Correctly Identify the Arthistorical Movement With Which David Is Associated as Neoclassicism

Neoclassicism

Neoclassicism refers to movements in the arts that draw inspiration from the "classical" art and culture of aboriginal Greece and Rome.

Learning Objectives

Place attributes of Neoclassicism and some of its key figures

Fundamental Takeaways

Central Points

• The height of Neoclassicism coincided with the 18th century Enlightenment era, and continued into the early 19th century.
• With the increasing popularity of the Grand Bout, information technology became stylish to collect antiquities equally souvenirs, which spread the Neoclassical style through Europe and America.
• Neoclassicism spanned all of the arts including painting, sculpture, the decorative arts, theatre, literature, music, and architecture.
• More often than not speaking, Neoclassicism is defined stylistically past its use of straight lines, minimal use of colour, simplicity of form and, of course, an adherence to classical values and techniques.
• Rococo, with its emphasis on asymmetry, brilliant colors, and ornamentation is typically considered to exist the direct opposite of the Neoclassical fashion.

Key Terms

• M Tour: The traditional tour of Europe undertaken by mainly upper-class European young men of means. The custom flourished from about 1660 until the advent of large-calibration rail transit in the 1840s.
• Enlightenment: A concept in spirituality, philosophy, and psychology related to achieving clarity of perception, reason, and noesis.
• Rococo: A style of bizarre architecture and decorative art, from 18th century French republic, having elaborate ornamentation.

The classical revival, also known as Neoclassicism, refers to movements in the arts that depict inspiration from the "classical" art and civilization of ancient Greece and Rome. The meridian of Neoclassicism coincided with the 18th century Enlightenment era, and continued into the early on 19th century. The dominant styles during the 18th century were Bizarre and Rococo. The latter, with its emphasis on asymmetry, bright colors, and ornamentation is typically considered to be the direct opposite of the Neoclassical fashion, which is based on order, symmetry, and simplicity. With the increasing popularity of the Grand Tour, information technology became fashionable to collect antiquities equally souvenirs. This tradition of collecting laid the foundations for many great art collections and spread the classical revival throughout Europe and America.

Neoclassicism grew to encompass all of the arts, including painting, sculpture, the decorative arts, theatre, literature, music, and compages. The style can generally be identified by its utilize of directly lines, minimal employ of color, simplicity of class and, of course, its adherence to classical values and techniques.

In music, the period saw the rise of classical music and in painting, the works of Jaques-Louis David became synonymous with the classical revival. However, Neoclassicism was felt most strongly in architecture, sculpture, and the decorative arts, where classical models in the same medium were fairly numerous and attainable. Sculpture in particular had a peachy wealth of ancient models from which to learn, however, almost were Roman copies of Greek originals.

Rinaldo Rinaldi, Chirone Insegna Ad Achille a Suonare La Cetra : Executed in a classical style and adhering to classical themes, this sculpture is a typical example of the Neoclassical mode.

Neoclassical architecture was modeled afterward the classical fashion and, as with other art forms, was in many ways a reaction against the exuberant Rococo style. The architecture of the Italian architect Andrea Palladio became very popular in the mid 18th century. Additionally, archaeological ruins found in Pompeii and Herculaneum informed many of the stylistic values of Neoclassical interior blueprint based on the ancient Roman rediscoveries.

Villa Godi Valmarana, Lonedo di Lugo, Veneto, Italia: Villa Godi was i of the first works by Palladio. Its austere facade, arched doorways and minimal symmetry reflect his adherence to classical stylistic values.

Neoclassical Paintings

Neoclassical painting, produced by men and women, drew its inspiration from the classical art and civilisation of ancient Hellenic republic and Rome.

Learning Objectives

Discuss the overarching themes present in Neoclassical painting

Primal Takeaways

Key Points

• Neoclassical subject affair draws from the history and general culture of ancient Greece and Aboriginal Rome. It is oftentimes described equally a reaction to the lighthearted and "frivolous" subject thing of the Rococo.
• Neoclassical painting is characterized past the use of directly lines, a polish paint surface, the delineation of low-cal, a minimal use of color, and the clear, well-baked definition of forms.
• The works of Jacques-Louis David are unremarkably hailed as the epitome of Neoclassical painting.
• David attracted over 300 students to his studio, including Jean-Auguste-Dominique Ingres, Marie-Guillemine Benoist, and Angélique Mongez, the last of whom tried to extend the Neoclassical tradition across her teacher'due south expiry.

Key Terms

• Enlightenment: A philosophical movement in 17th and 18th century Europe. Also known as the Age of Reason, this was an era that emphasized rationalism.

