NeoclassicismNeoclassicism

1750—18151750—1815

Key IdeasKey Ideas

The Enlightenment brought about a rejection of royal and The Enlightenment brought about a rejection of royal and aristocratic authority. The Rococo style was replaced by the aristocratic authority. The Rococo style was replaced by the Neoclassical, which was perceived as more democratic.Neoclassical, which was perceived as more democratic.

Neoclassicism was inspired by the unearthing of the ruins at Neoclassicism was inspired by the unearthing of the ruins at Pompeii and the books of art theorist Johann Winckelmann.Pompeii and the books of art theorist Johann Winckelmann.

Even if works of art depict current events or contemporary Even if works of art depict current events or contemporary portraits, there are frequent classical allusionsportraits, there are frequent classical allusions

The late eighteenth century was the age of the Industrial The late eighteenth century was the age of the Industrial Revolution: new technologies such as cast iron were introduced Revolution: new technologies such as cast iron were introduced into architecture, and for the first time it became more economical into architecture, and for the first time it became more economical to carve from bronze than marble.to carve from bronze than marble.

BackgroundBackground

Industrial RevolutionIndustrial Revolution Population Boom due to mass-production, technological innovation Population Boom due to mass-production, technological innovation

and medical scienceand medical science Improvements in quality of life that the Industrial Revolution yielded Improvements in quality of life that the Industrial Revolution yielded

was offset to mechanized work and inhuman working conditions.was offset to mechanized work and inhuman working conditions. Europe gets swept by a new intellectual transformation called The Europe gets swept by a new intellectual transformation called The

Enlightenment. Philosophers and scientists based their ideas on Enlightenment. Philosophers and scientists based their ideas on logic and observation, rather than tradition and folk wisdom. logic and observation, rather than tradition and folk wisdom. Knowledge began to be structured in a deliberate way: Denis Knowledge began to be structured in a deliberate way: Denis Diderot (1713—1784) organized and edited a massive 52-volume Diderot (1713—1784) organized and edited a massive 52-volume French encyclopedia in 1764, Samuel Johnson (1709—1784) French encyclopedia in 1764, Samuel Johnson (1709—1784) composed the first English dictionary singlehandedly in 1755, and composed the first English dictionary singlehandedly in 1755, and Jean-Jacques Rousseau discussed how a legitimate government was Jean-Jacques Rousseau discussed how a legitimate government was an expression of the general will in his 1762 an expression of the general will in his 1762 Social ContractSocial Contract..

Patrons & ArtistsPatrons & Artists

Rome saw little artistic progressRome saw little artistic progress This was magnified by the discovery of Pompeii. As Roman works This was magnified by the discovery of Pompeii. As Roman works

were being dug up the world would admire the ancient city.were being dug up the world would admire the ancient city. Pompeii inspired art theorist Johann Winckelmann (1717—1768) to Pompeii inspired art theorist Johann Winckelmann (1717—1768) to

publish publish The History of Ancient ArtThe History of Ancient Art in 1764, which many consider in 1764, which many consider the first art history book. Winckelmann heavily criticized the the first art history book. Winckelmann heavily criticized the waning Rococo as decadent, and celebrated the ancients for their waning Rococo as decadent, and celebrated the ancients for their purity of form and crispness of execution.purity of form and crispness of execution.

This inspired a renewed interest in the ancients. Academies This inspired a renewed interest in the ancients. Academies sprang up in Europe and the US. Artists would train in what was sprang up in Europe and the US. Artists would train in what was thought proper classical tradition—part of that training sent many thought proper classical tradition—part of that training sent many artists to Rome to study works firsthand.artists to Rome to study works firsthand.

The blessings of the Neoclassical period were firmly entrenched in The blessings of the Neoclassical period were firmly entrenched in the mind of art professionals and educated amateurs.the mind of art professionals and educated amateurs.

Architectural InnovationsArchitectural Innovations

Introduction of Cast Iron (not to be confused with Steel)Introduction of Cast Iron (not to be confused with Steel) Classicists saw the daring use of exposed iron as an anathema Classicists saw the daring use of exposed iron as an anathema

because ancient buildings with their massive stone walls were to because ancient buildings with their massive stone walls were to them the only acceptable building medium. Gradual change. Even them the only acceptable building medium. Gradual change. Even conservative architects recognized the strength and economy of conservative architects recognized the strength and economy of metal construction and used these material in the substructure or metal construction and used these material in the substructure or behind the walls of stone or wood buildings.behind the walls of stone or wood buildings.

