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.

David vs. Goya

          Neoclassicism was a movement in the European fine arts community that arose following the popularity of Rococo lightheartedness.  Unlike the decorative and pleasure themed images developed during the Rococo period, Neoclassic paintings and sculptures recalled the academic rigidity and seriousness valued during classical antiquity.  Heroic godly scenes, symmetry, sculptural forms, and linearity characterize Neoclassic art objects. Neoclassical artists used ancient mythologies and literature reflecting the preferences of their ancient forebears, but used them to illustrate contemporary cultural events.  Observation of art in French parlors became the pastime of the general population as opposed to early periods during which paintings and sculptures were produced for the upper echelons of society.  Art for the people intended to act as propaganda for particular political and social movements; namely the French Revolution.  French born Jacques-Louis David was one of the sole progenitors of this movement.  David, his students, and his contemporaries followed an academic tradition that included studying under an accomplished artist and traveling to Italy to observe the masterpieces that culminated under the Roman Empire and during the Italian Renaissance.  But as artists and perhaps the individuals viewing the art began to grow weary of such formalities, other genres began to spring up within creative circles.   

           Romanticism grew out of a need to delve deeper into the artist’s psyche and portray a specific moment of affective intensity.  Less attention was placed on line and more on the movement paint could express in Romantic works.  The emotional apogee of an instant in time captured through dramatic dynamism, color, and apparent brush strokes became the modality by which artists shared their individual interpretations of an event.  Themes rendered during the Romantic period did not showcase ancient myths or heroes. The stoic idealized figures celebrated during the Neoclassical period were a trend of the past.  Romantic artists preferred creating emotional impact with their works often depicting tragic current events. Painters and sculptures began rejecting the notion that academic training and study of ancient artistic predecessors was relevant to their own success.  Romanticism required the artist to look within and development images that reflected their own psychological understanding of a situation. Those observing Romantic works glean a disparately contrary narrative from their structure and form than the ideas being portrayed during the peak of Neoclassicism.  While Neoclassical artists preferred to appeal to the faculties of logic and reason, Romantic artists strove to incite emotional upsurges with their work.  Spanish born Francisco Goya was an apotheosis of  Romanticism and demonstrated this deviation from the academic rationality of his predecessors by skillfully rendering images that captured  universal human emotions.

        Comparing the work of French Neoclassical artist Jacques-Louis David  and Spanish Romantic artist Francisco Goya demonstrates the differences in each movement's approach and intentions.  David's The Death of Socrates 1787 and Goya's The Executions of the Third of May 1808 1814 are examples clearly illustrating the disparities between these two periods. David's painting depicts the historical moment when Socrates holds the hemlock he is about to consume as a result of his heretical teachings.  Socrates is chosen as the hero in David's composition because he is an individual willing to die for his beliefs similar to those honorable men willing to perish for the cause of the French Revolution.  An individual observing this work is inspired by Socrates' resolve and commitment.  In contrast, Goya's work was produced in reaction to French imperialism and the atrocities of war.  It illustrates a moment when a Spanish man with raised arms awaits the fate those bloodied and fallen around him have just faced.  Goya's painting showcases the bravery of ordinary individuals revolting against the French soldiers.  While viewing The Executions of the Third of May 1808  the observer feels the frustration, anger, and melancholy that must have surged through the victims of French imperialism. 

                                                                     www.ibiblio.org

                                                                    www.ibiblio.org   

            In addition to thematic differences, structural and formal qualities are dissimilar as well.  David's figures are so clearly defined by linearity they resemble statues and Goya's characters blend into one another.  Socrates and the men who surround him are rendered with great attention to anatomy and the bodies of the Spanish men and French soldiers can barely be discerned under their garb.  While David's figures are fixed, Goya's men are dynamic and fall dramatically on top of each other.  The Death of Socrates has a smooth crisp finish and The Executions of May 1808 highlights the quality of the paint and the surface of the canvas. Classical architecture adds aesthetic appeal and depth to Socrates' episode while a black sky and architectural elements increase the gloom of the Spanish landscape. Carravaggio lighting illuminates Socrates' plunge into the afterlife and dramatic lighting also shines on the victims of war. David's painting, with its symmetrical lay out and refinement of detail, appeals to a the rational understanding of art. Goya's work invites the viewer to abandon the notion that art needs to be composed mathematically mimicking actual proportions.   

