During the prosperity of the French monarchy in the 1780s, there was
a high demand for classical art to glorify the king and emphasize the important
of royalty. The Royal Academy of Painting looked back to antiquity to justify
their art. Neoclassicism referenced mythological themes of the ancient Greeks
and Romans; its role was to inspire, glorify, and emphasize virtue. At the end
of the century, art shifts to a new direction; art begins to speak on
contemporary issues of the era. Paintings become more expressive, intuitive,
and dynamic, paving the road for Romanticism to dominate the art for the next
century.
Neo Classicism evolves as the monarchy favors classical art to glorify them. The
French Royal Academy focuses on the severity of classical art like ancient
Greek and Roman sculptures, paintings and relief sculptures. Math also applies
to create perfect body proportion, as there is a sense of calm and serenity in
Neoclassical painting. The needs for classical art pave the road for Jacques
Louis David to input human virtue in his painting. In the painting Socrates
at the Moment of Grasping the Hemlock. 1787 oil on canvas. David’s
subject was the philosopher Socrates that was sentenced to death. David choose
the moment before death as Socrates reaches for the poison while pointing
upward as a sign that his teaching will live on. “ Socrates accepts without
resistance the judgment of the democratic assembly the better to reject the
legitimacy of the authority behind it.” (p.31) Here we see another trait of
Neoclassical art as it has a political propaganda. David might speak for
himself toward the resistance of the monarchy. We see that as a Neoclassical
painter, David treated the canvas to a smooth surface and clearly define lines
within the drapery. We also see the references of Baroque art in the dramatic
lighting that was unique of Caravaggio. All of the details to create a sense of
severity speak upon a human virtue that is uniquely David. 
In the departure of Neo-classicism, Romanticism lose the severity of structure to
replace the art with a more fluid and expressive gesture that focused on
contemporary issues. Gericault is the poster child of this period. He successfully
infuses contemporary issue in his painting Raft of the Medusa 1819. His
idea is a grander classical gesture with contemporary issue. The story behind the
Raft of the Medusa is a true story of a tragic shipwreck. Only 50 men
survive out of the 150 men that were left to fend for themselves by order of the
captain and governor, as they are the dead weight for the lifeboat. Here we see
the trademark of Romantic painter as being expressive in color. It is no
longer simple color like the Neo classic painting but more vivid and vibrant.
The composition is dynamic to replace the balance and calm of neoclassic era.
The theme is no longer a mythological theme but a true event. “ …Inspired
anomalies of theme and scale, he manage to recast historical drama in its
terms, pushing painting to an extreme of gigantism.” (p. 75). Romantic painters
evoke the drama that brings viewers to the emotional edge. As a result, this
painting put the governor and captain out of position and brings justice to the
men who left on the raft. 
Only a century apart, Romanticism removes itself from the strict academic
structure of painting and moving toward the expressive attitude of the artist
himself. Their inspiration no longer comes from mythology of ancient Greek and
Rome but they stem from nature, Middle East and Baroque art. We also see a
softer brush stroke that the edges also blur out. A strong characteristic that differentiates
Romanticism and Neo classicism is the use of color. Romantic painters abandon
the simple color of earth tones instead, to use bold and vibrant color
combination that speak to the inner emotion. Joseph Mallard William Turner in
his painting, Slavers Throwing Overboard the Dead and Dying- Typhoon
Coming On. 1840 speak to view with the expressive use of color and
brush stroke. Most importantly the role of Romantic artist change drastically.
They no longer have to glorify the king or have a political propaganda but
instead they evoke a deeper emotion and it’s dramatic aspect. After the over
throw of the monarchy, artists finally can do what they want and art becomes
more intuitive. Freedom of art making gives way for Romanticism to grow and
eventually replace Neo-classicism. Artists finally make works that are none-secular
and landscape painting becomes hype in the art subject.
Both painting style of Neo-Classism and Romanticism had its own uniqueness.
Each style prevail the previous art style. Neoclassicism returns to the art of
antiquity and away from the abstract of Rococo art. Romanticism again breaks
away from that stoic and severe art making of Neoclassicism. In the end, it is
the social factor that gives rise to these art styles. French monarchy gives
height to Neoclassicism but when the revolution ended, the people’s interest
gives way for Romanticism to flourish. In the end, art style communicates to
the audience based on their historical context. Romanticism might have prevailed
Neoclassicism but each style of painting is neutral and we will view them as
both important in the development of modern art.
Works Cited:
Eisenman,
Stephen M. Nineteenth Century Art: A Critical History. 4th ed. New York,
NY: Thames & Hudson, 2011. Print
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