Characteristics of Neoclassical Characteristics of Neoclassical ArchitectureArchitecture

Clever mix of classical principles into Clever mix of classical principles into modern frameworkmodern framework

Outward character of the Roman Outward character of the Roman works and tailored to living in the works and tailored to living in the eighteenth centuryeighteenth century

Greek and Roman columns, capitals Greek and Roman columns, capitals on façade of great houses. Pediment on façade of great houses. Pediment crowned entrances and a topped crowned entrances and a topped windows. Domes graced the center windows. Domes graced the center of homes creating gallery space. of homes creating gallery space. Almost perfectly symmetrical. Almost perfectly symmetrical. Rectangular rooms almost mirroring Rectangular rooms almost mirroring each other. Each room a different each other. Each room a different theme. Like the White House theme. Like the White House sometimes labeled ‘The Green sometimes labeled ‘The Green Room’, ‘The Red Room’.Room’, ‘The Red Room’.

Chiswick HouseChiswick House

Richard Boyle and William Kent, Richard Boyle and William Kent, Chiswick House, 1725, London, Chiswick House, 1725, London, EnglandEngland

Boyle: amateur architect. Kent Boyle: amateur architect. Kent interior and designerinterior and designer

Influenced of Palladian motif of Influenced of Palladian motif of the decorated balls on the the decorated balls on the balustrade of the main floor; balustrade of the main floor; Palladian low dome; main floor Palladian low dome; main floor raised over exposed basement raised over exposed basement level; pediments over windows level; pediments over windows and doorsand doors

Jones statue at far right (father of Jones statue at far right (father of English classicism)English classicism)

Symmetrical balance of façade, Symmetrical balance of façade, even chimneys were balancedeven chimneys were balanced

Chiswick HouseChiswick House Un-Italian are the large semicircular Un-Italian are the large semicircular

dome windows and obelisk like dome windows and obelisk like chimneyschimneys

Rusticated bottom floor influenced by Rusticated bottom floor influenced by Italian Renaissance buildingsItalian Renaissance buildings

Clear, open, white stone surface Clear, open, white stone surface above, with no ornamentationabove, with no ornamentation

Baroque tradition lingers in the double Baroque tradition lingers in the double staircase that changes view as it staircase that changes view as it ascendsascends

Domed central room is an art gallery Domed central room is an art gallery containing busts and paintingscontaining busts and paintings

Not a real residence, but a pavilion Not a real residence, but a pavilion where Boyle would entertain guests where Boyle would entertain guests and show his art collectionand show his art collection

Richly decorated rooms of brilliant Richly decorated rooms of brilliant colorcolor

MonticelloMonticello

Thomas Jefferson, Thomas Jefferson, Monticello, 1770—1806, Monticello, 1770—1806, Charlottesville, VirginiaCharlottesville, Virginia

““Little Mountain” in ItalianLittle Mountain” in Italian Chief building on Jefferson’s Chief building on Jefferson’s

plantationplantation Symmetrical interior designSymmetrical interior design Brick building, stucco Brick building, stucco

applied to trim to give the applied to trim to give the effect of marbleeffect of marble

Tall French doors and Tall French doors and windows to allow circulation windows to allow circulation in hot Virginia summersin hot Virginia summers

MonticelloMonticello

Appears to be a one-story Appears to be a one-story building with a dome, but building with a dome, but the balustrade hides the the balustrade hides the second floorsecond floor

Inspired by Palladio and Inspired by Palladio and Roman ruins in FranceRoman ruins in France

Octagonal domeOctagonal dome Jefferson obsessed with Jefferson obsessed with

saving space in his home: saving space in his home: very narrow spiral very narrow spiral staircases, beds in alcoves staircases, beds in alcoves or in walls between roomsor in walls between rooms

The Royal CrescentThe Royal Crescent John Wood the Younger, The Royal John Wood the Younger, The Royal

Crescent, 1769—1775, Bath, EnglandCrescent, 1769—1775, Bath, England Bath is a summer resort where the Bath is a summer resort where the

wealthy can take in the health benefits of wealthy can take in the health benefits of the naturally warmed watersthe naturally warmed waters