          Jacques-Louis David and Francisco Goya managed to make their mark on the world with their painterly creations while calling upon vastly different techniques.  Both individuals, though coming from divergent schools of thought, communicated to audiences messages pertinent to the artists and their historical moment in time.  With every movement comes a counter movement, and Romanticism emerged as an oppositional answer to Neoclassicism.  This cultural ebb and flow made possible the emergence of artists and their endeavors that have the potential to strike our intellects like The Death of Socrates or stir our emotions like The Executions of May 1808.

         

Eisenmen, Stephen and Thomas E. Crow. Nineteenth Century Art: A Critical History. London: Thames and Hudson, 1994. Print.

POST 1: Bryan Choi

             

             Neo-Classicism and Romanticism arts are from two different eras, and both periods have a very different technique. During the two periods, artists reflected their works based on the contemporary events, like Neo-Classicism artist, Jacques-Louis David, have dealt with the French Revolution, while Romanticism artist like Francisco de Goya faced the Spanish Revolution. Romanticism Artist was reflected from Neo-Classicism; therefore, Goya’s works looks very unique and different from David’s work.

                During the Neo-Classicism period, many artists were trying to bring back antiquity, which were Greek and Rome’s classical art form. The Classical were all about grand theme and perfection, the body of a male is idealized. The artworks were harmonious and balance and had a heroic touch.  Jacques-Louis David has followed all the traits from the Classical period and, one of the greatest examples from his collection of master pieces are Belisarius Begging for Alms, 1781. David has painted a mythical story during the Rome period. It depicts Belisarius, ex- great military commander under Justinian being poor and blind. His blindness was cause by his own emperor, betrayed by his own people. In the painting Belisarius is holding a little girl and begging for alms. The woman provided sympathy and gave them some alms, while in the back was a shock Justinian soldiers staring at his own commander.  This serious scene has an allegorical message that David wanted to expose. The message have a political statement saying people in France was betrayed by their own people and that everyone should show sympathy and care for one another.  Even though it is a serious theme, it also has a heroic theme by depicting a scene of a woman showing sympathy for a blind warrior and the poor, on top of that a shock warrior.

                The traits of this painting definitely relates to the technique in the Ancient Rome and Greek because the male bodies are completely idealized, look at the tone legs of the shocked soldiers and Belisarius have a toned arm.  The painting is highly detailed based on the columns and the armor design of the warriors. Everything is calculated and well balanced; there are two characters in the left and right of the painting, which makes it harmonious and elegant.

                During the Romantic period, a lot of artists have taken the ideas of painting their emotions and expressions of contemporary events. Romantic artists were a reaction from Neo-Classicism, Romantic artist didn’t want to be detailed or have mathematical proportions’ in space. They believed in heavy brushstrokes, free forms, and rich colors to capture the dramatic emotions of their viewers.

                Like David’s painting, Goya’s art also have a political statement for contemporary events. The Executions of the 3^rd of May was a painting that depicts Spanish being terrorized by the French. During this period Goya expressed many emotions towards his effects of Spanish Revolution, he was deeply disturbed about the situation. He painted a scenario where the French pointed the innocent Spanish with guns, while the innocents did not have armor or weapons. One brave Spanish man stood in middle of the action and spread his arms like he was Christ hanging by a cross. The painting has created many sensations, the dark and dim colors and the heavy brushstroke created dramatic passion towards the artworks. The face of the man in the middle have a deep sorrow that looks like he is begging the French not to kill any more people. There is nothing really heroic about this scene, is more of a reaction and sympatric scene where spectators will draw their emotions out. The figures are not idealized at all because the body proportions are inaccurate, the legs are too short and so is the body. The painting was sort of abstracted, which empowers the painter because it is in the painter’s perspective. Romantic painter didn’t want to be bind by the rules of the Classical traits of the Greek and Roman; they wanted to set their own rules. Goya wanted to express his strong emotions towards the horrific occurrence, he wanted to make a standpoint and tell his spectators that the soldiers have no right for killing the innocence.

