Neo-Classicism Vs. Romanticism

The crux of all professions that necessitate self-promotion is that there will be conflict. No different is the battle between Neo-classicism and Romanticism, as they quarrel between the virtues of emotion and painting from what the artist feels versus that meticulous, disciplined, scientific form that Neo-classism is known for. The beginnings of Neo-classical art came from the idealization of french monarchy and looking towards the past classical era of Greco-Roman art to lay the foundations for which Neo-classicism can build on. Romanticism on the other hand came upon from a revolt against the tyranny of the Academy of Artists who proposed that art should only follow classical formats. This sparked the battle that can best be depicted between two different artists and their works. One Jacques-Louis David, a French Neo-classical painter that is recognized for exploiting the French Revolution as his muse in the early 1780’s; and Francisco Goya, a Spanish painter regarded as one of the last masters of the Romantic Era. Both of their works inspired by revolution, war, and the horrors that come along with it. Both show two immensely different views and can be said that their works are the archetypes for what Neo-Classical and Romantic mean. 

In the beginning, of France’s prosperity there was a time that painters reflected on the past works of ancient Greece and Rome to show patriotism and high merit, this was the scientific, disciplined classical style of Greco-Roman art. Riddled with themes of gods, honor, mythical narratives, and stories of antiquity. This was how French painters served their loyalty to their people, their patriotism, by resembling the forms of the Classical era. Jacques-Louis David’s was on of the first painters to employ this style and use it as a narrative to the French peoples own stories. His painting of Belisarius Begging Alms depicted a frailty within his own country. The painting depicts the story of a general of the Justinian emperor who was wrongfully accused of treason and ordered to be blinded and cast out of society, left homeless. Although, formatted in at thematic antiquity scene the this painting served as a political call out to the French public to show how much more the French Monarchy had not only let them down but how it could betray the very people they were suppose to serve. Only fueling more of the conflict that was bubbling out of the economical hardships that France was facing.

            By contrast, Romanticism came about in the time of the French Revolution, as a rebellion against the Artistic Academy. Stating their works should depict contemporary events , should speak on the wrongs of politicians, be more expressive and less restrictive. We can look at Francisco Goya’s painting, The Third of May 1808, a painting made years after the war end and that served as a depiction by the Spanish crown to show the gratitude towards those fallen, brave civilians that were massacred by the French invasion. 
           Subsequently, we can see the large differences in both paintings. Goya's  masterful use of the thick brushstrokes and although superbly evident in The Third of May we can still see the use of color to evoke an emotion. The dark colors and the black background that depict death and the horror of that night. His brush strokes around the figures show the free-form expression, rich in its ability to convey that the artist himself was had feelings towards this event. The lantern shining on the one brave Spanish civilian paying homage to la patria or the pride of Spain. Comparatively, we can see the rigid, stoic stance of guard in the middle ground of David's painting. The linear quality of the columns behind Belisarius and most of all, the idealism in how tone the men are and how flowingly perfect the female's and little girl's robes are. In Goya's painting we can see that there is no stark contrast, the lines blur, and the detail is almost non existent. 
          Finally, an interesting note to observe is the tone under which both paintings depict a gruesome scene. On the one hand of Neo-classicism we can see and feel the organization,meticulousness attention to detail that chills us with seriousness. The calm calculated effort of composition which, employs both aerial and scientific perspective. On the other hand, we have the fluid, dynamism of Romanticism. That spontaneous flare and the subjective approach the painter takes to evoke his own emotion of a event on to a canvas. Leading us to question which art style prevails now?
         In conclusion, it would be wise to say that Romanticism has defiantly laid the ground work for impressionism and modern art era that we have today. We pay millions for Jackson Pollack look-a-likes and could care less if a painter can make a 20 foot mural of a city in scientific perspective. Of course, that doesn't mean that this era doesn't have its own rebellion to deal with. With the popularity of street art we can now start seeing that there is a bit of shift towards more complex structures. Making much more art that has depth and follows some sort of loose guide to making art that can be respected in the streets. And in the end that's pretty much the goal of an artist; to make money doing what you love, be recognized, and be hated for good work. 
             

Works Cited

Eisenman, Stephen M. Nineteenth Century Art: A Critical History. 4th ed. New York, NY: Thames & Hudson, 2011. Print