Wood’s Roman design is in keeping with Wood’s Roman design is in keeping with Bath being an ancient Roman cityBath being an ancient Roman city

Thirty residences in an elliptical sweepThirty residences in an elliptical sweep Grand Ionic columns rhythmically framing Grand Ionic columns rhythmically framing

windowswindows Balustraded cornice unifies compositionBalustraded cornice unifies composition Typically English chimney pots placed at Typically English chimney pots placed at

rhythmically spaced points along the rhythmically spaced points along the rooflineroofline

English characteristic in great length of English characteristic in great length of the crescentthe crescent

Public rooms on the second floor of the Public rooms on the second floor of the houses to provide a majestic view down houses to provide a majestic view down the hill belowthe hill below

Coalbrookdale BridgeCoalbrookdale Bridge

Abraham Darby and Thomas Pritchard, Coalbrookdale Bridge, Abraham Darby and Thomas Pritchard, Coalbrookdale Bridge, 1776-1770, England1776-1770, England

First substantial structure made of ironFirst substantial structure made of iron Five parallel metal Roman archesFive parallel metal Roman arches Cast iron is brittle, but the clever design has made the bridge Cast iron is brittle, but the clever design has made the bridge

stand effectivelystand effectively

Painting InnovationsPainting Innovations

Artists cloak their modern sitters in ancient garb, and make their Artists cloak their modern sitters in ancient garb, and make their faces more noble to appear antiquefaces more noble to appear antique

Example; Canova sculpted George Washington to look like a Example; Canova sculpted George Washington to look like a Roman GeneralRoman General

Despite the new idea Benjamin West took epic contemporary Despite the new idea Benjamin West took epic contemporary events and would wrap the figures in modern drapery as in events and would wrap the figures in modern drapery as in Death Death of General Wolfeof General Wolfe

Painting CharacteristicsPainting Characteristics

Reminiscent of antiquityReminiscent of antiquity Mythological or Biblical scenes with modern contextMythological or Biblical scenes with modern context Horatii might be boring if it didn’t add the implication of self-Horatii might be boring if it didn’t add the implication of self-

sacrifice for the greater goodsacrifice for the greater good This would be called This would be called exemplum virtitus; exemplum virtitus; a painting that tells a a painting that tells a

moral tale for the viewermoral tale for the viewer

Painting CharacteristicsPainting Characteristics

Even without exemplum Even without exemplum virtitus they would have virtitus they would have reference to subtexts inviting reference to subtexts inviting the viewer to take measure of the viewer to take measure of a person, a situation, and a a person, a situation, and a state of affairs.state of affairs.

Copley’s portrait of Copley’s portrait of Samuel Samuel Adams Adams considering Adams considering Adams statement about the Boston statement about the Boston MassacreMassacre

Compositions were Compositions were symmetrical, with linear symmetrical, with linear perspective leading the eyeperspective leading the eye

Mostly invisible brushwork and Mostly invisible brushwork and clear detailclear detail

Samuel AdamsSamuel Adams

John Singleton Copley, John Singleton Copley, Samuel AdamsSamuel Adams, 1770-1772, oil on canvas, , 1770-1772, oil on canvas, Museum of Fine Arts, BostonMuseum of Fine Arts, Boston

Portrait contains forceful and direct gaze, engaging the spectator Portrait contains forceful and direct gaze, engaging the spectator in a confrontation; focus on the headin a confrontation; focus on the head

Figure up close to the picture planeFigure up close to the picture plane Rich colors, concentration on reflective surfacesRich colors, concentration on reflective surfaces Meticulous handling of paintMeticulous handling of paint Adams pointing in an animated way at the Adams pointing in an animated way at the

Massachusetts charter; confronting the Massachusetts charter; confronting the Massachusetts governor over the Boston Massachusetts governor over the Boston Massacre; powerful gestureMassacre; powerful gesture

http://www.google.com/url?sa=i&rct=j&q=&esrc=s&frm=1&source=images&cd=&cad=rja&uact=8&docid=GpRqNTWloHXkcM&tbnid=A2ODkkWf2C4cQM:&ved=0CAUQjRw&url=http%3A%2F%2Fen.wikipedia.org%2Fwiki%2FThe_Death_of_General_Wolfe&ei=h7c6U4uHFe6nsASpzIDIAg&bvm=bv.63934634,d.b2I&psig=AFQjCNHhanvR8BIMkLE34Js3f__-tfCsxw&ust=1396443392631807