Groundwork and Characteristics

Neoclassicism is the term for movements in the arts that draw inspiration from the classical art and civilisation of ancient Greece and Rome. The elevation of Neoclassicism coincided with the 18th century Enlightenment era and connected into the early 19th century. With the advent of the Grand Bout—a much enjoyed trip around Europe intended to innovate young men to the extended civilization and people of their world—it became stylish to collect antiquities as souvenirs. This tradition laid the foundations of many corking collections and ensured the spread of the Neoclassical revival throughout Europe and America. The French Neoclassical fashion would greatly contribute to the monumentalism of the French Revolution, with the emphasis of both lying in virtue and patriotism.

Neoclassical painting is characterized by the use of straight lines, a smooth paint surface hiding brush work, the depiction of light, a minimal utilise of color, and the clear, crisp definition of forms. Its discipline matter ordinarily relates to either Greco-Roman history or other cultural attributes, such as allegory and virtue. The softness of paint application and lite-hearted and "frivolous" bailiwick thing that characterize Rococo painting is recognized as the opposite of the Neoclassical style. The works of Jacques-Louis David are widely considered to be the paradigm of Neoclassical painting. Many painters combined aspects of Romanticism with a vaguely Neoclassical mode before David'south success, but these works did non strike whatsoever chords with audiences. Typically, the subject matter of Neoclassical painting consisted of the depiction of events from history, mythological scenes, and the compages and ruins of aboriginal Rome.

The School of David

Neoclassical painting gained new momentum with the smashing success of David's Oath of the Horatii at the Paris Salon of 1785. The painting had been deputed by the royal government and was created in a style that was the perfect combination of idealized structure and dramatic effect. The painting created an uproar, and David was proclaimed to have perfectly defined the Neoclassical sense of taste in his painting style. He thereby became the quintessential painter of the movement. In The Adjuration of the Horatii, the perspective is perpendicular to the motion picture plane. It is defined past a nighttime arcade behind several classical heroic figures. There is an element of theatre, or staging, that evokes the grandeur of opera. David presently became the leading French painter and enjoyed a not bad deal of government patronage. Over the course of his long career, he attracted over 300 students to his studio.

Jacques-Louis David. The Oath of the Horatii (1784): Oil on canvas. Musée du Louvre, Paris.

Jean-Auguste-Dominique Ingres, a Neoclassical painter of history and portraiture, was 1 of David'south students. Deeply devoted to classical techniques, Ingres is known to have believed himself to exist a conservator of the manner of the aboriginal masters, although he afterward painted subjects in the Romantic style. Examples of his Neoclassical work include the paintings Virgil Reading to Augustus (1812), and Oedipus and the Sphinx (1864). Both David and Ingres made utilise of the highly organized imagery, straight lines, and clearly divers forms that were typical of Neoclassical painting during the 18th century.

Virgil Reading to Augustus by Jean-Auguste-Dominique Ingres (1812): Oil on canvass. The Walters Art Museum.

While tradition and the rules governing the Académie Française barred women from studying from the nude model (a necessity for executing an effective Neoclassical painting), David believed that women were capable of producing successful art of the style and welcomed many every bit his students. Among the most successful were Marie-Guillemine Benoist, who eventually won commissions from the Bonaparte family, and Angélique Mongez, who won patrons from as far away as Russian federation.

Self-Portrait past Marie-Guillemine Benoist (1788): In this untraced oil on canvas, Benoist (and so Leroulx de la Ville) paints a section from David's acclaimed Neoclassical painting of Justinian'due south blinded full general Belisarius begging for alms. Her return of the viewer's gaze and classical attire bear witness her confidence as an creative person and conformity to artistic trends.

Mongez is all-time known for beingness one of the few women to pigment monumental subjects that oft included the male nude, a feat for which hostile critics frequently attacked her.

Theseus and Pirithoüs Clearing the World of Brigands, Evangelize 2 Women from the Hands of Their Abductors past Angélique Mongez (1806): Oil on sheet. Hermitage Museum, Leningrad, Russia.

Mongez and Antoine-Jean Gros, another of David's students, tried to conduct on the Neoclassical tradition after David'south death in 1825 but were unsuccessful in confront of the growing popularity of Romanticism.

Neoclassical Sculpture

A reaction against the "frivolity" of the Rococo, Neoclassical sculpture depicts serious subjects influenced past the ancient Greek and Roman past.

