Neoclassicism

1. Neoclassicism

2. History: Late 18th century Europe • 1789, French Revolution begins with the First French Republic from 1792-1794 • 1796, Rise of Napoleon (made emperor by 1804) and defeated at Waterloo in 1815, exiled to Alba • 1830, July Revolution and overthrow of Bourbon monarchy. Louis Phillipe reigns as constitutional monarch

4. Context • Neoclassicism is reaction AGAINST Rococo art • Rejection of art’s function as primarily to please, was decorative, escapist, romanticization of reality, bucolic, pastoral, and fantasy • Neoclassicism is a logical conclusion to 18th century Naturalism: • Express new sensuality in art which reflects new thinking in France of middle class people • The nobility of work and the simpler life (Rousseau) • Reason and moral integrity, not hedonism and luxury (Voltaire) • Edification/content, not escape/fantasy (Diderot) • 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 • Revival of Interest in Ancient Greece and Rome • Winckelmann’s writings, new discoveries of antiquity, Herculaneum, Pompeii, and Paestum • Piranesi’s prints of ancient Paestum

5. Context • French Revolution adopts Neoclassicism • Greek ideal of liberty and democracy in the light of reason and in reaction to oppressive monarchy • “Man is born free and everywhere he is in chains” • Propaganda-painting was used to promote the revolutionary ideals and highest virtues of the revolution • 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 the paintings

6. Élisabeth Louise Vigée-LebrunSelf-Portrait1790oil on canvas, france

7. Marie Antoinette • Vigee-Lebrun was responsible for painting many portraits of Marie Antoinette • First met at Versailles in 1778 • Queen had heard of Vigee-Lebrun’s successes • Has her paint this portrait, body facing the audience, face looking away • Elaborate gown, hair piled high • Columns and marble bust of her husband Louis XVI • Was originally meant to be a gift, but she kept it and ordered copies

8. Artist • Born in Paris • Father was a portraitist, motivated and supported her painting • Created soon after her swift departure from France at the onset of the French Revolution • Conservative in her politics, example of late Rococo style • Was admitted into the academy but was later kicked out after the French revolutionFamous for her portraits and continued to stay successful even after leaving the academy

9. Form • Sits in a relaxed pose at her easel, slightly off-center • Wears a white turban and dark dress • Free-flowing style that Marie Antoinette made popular at French court • Soft, white, ruffled collar of the same material as her headdress • Red ribbon as her belt • Holding a brush over her partially finished artwork • Subject is probably Marie Antoinette • Slightly used brushes and her palette in her arm

10. David, Oath of the Horatii, 1784, Neoclassicism, Paris, oil on canvas -French Revolution was (in part) caused by the Enlightenment idea of participatory and knowledgeable citizenry. -Was a distant relative of Boucher, influenced by academic teachings, classical art, and Renaissance -Subject matter should be moral and should show “heroism” and “civic virtue” --Patriotic sacrifice, , stage-like setting, architectural severity, statuesque forms, angular men, soft women

11. Story from pre-Republican Rome, conflict between love and patriotism. Three representatives from Rome (Horatii brothers) were to fight against the Curatii family (wives are related to Curatii) Chose representative combatants rather than full-scale war First recounted by the historian Livy Women will also bear consequences as one is the daughter of the Curatii family, and another, Camilla, is engaged to a brother At the end of the legend, the surviving Horatii brother kills Camilla because she condemned his murder of her beloved, accusing her of putting sentiment above her duty to Rome

12. Organized in Roman atrium, dominated by three arches keeping our attention focused on the foreground Three brothers are framed by the first arch, father is framed by central arch, women are framed by last arch Tense geometric forms vs soft, curving bodies of women Stark contrast of lighting, mixture of rationality and passion Exemplum virtutis-example of virtuous behavior Like a Roman relief

13. Influence of Poussin • Went to see Poussin’sRape of the Sabine Women • Used the lector as a basis for the Horatii, along with other figures • Was using this as his model for Oath of the Horatii

14. Revolutionary? • Speaks to his commitment to the French Revolution • Personal sacrifice for political ideal • Could be read as a painting designed to rally Republicans connecting their dedication and sacrifice to that of the Horatii • Some disagree with this because David received a lot of imperial patronage, and this painting was accepted into the Salon with no negative response