                Overall both styles from different eras are completely dissimilar, Neo-Classical believed in structure, harmonious, grand, and idealized, while Romanticism believed in strong brushstroke, emotions, and vibrate colors. Even though the styles were different, but their goals were the same, is to make a statement of political issues.  Ultimately Romanticism has prevailed based on the fact Impressionism, Cubism, and etc have occurred right after. The later movements show abstraction and lack in details, modern artists wanted to paint for themselves and express their own emotions.  The traits of modern artists are very similar to Romanticism because it is also based on emotions and about the view point of the artists. Here are some examples of impressionist paintings.

Source:

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

"Jacques-Louis David: Belisarius." BC. N.p., n.d. Web. 24 Sept. 2012.
     <http://www.bc.edu/bc_org/avp/cas/his/CoreArt/art/neocl_dav_belis.html>.

Neoclassicism & Romanticism

     Politics and societal conditions have and will continue to influence art. The works of artists can reflect the political and societal conditions of a specific historical period and the techniques of a particular art movement.  Two art movements that emerged and where practically opposites, were the Neoclassicism and Romanticism. Both Neoclassicism and Romanticism were essentially opposites because of how different the characteristics such as tone, subject matter, technique, and role of each art movement were. A prominent artist of the Neoclassical style would be the French painter Jacques-Louis David; I will be analyzing two of his paintings: Socrates at the Moment of Grasping the Hemlock and Marat at His Last Breath. Two well-known artists of the Romantic style are the French painter Theodore Gericault and the Spanish painter Francisco Goya; I will be analyzing Gericault’s The Raft of the Medusa and Goya’s The Executions of the Third of May 1808.

            In France, Neoclassicism emerged around the 1760’s, the years leading to the revolution, and was influenced by patriotism and virtue. Artists like David would use their painting as way of setting an example of how the people should fight for general welfare against the corrupt state. Artist would look back to the past for inspiration and portray the heroes of classical antiquity. Neoclassical paintings were inspired by myths, antiquity, and Greek and Roman classics, which made the subjects of these paintings, include gods and goddess and the theme of honor. Techniques that are seen in Neoclassical paintings include the use of muted colors, smooth, no visible brushstrokes, idealized figures and proportions, which in effect made the tones more serious, clam, rational, organized and calculated.

            Romanticism first appeared around the beginning of the nineteenth century and would ultimately prevail Neoclassicism. Unlike Neoclassical painting, Romantic artists drifted away from conformity and were more inclined to being independent. Unlike the Neoclassical artists, painters like Gericault and Goya did not look back to classical antiquity and myths for inspiration, but rather were inspired by nature and the middle and Far East. The subject of Romantic paintings did not include gods and goddess, but in contrast were more about the common people, contemporary events, political, and nature. In contrast to Neoclassical painting, techniques included the use of rich colors, rough, blurry, and visible brushstrokes which in the end give a chaotic, dynamic, dramatic or spontaneous tone.

