The Eighteenth Century in Europe was a period of great change as the Age of Enlightenment brought the rise of the bourgeois and the beginning of the end of monarchy. Artists explored new styles, and particulary in France around the time of the revolution (1789 – 1799), the concept of the power of art to influence secular society first took hold. In his book Painting of the French Revolution, Milton W. Brown asserts that the defining characteristic of art during this period was the belief that art could be used “as a weapon in social struggle” (in Hemingway, 2002, p. 113). For the modern public, this concept is so well established that such themes may be taken for granted, but in France of the late Eighteenth Century this was a revolutionary …show more content…
Rejecting the frivolous style of Rococo, Jacques Louis David worked to return both art and government to the model of Classical tradition while his student, Anne-Louis Girodet de Roussy-Trioson, further explored the freedom of expression that marked the Romantic Movement. Jacques Louis David was an important figure in the French Revolution who used art to communicate the political message of the republicans and also worked to move the art world away from styles that were favored by the ruling class. McCoy notes that David came to "epitomize the Neoclassical style and symbolize the French Revolution" (2011, p. 4) by focusing on classical themes and techniques. David’s most famous work, The Oath of the Horatii, was painted a few years before the start of the violence, and according to McCoy, was "designed to rally republicans" with its emotionally charged scene (n.d., para. 10). Drawing from Classical imagery, David conveys the pure idealism of the Horatii as they take oaths to defend their homeland to the death (McCoy, n.d.). The cultural context of the painting is significant, because the revolutionaries were intent upon building a second Republic …show more content…
Rather than focusing on a purely political approach, he wanted to “transcend history painting and create works that were poetic and universal in their themes” (“Girodet”, 2009, para. 2). His work was a true reflection of contemporary French culture, often presenting themes inspired by popular authors (“Girodet”, 2009, para. 2). During the time around the revolution, Girodet created Portrait of Citizen Belley; Ex-representative of the Colonies. Belley, a black Haitian, is pictured with a larger-than-life bust of Guillaume Thomas Raynal who was a “French writer and propagandist who helped set the intellectual climate for the French Revolution” and significantly, was a staunch pacifist (Editors, 2016, para. 1). Taws explains that this work represents “the singularity of an image of a black man occupying the exclusive canvas of elite French artistic practice” in which Girodet was making social commentary on the issue of national identity (p. 59). The composition of this work suggests the duality Girodet saw in the revolutionaries in that equality was more applicable to some than others. The heads of Belley and Raynal are next to each other but looking in opposite directions. Belley is dressed in fine clothing with an elaborate waistband and hat, while Raynal is nude.
The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
During the time period, France was in serious trouble, the country was having struggles for political power and many no longer wanted the monarchy system in place. King Louis XIV ruled France with an iron fist since a very young age, he was referred to as the “Sun King”. The two paintings clearly show the social status and hierarchy involved in the everyday life during this time period. In Louis XIV, the painting was meant to be put on display in the Palace of Versailles and be a
By paying attention to elements such as subject matter, light, form, and placement of figures, we can see how these enhance the ideals depicted by each form of art. As a result, we can understand how Neo-Classical art is an attempt to counter the values of Rococo. Rococo is a form of art directly targeted to the privileged. Because not everyone in society belongs to the aristocracy, the Neo-Classicist wanted to impose order as an alternative to the frivolous life style. As a result, we have to works of art that challenge each other’s ideals. The theme of infidelity versus loyalty and how one arrives at the decision made is animated in the works of Fragonard and David. However, it is important to note that there is no right or wrong form of art, although it may seem that this was the common perception of the time. In conclusion, both works of are similar in one important aspect; they are both works of art.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
Beginning in mid-1789, and lasting until late-1799, the French Revolution vastly changed the nation of France throughout its ten years. From the storming of the Bastille, the ousting of the royal family, the Reign of Terror, and all the way to the Napoleonic period, France changed vastly during this time. But, for the better part of the last 200 years, the effects that the French Revolution had on the nation, have been vigorously debated by historian and other experts. Aspects of debate have focused around how much change the revolution really caused, and the type of change, as well as whether the changes that it brought about should be looked at as positive or negative. Furthermore, many debate whether the Revolutions excesses and shortcomings can be justified by the gains that the revolution brought throughout the country. Over time, historians’ views on these questions have changed continually, leading many to question the different interpretations and theories behind the Revolutions effectiveness at shaping France and the rest of the world.
