Neo-Classicism/Romanticism

Jacques-Louis David. Oath of the Horatii. 1784. Neo-Classicism.

Delacroix. Death of Sardanapalus. 1827. Romanticism.

In short: Neo-Classicism was a movement for the Poussinistes. Romanticism was a movement for the Rubénistes. Innovation is the language of progress and each great art movement is a reaction to an action. Where Neo-Classicism is solemn and stern in strength, Romanticism respectfully opposes with halcyon whimsy or theatric tragedy. The painters and philosophers of the Neo-Classical strain cared for the traditionally academic details. Romanticism complements the secular humanism and rationalist thesis that of Neo-Classicism with emotion—remarkable brushstrokes, robust washes of lighting, and resonant colors.

The clashing characteristics can be exemplified in the two paintings: Death of Sardanapalus by Delacroix and Oath of the Horatii by Jacques-Louis David. Aside from the medium and horizontal picture plane, the subsequent oil paintings stand on opposing ends of the spectrum. Death of Sardanapalus carries a theme that is trivial and lyrical—the accompanying mood is frivolous and sullen. On the other hand, Oath of the Horatii is horizontal, the theme is historical, and the mood is austere. If one were to ask David: “Which came first? The drawing or the painting?” David would not have hesitated to answer the former—for David was a Poussiniste. His academic skill and intellectual respect drove the themes of his oeuvre. Oath of the Horatii is a depiction of a historical event: when the three brothers of Rome willing to fight the three brothers of Alba Longa. David does not preoccupy himself with insignificant details—thus, his painting exhibits restraint and arouses respect from the spectator.

David parroted the tenets of Neo-Classicism with the accurate lines and mathematical shapes. The men and women are anatomically correct with an idealized touch. David’s artistic aptitude does not only appear in his restraint, but also in his understanding of space. The Roman scene exhibits use of scientific perspective. In this case, the focal point is the hand that holds the swords together—the raised arms of the brothers meet towards the hand.  The spectator can see that the directed lighting from the top left shines on the back of helmets, the back of robes, the blades, and the two women in the foreground. In effect, shadows are casted behind the men towards the right. Oath of the Horatii sets up a clear picture plane: the men and women occupy the foreground, the Classical arches are the middle ground, and the space behind the arches is the background. David pays homage to antiquity in the details: the Roman architecture, Roman garb, and Roman objects are historically accurate.

In Death of Sardanalapus, Delacroix dramatizes a real scene from Lord Byron’s poem by romanticizing the pillage of the king’s home and the murder of his lovers. Whereas, Delacroix wants to parade the king’s wealth by adding heavily detailed treasures throughout the canvas. The amount of detail and the lack of scientific perspective makes the composition of Death of Sardanalapus very expressive but unorganized. To add to the chaos, the swirl of limbs and posture turns the Death of Sardanalapus into a fluid dance of tragedy and outrageous lavishness.

The question of whether one artistic progression prevails over the other is lead by the antecedent: Mind or soul? Neo-Classicism is a map of calculated lines, proportion, and humanist pride—all unprecedented feats of the mind. On the other hand, Romanticism exploits our sensory cortex—tugging on the strings to our experiences, our socialization, and our knowledge. I believe that the dichotomy must coexist. The outcomes of both movements range from formalist art theories to Impressionist landscapes.  Without the ingress and egress of emotion, we would not even have the notion of order and honor.