            In David’s Socrates at the Moment of Grasping the Hemlock, it depicts the moment in which Socrates accepts the poison which will ultimately end his life. The painting is a great example of Neoclassicism because of the characteristics it consists of. The composition of the painting has most of the scene happening in the foreground, Socrates surrounded by his disciples, which gives it little depth. One can see that David was clearly inspired by Greek Classical, being that the subject of the painting was Socrates. Socrates seems to parallel Christ because of how the he seems to illuminate because of how the light hits him, the way is dressed in white, and how is surrounded by his followers. David’s painting was call to arms for the people of France because it comments that the people should question authority. In his other painting, Marat at His Last Breath, depicts Marat as he dies in his tub after being surprised by his attacker. David has chosen to depict Marat very saint-like to emphasis the revolutionary’s self-sacrifice. Marat also seems to parallel Christ in the way the light seems to illuminate him and his nudity seems emphasize heroic stature.

In The Raft of the Medusa, Gericault portrays the moment in which survivors of the shipwrecked frigate Medusa see a rescue ship and do not know if they have been seen in return and frantically try to attract its attention. The painting clearly portrays the Romantic characteristics such as the very dramatic tone that is depicted through the despair that it shown by the survivors of the shipwreck. David also chose to depict a more contemporary event and common people rather than gods and goddess from Classical antiquity as seen in Neoclassical paintings.

In The Executions of the Third of May 1808, Goya chose to depict an execution to be testimony of the courage and suffering of the Spanish people at the hands of the French. Goya proves to be a great artist of the Romantic style because of his use of rich colors, visible brushstrokes and the creation of a soft and blurry surface, unique to the Romantic style. Like Gericault, Goya paints a very dramatic scene in which common people are again portrayed. The central figure also seems top parallel Christ, because of how he holds he arms stretch out and is brightly illuminated but nonetheless is also depicted showing fear. Romantic artists would be more expressive because of the different techniques utilized to create a more dynamic and dramatic composition. 

For More Info http://www.all-art.org/history356.html

Work Cited

Eisenmen, Stephen and Thomas E. Crow. Nineteenth Century Art: A Critical History. London: Thames and Hudson, 1994. Print.

Neo-Classicism and Romanticism

          Neoclassicism and Romanticism were two styles that were very different from each other. On one hand, Neo-classicism was a very serious style of art. Everything was mathematically worked out, which made every object in the painting in perfect proportion. Also, everything was very organized and detailed, just as the Renaissance artists painted their masterpieces. On the other hand, Romanticism brought out more emotion and drama through the painters’ brushstrokes and the way they would convey their subjects. In other words, one can say that they were less restricted than the neo-classical painters.  Both styles were very important to their times in the process of educating and alerting their contemporaries.  

            Neo-Classicism emerged in reaction to the Rococo movement. Rococo was a very lighthearted, exotic movement. Artists of this style wanted to break free from the classicism (Baroque movement) that the French Monarchy was forcing artist to paint. Once the breakthrough of the French parliament, artists started up the lighthearted Rococo movement. Once Rococo became over-played, artists wanted to get back and get into the classical perfection that the Baroque movement had to offer.  Jacques-Louis David was the definition of Neo-Classicism. He treated the contemporary history in an idealized manner and treaded his ancient historical subjects in an epic and restrained drama. An example of his characteristics is The Oath of the Horatii. Everything in The Oath of the Horatii is in perfect proportion and goes back into space (deep space). The colors that David paints with in this painting are very simple colors. These are some characteristics that Neo-Classicism held. They strived for that perfection that the Baroque movement held. The story of this painting was about three Horatii brothers giving their oath to their father (who holds up three swords). On the right are the Curiatii women. One of them is the wife of one of the younger Horatii brothers. She is weeping because her husband was murdered by one of the surviving Horatii brothers. This painting was meant to call to unit the revolutionaries by relating current events with an ancient Roman story.