Death of General WolfeDeath of General Wolfe

Benjamin West, Death of General Wolfe, 1771, oil on canvas, National Gallery, Benjamin West, Death of General Wolfe, 1771, oil on canvas, National Gallery, OttawaOttawa

Scene depicting the Battle of Quebec in 1759Scene depicting the Battle of Quebec in 1759 An attempt to show the entire battle in the background of the painting: English An attempt to show the entire battle in the background of the painting: English

boats unloading their cannon in early morning at extreme right; cannon put in boats unloading their cannon in early morning at extreme right; cannon put in place in center distance at mid-morning; battle at left with Quebec cathedral place in center distance at mid-morning; battle at left with Quebec cathedral breaking through the smokebreaking through the smoke

Very short battle, French in disarray Very short battle, French in disarray and running from the battle sceneand running from the battle scene

French colors captured at left and French colors captured at left and brought to General Wolfe before brought to General Wolfe before his deathhis death

Wolfe died nearly alone, but in the Wolfe died nearly alone, but in the painting he is surrounded by painting he is surrounded by friends and admiresfriends and admires

Wolfe’s unflattering looks, his cleft chin, his large protruding eyes, his small mouth, Wolfe’s unflattering looks, his cleft chin, his large protruding eyes, his small mouth, and his upturned nose are minimized in his upturned heavenward glanceand his upturned nose are minimized in his upturned heavenward glance

Death of General WolfeDeath of General Wolfe

Wolfe’s unflattering looks, his cleft chin, his large protruding eyes, Wolfe’s unflattering looks, his cleft chin, his large protruding eyes, his small mouth, and his upturned nose are minimized in his his small mouth, and his upturned nose are minimized in his upturned heavenward glanceupturned heavenward glance

Compositional arrangement in thirds reflects triptych, like Compositional arrangement in thirds reflects triptych, like compositions of the Renaissance; triangular units reflect High compositions of the Renaissance; triangular units reflect High Renaissance paintingsRenaissance paintings

Religious associations of the victory: Protestantism over Religious associations of the victory: Protestantism over CatholicismCatholicism

Wolfe bathed in the pool of light; he is in the pose of Christ being Wolfe bathed in the pool of light; he is in the pose of Christ being taken down from the crosstaken down from the cross

Wolfe’s pose also cf. Wolfe’s pose also cf. Dying Gaul Dying Gaul and Michelangelo’s and Michelangelo’s PietaPieta Native American sets the scene as the Americas and contemplates Native American sets the scene as the Americas and contemplates

the consequences of Wolfe’s victorythe consequences of Wolfe’s victory Great innovation in portraying Wolfe in contemporary costume Great innovation in portraying Wolfe in contemporary costume

rather than Roman robesrather than Roman robes

Cornelia Pointing to Her Cornelia Pointing to Her Children as TreasuresChildren as Treasures

Angelica Kauffman, Angelica Kauffman, Cornelia Pointing to Her Children as Treasures, Cornelia Pointing to Her Children as Treasures, 1785, oil on canvas, Virginia Museum of Fine Arts, Richmond1785, oil on canvas, Virginia Museum of Fine Arts, Richmond

Exemplum VirtutisExemplum Virtutis Story and setting is Roman, with figures before an Italian Story and setting is Roman, with figures before an Italian

backgroundbackground Cornelia, a noble woman, is shown jewelry by a visitor who asks to Cornelia, a noble woman, is shown jewelry by a visitor who asks to

see Cornelia’s jewelssee Cornelia’s jewels Cornelia responds that her children Cornelia responds that her children

are her jewels and presents her sons; are her jewels and presents her sons; interestingly, her daughter is not interestingly, her daughter is not presented in this lightpresented in this light

A truly noble woman places her A truly noble woman places her children above material possessionschildren above material possessions

Oath of the HoratiiOath of the Horatii

Oath of the HoratiiOath of the Horatii

Jacques-Louis David, Jacques-Louis David, Oath of the Horatii, Oath of the Horatii, 1784, oil on canvas, Louvre, Paris1784, oil on canvas, Louvre, Paris Exemplum virtutisExemplum virtutis Story of three Roman brothers (the Horatii) who do battle with three other Story of three Roman brothers (the Horatii) who do battle with three other

brothers (the Curiatii) from a nearby city; they pledge their fidelity to their brothers (the Curiatii) from a nearby city; they pledge their fidelity to their father and to Romefather and to Rome