15. David, Death of Marat, 1793, Neoclassicism, France, oil on canvas** NOT in 250 -David believed that art must “contribute to the education of the public”, became a de facto propaganda minister of the French Revolution -Began to portray scenes from the French Revolution -Records an important event but also inspires and encourages revolutionary forces -Friend, radical writer was assassinated in 1793, stabbed to death in his bath by rival from another political faction -Writing surface and bath identify him -Also knife, wound, blood, letter are narrative details -Kind of altarpiece for new civic religion

16. David, Coronation of Napoleon, 1804 Neoclassicism, France, oil on canvas** Not in 250 -Napoleon exploited the revolution and gained power, and approached David to be the First Painter of the Empire -Monumental painting (20x32 ft) -Art used to construct a public image and David’s skill for producing awe-inspiring powerful images -Adhered to historical fact, was present at the event: held in Notre Dame, wife is being crowned, pope, and ministers present -Napoleon had changes made: pope is blessing him, and Napoleon’s mother is prominent (did not attend) -Looks like a stage, divided right side is pope and priests, left side is the imperial court

17. Ingres, Apotheosis of Homer, 1827, Neoclassicism, France, oil on canvas**NOT in 250 -Ingres wanted a purer, truer Greek style than David -Adopted flat, linear forms from Greek vase painting, figure is placed in the foreground, like low-relief sculpture -Influenced by Raphael, especially School of Athens -Exhibited at the Salon of 1827 -Doctrines of ideal form and Neoclassical taste -Epic poet Homer is crowned in front of an Ionic temple by Fame or Victory, two women at his feet personify “The Odyssey” and “the Iliad”, symmetrical groups on each side who represent philosophy, poetry, art, and music -Far right are Horace, Virgil, et al -Left side are Shakespeare, Poussin

18. Kaufmann, Cornelia Presenting to Her Children as her Treasures, 1785 Neoclassicism, France, oil on canvas** NOT IN 250 -Student of Reynolds, founding member of the British Royal Acdemy of Arts -Exemplum virtutis (example or model of virtue) drawn from Greek and Roman history and literature, clothed in Roman garb, statuesque attitudes in Roman interiors -Theme is the virtue of Cornelia, mother of future Roman political brother leaders who attempted to reform the Roman Republic -Woman on right has shown Cornelia her own jewels and asked Cornelia to show the same, and Cornelia presents her children

19. West, Death of General Wolfe, 1770, Neoclassicism, Canada**NOT IN 250 -Co-founder of the Royal Academy of Arts, second president -Became the official painter to George III -Mortally wounded English commander just after his defeat of the French in the decisive battle of Quebec in 1759, which gave Canada to Great Britain -Clothed in contemporary costumes -Realism and theatrically arranged composition -Composition is similar to lamentation -Service to the state as a kind of martyrdom

20. Soufflot, Pantheon, 1792, Neoclassicism, France**NOT IN 250 -Architecture turned away from theatricality of the Baroque -Originally St. Genevive -Inspired by Roman ruins in Lebanon from the temple of Jupiter -Columns are reproduced with precision and stand out from blank walls except for garland motif at the top -Colonnaded dome, Neoclassical version of St. Peter’s -Greek cross plan, rests on an interior grid of freestanding Corinthian columns -Effect is Roman, structure is Gothic

21. Vignon, La Madeleine, 1807, Neoclassicism, France** NOT in 250 -Briefly intended to be a “temple of glory” for Napoleon’s armies and a monument to the newly won glories of France -Begun as a church, made into a temple, and converted back to a church after Napoleon’s defeat -High podium, broad stairs, deep porch, Corinthian columns (recall MaisonCarree) -Symbolic link between Napoleonic and Roman empires -Shell of columns surrounds three domes, like Byzantine or Romanesque churches

22. Jefferson, Monticello, 1806, Neoclassicism, America -Values of Neoclassicism-morality, idealism, patriotism, and civic virtue appealed to American republic Jefferson wanted to be remembered as the author of the Declaration of Independence and the founder of the University of Virginia Was also Governor of Virginia, first Secretary of State, and third President of the United States Was an amateur architect, in that he had no formal training Believed art could elicit social change, inspire the public to seek education, and bring a general sense of enlightenment for the American public --Made of local wood and brick