Another one of David’s paintings, Death of Marat, shows the seriousness and political propaganda that Neo-classicism intended to stir up. The painting is a scene that is straight out of the French Revolution. Death of Marat displays the assassination of Jean-Paul Marat, who was a close friend of David. By painting this, David gave encouragement and inspiration to those fighting in the Revolution. David displays Marat, who was stabbed by Charlotte Corday (a political activist from a rival faction) in his medical bathtub. Because of his skin condition, Marat would spend his time writing to people, which David displayed him lifeless, holding a pen in his right hand and the letter in his left. Everything in Death of Marat is mathematically worked out. David places the box in the foreground with the artist’s signature on it.  In the middleground, the dead body with the note in the hand, is all in proportion.  In the background, David places a deep dark wall (to create the drama). Another way David creates space is by his highlights and shadows. He places a shadow underneath the note and gives highlights from the light source, which is coming through the left side of the painting. All these qualities that David paints in Death of Marat are all traits of Neo-Classicism. Like The Oath of the Horatii, Death of Marat was meant to make his contemporaries aware of what was going with the current events of that time by displaying his beloved friend whom was martyred.

In reaction to Neo-Classicism was Romanticism. Romanticism was about stirring up emotion by the drama that was happening in their current events. An artist who was a strong Romanticism artist was Gericault.  His painting The Raft of the Medusa was based on a story that leaked to the newspapers. A French ship off the coast was destroyed and the captain and the high ranked sailors escaped safely from it. Because of this, they ended up leaving 150 people to fend for themselves. Out of the 150 people, only 15 lived (due to converting to cannibalism). When Gericault heard about this story, he was horrified and decided to share his disgust with his contemporaries. Gericault creates drama by displaying the moment before the 15 survivors get rescued. The rescue ship is way out in the distance and the sail of the raft is blowing the other way. On top of that, Gericault paints a huge wave about to hit the raft. Most of the bodies in the painting are lifeless and the people on board are climbing up and reaching for the rescue ship. Before Gericault started The Raft of the Medusa, he went to morgues to do studies on lifeless bodies. These lifeless bodies that are on the raft seem to be spilling out at the viewers, which does create a huge sense of drama. The black man up in front of the boat represents the issue of slavery going on at the time. On the actual boat, there were slaves on board and most of them were drowned due to financial reasons. The man that is dead center is barely holding a lifeless corps, which represents the survivors barely holding on to humanity. The complex composition carries the viewer’s eyes all over the painting, therefore making viewers experience everything that is going on.

            Another Romantic artist was Delacroix. Like Gericault, he too broke away from Neo-Classicism by painting chaotic scenes. In his painting, Death of Sardanapalus depicts a Middle Eastern king whose kingdom was being taken over by his enemies. Sardanapalus’ last command was for everyone and everything that he loved to be destroyed or killed before he died. That way no one can take anything away from him. In a way, Sardanapalus wants to show how powerful and magnificent his lifestyle was. As his kingdom is being destroyed, Sardanapalus is lounging back and enjoying the massacre that is taking place. By depicting this scene, Delacroix is commenting on his own monarchy in France. At this time, imperialism is taking place and the imperialist are taking over and destroying countries. In a way, Sardanapalus symbolizes the king of France. Women were previously depicted nude because an artist wanted to display the beauty of women. Now, Delacroix symbolizes them as possessions of men and the understanding of women’s roles in his time. The black soldier in the painting doesn’t represent slavery (as was Gericault’s). The black solider represents the imperialist movement within that time. Delacroix does not have any statue poses within his figures (unlike the Neo-Classist) but has more of a chaotic scene (also unlike the neo-classist).  

            In conclusion, Romanticism prevailed over Neo-Classicism.  The people were bored of the perfection that Neo-Classicism had offered and they wanted something that would stir up emotion deep within. The people wanted something new, something they had not experienced before. They wanted to break free from the standard and move to deeper meanings within art.  ­­­


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

Google Images: 
Oath of the Horatii 
Death of Marat
The Raft of the Medusa
Death of Sardanapalus