One of the three women on right is a One of the three women on right is a Horatii engaged to one of the Curiatii Horatii engaged to one of the Curiatii brothers; another woman is the sister brothers; another woman is the sister of the Curiatii brothersof the Curiatii brothers

Forms are vigorous, powerful, Forms are vigorous, powerful, animated, emphaticanimated, emphatic

Gestures are sweeping and unifiedGestures are sweeping and unified Figures pushed to the foregroundFigures pushed to the foreground Neoclassical drapery and tripartite Neoclassical drapery and tripartite

compositioncomposition

Oath of the HoratiiOath of the Horatii

Not Neoclassical in its Caravaggio-like lighting and un-Roman Not Neoclassical in its Caravaggio-like lighting and un-Roman architectural capitalsarchitectural capitals

Painted under royal patronagePainted under royal patronage

Death of MaratDeath of Marat Jacques-Louis David, Jacques-Louis David, Death of Death of

Marat, Marat, 1793, oil on canvas, 1793, oil on canvas, Royal Museum, BrusselsRoyal Museum, Brussels

Marat was a leader of the Marat was a leader of the French Revolution, who was French Revolution, who was stabbed in his bathtub by stabbed in his bathtub by Charlotte Corday, a more Charlotte Corday, a more moderate revolutionary who moderate revolutionary who denounced the killing of the denounced the killing of the kingking

Suffering from skin cancer, Suffering from skin cancer, Marat took baths for hours to Marat took baths for hours to relieve the itch; he is not shown relieve the itch; he is not shown with the effects of cancer with the effects of cancer except for his turban soaked in except for his turban soaked in vinegar, thought to have been a vinegar, thought to have been a curecure

Death of MaratDeath of Marat

His desk is set up in the tub so His desk is set up in the tub so he can do work; killed at the he can do work; killed at the moment of issuing a letter of moment of issuing a letter of condolencescondolences

Killed with a butcher knife Killed with a butcher knife with blood still on the handlewith blood still on the handle

Pose is the Descent from the Pose is the Descent from the Cross, or Michelangelo’s PietaCross, or Michelangelo’s Pieta

Tombstone like desk inscribed Tombstone like desk inscribed “To Marat, David, Year 2” “To Marat, David, Year 2” reflecting the French reflecting the French Revolution’s reordering of the Revolution’s reordering of the calendarcalendar

Caravaggio-like lightingCaravaggio-like lighting http://www.youtube.com/watc

h?v=Oh9Tync1lpg

SculptureSculpture

Prior to Industrial Revolution, bronze was inefficientPrior to Industrial Revolution, bronze was inefficient Mass production of metal in England & Germany caused price of Mass production of metal in England & Germany caused price of

bronze to fallbronze to fall Stonework relied on manual labor; a high costStonework relied on manual labor; a high cost It was felt that ancients preferred marble and so it seemed more It was felt that ancients preferred marble and so it seemed more

authentic and more authoritative in appealauthentic and more authoritative in appeal It was also assumed the ancient preferred unpainted sculpture; It was also assumed the ancient preferred unpainted sculpture;

because the painted on the marbles came off over timebecause the painted on the marbles came off over time

Sculptural CharacteristicsSculptural Characteristics

Mindful of the classicsMindful of the classics Desire for the realismDesire for the realism Wrapped in robes but in more realistic contemporary posesWrapped in robes but in more realistic contemporary poses Carved from white marble with no paint addedCarved from white marble with no paint added

Cupid and PsycheCupid and Psyche

Cupid and PsycheCupid and Psyche

Antonio Canova, Cupid and Psyche, Antonio Canova, Cupid and Psyche, 1787—1793, marble, Louvre, Paris1787—1793, marble, Louvre, Paris

Pauline Borghese as VenusPauline Borghese as Venus

Pauline Borghese as VenusPauline Borghese as Venus

Antonio Canova, Pauline Borghese as Venus, 1808, marble, Antonio Canova, Pauline Borghese as Venus, 1808, marble, Galleria Borghese, RomeGalleria Borghese, Rome