23. Jefferson, Monticello, 1806, Neoclassicism, America • -Jefferson wanted to adopt it as a national architectural style. • Travelled to Europe and studied 18th century French architecture • -Admired Palladio and read his books • Was dissatisfied with architecture in Williamsburg, believed it was too British • Built on a solitary hill rather than along a river, as landed gentry had in the 18th century • Monticello- Little Mountain in Italian

24. French Neo-classicism for American audience • Construction began in 1768, hilltop was cleared and levelled • 1st phase was completed by 1771 • Left for France as American Minister to France in 1784 • Saw many Classical and Neoclassical buildings while in France • Virginia State Capitol (bottom) was influenced by MaisonCarree in Nimes, France AND Pantheon in Rome • Jefferson did not travel to Rome • Returned in 1789 to serve as Secretary of State under George Washington • Worked in the cabinet until 1809, and then continued working on Monticello

25. Changes at Monticello • Later construction period, Jefferson changed the proportions of Monticello • Was first based on Palladian villa, now on Hotel de Salm • Symmetrical single story brick home under austere Doric entablature • West garden façade, (also on the nickel) • Two column deep portico with Doric columns under an triangular pediment decorated by a semi-circular window • Short octagonal drum gives verticality, but wooden balustrade shows horizontality

26. Democratic values • Wanted to forge diplomatic relations with France • Clear in his architectural influences • Style was also distinct from British • Roots of Neoclassicism in ancient Rome • Reinforce ideas of democracy, education, rationality, civic responsibility

27. Houdon, Portrait of George Washington, 1792, Neoclassicism, America, marble -Preferred style for public sculpture in America -Leading French Neoclassical sculptor -Wears 18th century garb, but makes reference to the Roman Republic -”Column” is a bundle of rods with an ax attached, Roman fasces (emblem of authority). 13 rods represent the 13 original states -Plow behind him alludes to Cincinattus, wears the badge of the Society of Cincinatti -Does not hold a sword

28. Context • After success of American Revolution, many states turned to public art to commemorate the occasion • Commissioned by the Virginia General Assembly • In 1784, Governor of Virginia asked Thomas Jefferson to select an appropriate sculptor • Chose a Frenchman, due to his Francophile sympathies • Also, lack of artistic talent in United States

29. Context • Houdon was trained at the Royal Academy of Painting and Sculpture and won a prestigious prize at the age of 20 • Houdon likely wanted a larger than life size bronze of Washington on horseback, appropriate for victorious field commander • Was originally going to sculpt from a portrait • But then travelled to Virginia and took precise measurements of Washington’s face

30. Context • Created slightly idealized bust with classical attire, but Washington wanted to be presented in contemporary dress • Worked on the sculpture from 1785 to 1796 • Was well-known and thought to be a perfect likeness of Washington • Still on view in the Rotunda of the Virginia State Capitol • Depicted as a soldier and citizen

31. Form • Standing looking up and left • “Fatherly” expression • Wears his military uniform, contrapposto pose, like Polykleitos’ Doryphorus • Seems to stride forward • Right arm rests on walking stick • Left arm bent over fasces, bundle of 13 rods that symbolized the power of the ruler and strength through unity • Sword hangs off side, not at war • Plow behind him references surrendering of military power by Cincinnatus • Roman dictator who was once a farmer, when his role was finished, he became a farmer again

32. Compare to Greenough’s Depiction in 1840

33. Canova, Pauline Borghese as Venus, 1808, Neoclassicism, France, marble**Not in 250 -Sister of Napoleon -Initially portrayed as Diana, but Pauline insisted that she be presented as Venus -Reclining on divan, holding an apple, symbolic of her triumph in the judgment of Paris -Pose and clothing recall Greek sculpture, but the couch and drapery recall naturalism -Public perception of Pauline influenced the design and presentation -Napoleon arranged marriage between his sister and heir to Roman Borghese family. She began to have flagrant, affairs, -Depiction is how she felt about herself -Was kept hidden and only certain people were allowed to see it

34. Antonio Canova, Cupid and psyche, 1787-1793, Neoclassicism, France, marble**Not in 250