The Rise of Romanticism and the Fall of Neoclassicism

Jacques Louis-David. Oath of the Horatii. 1784-1785

Krissia Keck

To initially prepare ourselves for the crazy world of the history of art movements, we must agree on some things. Art movements behave in an “action-reaction” pattern. It generally starts with an artist trying to achieve complete and utter perfection (much to the annoyance of those of us who cannot draw a single portrait successfully). David is our a prime example. He was inspired by, and followed all the rules of Classicism. But then of course, a couple of "punks" come around, decide that they don't like the way things are going, and that they are no longer going to follow any of these unwritten rules. They are going to do things their way, and follow their own rules, which later becomes the set of rules that the next generations' "punks" are going to have to break. And there you have the beginning of every art movement ever. (Or almost)

Neoclassicism emerged right after the “fall” of the Rococo movement. Pretty, frilly, light-hearted things are great and all, but they somehow fail to depict and embody the events taking place in France in the 18^th Century. They actually mirror to an extent, the political state of France. The decadence and excess of the aristocracy, eventually led to the French Revolution. Artists without a doubt, were endlessly affected by the political events that surrounded them. 

In Oath of the Horatii, not only does David make use of classical ideals such as mathematical proportions, perfect lines, restrained use of color, depth of field, and Roman architecture, but he also uses the grand theme to his advantage. Being a supporter of the Revolution, he chooses to depict a theme that will install the revolutionary spirit amongst his people. The painting illustrates the story of three men taking an oath against their enemies. The only minor problem: the women were related to the enemy family in different ways, so they were all going to lose someone near to them. The best part? The painting was commissioned by the royal government. David's painting was a discreet call to arms. He used the seriousness and power of the Neoclassicism movement to deliver a dose of heroism and call for action to the people of France. 

Francisco Goya. The Third of May. 1808.

Fast-forward a couple of years, and we notice Neoclassicism making way for Romanticism. As previously mentioned, artists threw the rulebooks away, and began painting whatever and whichever way they wanted. Perfect proportions? Nope. Mathematical calculations? Definitely not. This time around, artists began to paint contemporary subjects that appealed to them. Instead of painting a classical story with the hopes of invoking some feeling with the viewers, Romantic artists produced paintings of actual events so that people could react however they chose to. 

Francisco Goya had one foot in France, and one foot in Spain. He was witness to the horrors of war, and became disillusioned with the governing forces in Spain. In The Third of May, Goya depicts the events that actually happened on May 3^rd in Spain, when the French slaughtered hundreds of innocent civilians because a French soldier was shot the night before in the same city. The composition is not perfectly measured out. It has no distinct depth of field. The bodies are not proportionate, which can be clearly seen on the main figure, the man wearing yellow and white. He strategically uses directed lighting to illuminate the defenseless man in he middle of the canvas. His brushstrokes are expressive, and the overall mood is very dramatic. The faces of the soldiers cannot be seen, but we are shown the faces of the victims in the painting, in an attempt to empathize with the people. He uses bright colors to reinforce the drama happening the center of the piece. 

Ultimately, Romanticism prevails (at least for a couple more years). Neoclassical artists working on commissions sought to make their patrons satisfied, by painting grand, classical themes. On the other hand, Romantic artists began to paint for their own sake, and for the first time, artists started choosing the content of their paintings, using the canvas to express their inner reactions to the events happening around them.  

Works Cited:

Eisenman, Stephen, and Thomas E. Crow. Nineteenth Century Art: A Critical History. London: Thames and Hudson, 1994.

Neoclassicism vs. Romaticism

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Both movements Neoclassicim and Romanticism flourished across Western Europe (especially in the north) and the United States, and to a lesser extent in Eastern Europe. As Neoclassicism turned to antiquity for its ideal models, so Romanticism yearned for an alternative to everyday reality, aspiring to the truth of the soul and the freedom of irrational impulses. The similarities between these two stylistic trends became more obvious during the decades leading into the 19th century, at which point they more or less coincided. Neoclassicism and Romanticism are two sides of the same coin - both movements reacted to the extravagance of the Rococo style by returning to human values, but Neoclassicism was driven purely by reason, Romanticism was motivated and led by emotion. The longing for a distant and seemingly more appealing age is a fundamentally Romantic notion. A powerful and emotional undercurrent finds its way into the paintings of David, particularly in his depictions of individual pathos, more usually in female subjects. 