David was born to a wealthy family in France and became passionate about art. After many attempts to win the Prix de Rome, David was awarded the scholarship in 1774 and moved to Rome to study art at the academy. The time spent here in Rome was a major influence on the subject matter of many David paintings. After returning home to France David was inspired by Jean-Jacques Rousseau's Social Contract where Rousseau appealed for a new form of governmental structure. The Oath of the Horatii, completed in 1784, became an inspiring painting for the Revolution as its narrative was a commitment for change. In this painting the Horatii brothers were willing to die for their country and raise their hand in an oath for Rome while their father uplifts their swords they will go and fight with. The women know this may be necessary but they display sadness at the thought of losing their loved ones. The painting displays a simplicity and stateliness that is a calling card for the Neoclassical period.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
Jacques-Louis David was a neoclassical artist that favored the classical traditions of art in both style and subject matter. In following the neoclassical themes of the period, his paintings places heavy emphasis on public and moral virtue. In that way, his painting entitled Oath of the Horatii depicts
At this point in France, artists were trying to revolutionize art in their own fashion. Monet a extremely well know French painter tried to do just that. Critics claimed Monet was “a head of his time”, yet he sought to be loved by both the public and critics a like. He painted the first truly naked women, not a Goddess or a nymph. At this point this was revolutionary, yet he was unwilling to take it further. Manet was concerned with his popularity and needed to take time to think weather or not to display such a painting. Monet lacked the willingness to go against public opinion, dive into the revolutionary mindset, ignore social commentary and paint something different and new. Daumier, Millet and Courbet and had this quality are therefore were revolutionary.1
The Neoclassical movement coincided with the Romantic movement from 1750 to 1900. Romanticism was a reaction against what defined the Neoclassical movement. Romanticism was fueled by the French Revolution and the ideologies it introduced. John Jacques-Rousseau is considered the father of Romanticism; his ideas expressed the core idea of naturalism, that happiness is brought upon by the natural emotions, and all men are naturally good and society is what corrupts them (Document 11). The nationalism of the French Revolution became a key theme in Romanticism known as Romantic “nationalism”. The most iconic example of Romantic nationalism is “Liberty Leading the People”, which depicts the Parisian uprising against Charles X. The French flag and national landmark are examples of nationalist iconography within the piece, showing the artist, Eugene Delacroix’s, favoritism of France (Gardner). The French Revolution created the context, which allowed for Counter-Enlightenment and in effect Romanticism to occur. Counter-Enlightenment was the greatest factor in the emergence of Romanticism, specifically the German Sturm und Drang movement, which held emotion and subjectivity over rationalism (Hardin). Like Counter-Enlightenment, Romanticism rejected the rigidity that characterized the principles of Enlightenment, which were based off of the scientific revolution. The economic changes in
Throughout the ages art has played a crucial role in life. Art is universal and because art is everywhere, we experience it on a daily basis. From the houses we live in (architecture) to the movies we see (theatre) to the books that we read (literature). Even in ancient culture art has played a crucial role. In prehistoric times cave dwellers drew on the wall of caves to record history. In biblical times paintings recorded the life and death of Christ. Throughout time art has recorded history. Most art is created for a specific reason or purpose, it has a way of expressing ideas and beliefs, and it can record the experiences of all people.
Neoclassicism is an artistic style influenced by the Greek and Roman that students observed the first antique art works and reproduced them. Their inspiration came from the Greek mythology and used it as the resource. The definition of the Neoclassicism is that they emphasized on the historic subject matter, and moreover, the solemnity of composition. The Neoclassical style usually showing order and rational illusion in the works. The color usage is clam and the brushstroke is often being visible. Numbers of outstanding painters in this era, but the best-known painter is Jacques-Louis David. His famous painting is The Death of Socrates, which reveals a rational, solemn scene. In contrast, Romanticism expresses on emotion and imagination more than the Neoclassicism. Painters focus on the nature, violence, and legends of their paintings. In addition, emotional exploration had extended into the animal world that they will used animals as the metaphor of human behavior. Because of the influence of the Baroque eras, Romanticism is usually produces dramatic art