly VS. ROMANTICISM General Characteristics Emotional Individualistic Impassioned Subjective Poetic – drawn to irrationality Subject Matter Contemporary life - Historical events - Interest in exotic cultures Liberation of Greece Modern catastrophes – revolutions Romantic poets - Byron Cause celebre - Revolution of 1830 - Revolution of 1848 Individual response Involved in subject matter Hysterical and histrionic Staged disorder, apparent randomness Stylistic Characteristics Loose gestural paint, “unfinished” quality Approximate representation of detail Form expressed in value/color Deeper space/diagonals Soft light, high contrast, atmospheric Diffused soft edges to forms Visual complexity Dynamic (diagonals) Apparent disorder The Role of “Nature” in 18th Century Art & Architecture: Relationship between nature (landscape gardening) and architecture in England & France: French Gardens: English Garden: - Formal French garden (as at Versailles) - Informal “romantic” sensibility - Duplicated and responded to architecture - Intimate, picturesque, sentimental - The ordering and controlling of nature, just as - Contrived to look natural – buildings set in architecture orders space nature to be vignettes - Symmetry, order, geometry - Asymmetry, apparent randomness