Neoclassicism: The artists wanted a style that could convey serious moral ideas such as: justice, honor, and patriotism. Neoclassicism appealed to artists who were supportive of the French Revolution, as it allowed them to draw upon the democratic legacy of ancient Greece and Rome. Such artists included Jacques-Louis David, the foremost neoclassical painter. His first great work was Oath of the Horatii, which depicts three legendary warriors pledging allegiance to the Roman Republic.

Jacques Louis-David, Oath of the Horatii, 1784-1785, Oil on Canvas

Romanticism: It was about wildness and expression rather than control. Romantic artists had no fixed laws relating to beauty and properties of subject matter. Instead, Romanticism was a creative outlook, a way of life. France had two primary Romantic masters. The first was Théodore Géricault, whose masterpiece The Raft of the Medusa portrays the terrible struggle of the victims of a contemporary shipwreck. The people on this raft were French emigrants, who had left their homeland for a new life in West Africa. When the ship foundered at sea, the captain and crew seized the lifeboats; the colonists (who numbered over a hundred) were abandoned on a makeshift raft, with little water or food. By the time a rescue ship arrived, fifteen colonists remained alive.

 

Theodore Gericault, The Raft of the Medusa, 1818–1819, oil painting
 

The differences between the two vary between values, inspiration, tone and technique such as; values in neoclassicism focus on order and solemnity; romanticism values are in intuition, emotion and imagination. The inspirations in neoclassicism are classical Rome, patriotism, courage and honor; in romanticism the inspiration is in Medieval and Baroque eras, middle and Far East. The tone of neoclassicism is calm and rational; romantic tones are subjective, spontaneous and non-conformist. The techniques in neoclassicism are stressed drawing with lines, not color and no trace of brush stroke; romanticism techniques are unrestrained, rich color and visible brushstrokes.

Neoclassicism a product of the 17th century began as homage to the past. Individuals in this period valued the culture and creative works produced by storied civilizations like those in ancient Greece and Rome. Romanticism, on the other hand, arose in the 18th century as a response and an alternative to classicism. As such, this movement placed more focus on appreciation of the exotic and the different. Due to these varied outlooks, the subjects and styles of neoclassicism and romanticism often diverge. Neoclassical works faithfully adhered to past templates for structure. Romanticists, however, were more experimental in their literary approaches.  In addition, realism versus idealism emerged as a key difference between neoclassicism and romanticism. Characters in neoclassical works were usually moderate and non-controversial, and plots adhered strongly to traditional themes. Meanwhile, romantic works idealized humans somewhat by promoting human innocence and the idea of a so-called noble savage unhindered by modern evils. Non-conformists and rebels were somewhat celebrated in romantic literature as well.

These approaches also highlight the divergent emphasis in neoclassicism and romanticism concerning society and the individual.  Neoclassicism was a widespread and influential movement in painting and the other visual arts that began in the 1760’s, reached its height in the 1780’s and '90’s, and lasted until the 1840’s and '50’s. In painting it generally took the form of an emphasis on austere linear design in the depiction of classical themes and subject matter, using archaeologically correct settings and costumes. Neoclassicism as generally manifested in European painting by the 1790’s emphasized the qualities of outline and linear design over those of color, atmosphere, and effects of light. Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1840. Partly a reaction to the Revolution, it was also a revolt against aristocratic social and political and a reaction against the scientific of nature. Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist.

for more information:

http://www.essential-humanities.net/western-art/western-painting/neoclassical-and-romantic-painting/

Work Cited:

“Neoclassical Art and Architecture”, Encarta.  May 2009
“Painting: Neoclassical Painting”, Encarta.  May 2009