Learning Objectives

Explicate what motifs are mutual to Neoclassical sculpture

Key Takeaways

Key Points

• Neoclassicism emerged in the second one-half of the 18th century, following the excavations of the ruins of Pompeii, which sparked renewed interest in the Graeco-Roman earth.
• Neoclassical sculpture is defined by its symmetry, life-sized to awe-inspiring calibration, and its serious subject field affair.
• The subjects of Neoclassical sculpture ranged from mythological figures to heroes of the past to major contemporary personages.
• Neoclassical sculpture could capture its subject as either idealized or in a more veristic manner.

Key Terms

• verism: An ancient Roman technique, in which the discipline is depicted with "warts and all" realism.

As with painting, Neoclassicism made its way into sculpture in the second one-half of the 18th century. In addition to the ideals of the Enlightenment, the excavations of the ruins at Pompeii began to spark a renewed interest in classical civilisation. Whereas Rococo sculpture consisted of modest-scale asymmetrical objects focusing on themes of dear and gaiety, neoclassical sculpture assumed life-size to monumental calibration and focused on themes of heroism, patriotism, and virtue.

In his tomb sculpture, the Enlightenment philosophe Voltaire is honored in truthful Neoclassical form. In a style influenced by ancient Roman verism, he appears every bit an elderly human to laurels his wisdom. He wears a contemporary commoner'southward blouse to convey his humbleness, and his robe assumes the appearance of an ancient Roman toga from a altitude. Like his ancient predecessors, his facial expression and his body language suggest an air of scholarly seriousness.

Voltaire's tomb.: Panthéon, Paris.

Neoclassical sculptors benefited from an affluence of aboriginal models, albeit Roman copies of Greek bronzes in most cases. The leading Neoclassical sculptors enjoyed much acclamation during their lifetimes. One of them was Jean-Antoine Houdon, whose work was mainly portraits, very often equally busts, which do not sacrifice a potent impression of the sitter's personality to idealism. His style became more classical as his long career connected, and represents a rather shine progression from Rococo amuse to classical dignity. Unlike some Neoclassical sculptors he did not insist on his sitters wearing Roman dress, or beingness unclothed. He portrayed most of the cracking figures of the Enlightenment, and traveled to America to produce a statue of George Washington, too as busts of Thomas Jefferson, Benjamin Franklin, and other luminaries of the new republic. His portrait bust of Washington depicts the beginning President of the United States as a stern, all the same competent leader, with the influence of Roman verism evident in his wrinkled brow, receding hairline, and double chin.

Bust of George Washington by Jean-Antoine Houdon (c. 1786)

National Portrait Gallery, Washington, DC.

The Italian artist Antonio Canova and the Danish creative person Bertel Thorvaldsen were both based in Rome, and as well every bit portraits produced many ambitious life-size figures and groups. Both represented the strongly idealizing trend in Neoclassical sculpture.

Hebe by Antonio Canova  (1800–05).: Hermitage State Museum, St. Petersburg, Russia.

Canova has a lightness and grace, where Thorvaldsen is more than severe. The divergence is exemplified in Canova's Hebe (1800–05), whose contrapposto almost mimics lively dance steps as she prepares to cascade nectar and ambrosia from a modest amphora into a chalice, and Thorvaldsen'due south Monument to Copernicus (1822-xxx), whose subject sits upright with a compass and armillary sphere.

Monument to Copernicus by Bertel Thorvaldsen (1822–30).: Statuary. Warsaw, Poland.

Neoclassical Architecture

Neoclassical architecture looks to the classical by of the Graeco-Roman era, the Renaissance, and classicized Baroque to convey a new era based on Enlightenment principles.

Learning Objectives

Identify what sets Neoclassical architecture apart from other
movements

Key Takeaways

Key Points

• Neoclassical architecture was produced past the Neoclassical movement in the mid 18th century. It manifested in its details equally a reaction confronting the Rococo style of naturalistic ornament, and in its architectural formulas as an outgrowth of the classicizing features of Tardily Baroque.
• The kickoff phase of Neoclassicism in France is expressed in the "Louis XVI style" of architects like Ange-Jacques Gabriel (Petit Trianon, 1762–68) while the 2nd phase is expressed in the belatedly 18th-century Directoire style.
• Neoclassical architecture emphasizes its planar qualities, rather than sculptural volumes. Projections and recessions and their effects of calorie-free and shade are more flat, while sculptural bas- reliefs are flatter and tend to exist enframed in friezes, tablets, or panels.
• Structures such equally the Arc de Triomphe, the Panthéon in Paris, and Chiswick House in London have elements that convey the influence of ancient Greek and Roman architecture, besides as some influence from the Renaissance and Late Baroque periods.

Neoclassical compages, which began in the mid 18th century, looks to the classical past of the Graeco-Roman era, the Renaissance, and classicized Baroque to convey a new era based on Enlightenment principles. This motion manifested in its details as a reaction against the Rococo manner of naturalistic ornament, and in its architectural formulas every bit an outgrowth of some classicizing features of Late Baroque. In its purest grade, Neoclassicism is a style principally derived from the architecture of Classical Greece and Rome. In form, Neoclassical compages emphasizes the wall and maintains carve up identities to each of its parts.

The first phase of Neoclassicism in France is expressed in the Louis Sixteen manner of architects like Ange-Jacques Gabriel (Petit Trianon, 1762–68). Ange-Jacques Gabriel was the Premier Architecte at Versailles, and his Neoclassical designs for the royal palace dominated mid 18th century French architecture.

Ange-Jacques Gabriel. Château of the Petit Trianon.: The Petit Trianon in the park at Versailles demonstrates the neoclassical architectural style under Louis Sixteen.

Later the French Revolution, the second phase of Neoclassicism was expressed in the late 18th century Directoire manner. The Directoire style reflected the Revolutionary belief in the values of republican Rome. This style was a period in the decorative arts, style, and peculiarly piece of furniture pattern, concurrent with the postal service-Revolution French Directoire (November 2, 1795–November 10, 1799). The fashion uses Neoclassical architectural forms, minimal etching, planar expanses of highly grained veneers, and applied decorative painting. The Directoire manner was primarily established past the architects and designers Charles Percier (1764–1838) and Pierre-François-Léonard Fontaine (1762–1853), who collaborated on the Arc de Triomphe in Paris, which is considered emblematic of French neoclassical compages.

Arc de Triomphe: The Arc de Triomphe, although finished in the early 19th century, is allegorical of French neoclassical architecture that dominated the Directoire period.

Though Neoclassical architecture employs the same classical vocabulary equally Late Baroque architecture, it tends to emphasize its planar qualities rather than its sculptural volumes. Projections, recessions, and their effects on light and shade are more flat. Sculptural bas-reliefs are flatter and tend to exist framed in friezes, tablets, or panels. Its clearly articulated individual features are isolated rather than interpenetrating, autonomous, and complete in themselves.

Fifty-fifty sacred architecture was classicized during the Neoclassical flow. The Panthéon, located in the Latin Quarter of Paris, was originally built as a church defended to St. Geneviève and to house the reliquary châsse containing her relics. However, during the French Revolution, the Panthéon was secularized and became the resting place of Enlightenment icons such as Voltaire and Jean-Jacques Rousseau. Designer Jacques-Germain Soufflot had the intention of combining the lightness and brightness of the Gothic cathedral with classical principles, simply its role as a mausoleum required the cracking Gothic windows to exist blocked. In 1780, Soufflot died and was replaced past his pupil, Jean-Baptiste Rondelet.

Jacques-Germain Soufflot (original architect) and Jean-Baptiste Rondelet. The Panthéon.: Begun 1758, completed 1790.

Like to a Roman temple, the Panthéon is entered through a portico that consists of three rows of columns (in this case, Corinthian) topped by a Classical pediment. In a fashion more closely related to ancient Hellenic republic, the pediment is adorned with reliefs throughout the triangular space. Beneath the pediment, the inscription on the entablature translates equally: "To the great men, the grateful homeland." The dome, on the other hand, is more influenced by Renaissance and Baroque predecessors, such as St. Peter'southward in Rome and St. Paul's in London.

Intellectually, Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome. The movement was also inspired by a more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, 16th century Renaissance Classicism, which was besides a source for academic Late Bizarre architecture. In that location is an anti-Rococo strain that can be detected in some European architecture of the earlier 18th century. This strain is most vividly represented in the Palladian architecture of Georgian Britain and Ireland.

Lord Burlington. Chiswick House: The blueprint of Chiswick House in Westward London was influenced by that of Palladio'due south domestic architecture, particularly the Villa Rotunda in Venice. The stepped dome and temple façade were conspicuously influenced past the Roman Pantheon.

The trend toward the classical is too recognizable in the classicizing vein of Tardily Baroque architecture in Paris. It is a robust architecture of self-restraint, academically selective now of "the best" Roman models. These models were increasingly available for close report through the medium of architectural engravings of measured drawings of surviving Roman architecture.

French Neoclassicism continued to be a major force in academic fine art through the 19th century and across—a abiding antonym to Romanticism or Gothic revivals.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/neoclassicism/

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