Neoclassicism

Neoclassicism and Art

In the 18th century, art and politics were intertwined with one influencing the other. Neoclassicism was an artistic movement that lasted from the mid-18th to the mid-19th century that sought to bring “classic” forms of art to the forefront. It was in direct reaction to the Rococo and Baroque artistic movements, which emphasized gaudy decoration and fantastical subjects. In contrast, Neoclassicism followed three main elements: order, accuracy, and structure and prized unemotional and realistic depictions of classical subject matter.

Fig. 1 Oath of the Horatii by Jacques-Louis David

Neoclassicism History

The origin of Neoclassicism in art can be traced to the work of Nicolas Poussin and Claude Lorrain. Poussin and Lorrain were Baroque artists whose paintings took on a much more classical approach than their contemporaries. They painted mostly mythological or Biblical scenes that adhered to a sense of orderly harmony that the Neoclassists strived to describe.

In addition to the influence of these painters, in the 18th Century, many young men were taking part in what was called “The Grand Tour”. The “Grand Tour” was akin to the 18th century version of backpacking across Europe post-graduation. The tour began in England and ended in Italy, where young men were invited to visit the recently excavated Roman ruins and antiquities. Ancient cities like Pompeii, which was preserved under a layer of ash from the deadly explosion of Mount Vesuvius in 79 A.D, offered inspiration and renewed interest in classical Greek and Roman myth, philosophies, and political systems.

Neoclassicism Characteristics

The three main elements of Neoclassicism were order, accuracy, and structure. Art and decor from this period sought a unity of these three elements to create less-fantastical depictions in art.

Jacques-Louis David and "Death of Marat"

Jacques Louis David was a French artist, and active political citizen. He was a member of the Jacobin Club and voted for Louis XIV to be executed at the National Convention. He was a lover of the Classics, down to their views of republican governments, and was key in demanding reformation of the French “Académie Royale de Peinture et de Sculpture”.

In 1793, he was commissioned to paint a piece in memorial of his friend Jean-Paul Marat; leader of the Montagnards, the major political party during France’s “Reign of Terror”. Marat was assassinated by Charlotte Corday. While he was sitting in a medicinal bath at home, Corday broke in under the guise of giving the politician a message and stabbed him.

Neoclassic Elements in "Death of Marat"

Death of Marat is now a classic example of neoclassical art. Let’s take a look at the characteristics of the painting that show those elements.

Fig. 2 Jacques-Louis David death of marat

Balance

The “action” of the painting is on the bottom half of the frame. Rather than use the top half to show Marat’s elaborate home, David balances the image with a dark, blank wall. This draws the viewer’s eye down to the main subject and adheres to the Neoclassical characteristic of simplicity and balance.

Classical Imagery

In this case, David looks to depictions from the bible of Jesus Christ’s martyrdom, turning Marat into a martyr for the Montagnards. This is an example of the Classical Idealism other neoclassical artists would use when depicting Greek and Roman myths, like Cupid and Psyche.

Realistic View of Events

While David took some license in memorializing his friend (there is no evidence of the skin ailment for which Marat was in a medicinal bath), for the most part the painting is an unromantic depiction of his death. There are no angels calling Marat to heaven, nor is there a commotion of the women or servants in his home in the background. There is a small, unexaggerated trickle of blood from where he was stabbed, and the humble weapon (a kitchen knife, not a bejeweled dagger) lies unceremoniously on the floor nearby.

Realism in Art

Artistic movements, like political ones, ebb and flow with each major movement reacting to the last. Following Neoclassicism was Romanticism; another period of idealization, and in the mid-19th century Realism followed as a direct reaction to Romanticism.

Fig. 3 The Sower by Jean-François Millet

History of Realism in Art

Realism came on the heels of the Industrial revolution, and just after another revolution in France. The French Revolution of 1848 overthrew King Phillipe and the second French Monarchy, establishing a renewed French Republic. Once again, artists and politicians were reacting against the excesses of the previous monarchy and fighting for the rights of the lower class. This time, Realists sought to raise the middle and lower classes to the same idealization that was reserved for classical subjects in the time of the Neoclassicists. The Realists painted truthful and accurate depictions of the working class but adhered to similar elements to the Neoclassicists.

Gustave Courbet and "The Painter's Studio"

The full name of Gustave Courbet’s piece is: “The Painter's Studio: A real allegory summing up seven years of my artistic and moral life.” He has become known as a leader in the Realist movement thanks to his dedication to painting unglamorous scenes of real life, as shown in other paintings like The Stone Breakers and The Wheat Sifters.

Paintings such as this one demonstrates Courbet’s Republican politics, as he makes the working man the subject of most importance in his work. In the mid-1800s, the French people were working to create better protections for those of the working class. Courbet’s dedication to painting real life shows that he felt workers were more important than monarchies or a life of leisure.

Characteristics of "The Painter's Studio"

The Painter’s Studio is painted on a massive canvas, one that up until the Realists would have been reserved for depictions of historical events or myth. The canvas measures 142 x 235 in and is a detailed description of the goings on in Courbet’s studio.

Fig. 4 Gustave Courbet the painters studio

The characters in this painting are common folk who would have entered Courbet’s studio — on the right side you see the shaded figures of his friends and fellow artists, while on the left are laymen that were painted from Courbet’s memory. There’s even a studio cat and a young boy watching Courbet paint.

These people are not depicted as “ideal” figures, nor are they painted with a heroic filter to them. This painting is comprehensive in its detail of the goings on of the artist’s busy studio and is true to the Realists’ desire to show an unembellished view of life. The men in the painting are not in battle nor are they painted to mimic Classical poses or mythological figures. They are painted just as they are, celebrating the laymen and women, animals, and contemporaries that surrounded the artist.

Neoclassicism and Realism Time Period

Neoclassicism and Realism were both artistic movements that are deeply connected to political movements of the time. Both started right after French Revolutions in which the prevailing political parties abolished the monarchy and created French Republics. Both have philosophies rooted in the logic of human nature, that can be traced back to the philosophers of the Age of Enlightenment.

Fig. 5 Sans-Culotte painting

Neoclassicism and Republicanism Main Idea

At the same time, as young men were going on their Grand Tours and discovering ancient artworks, they were learning more about Greek and Roman society and becoming interested in the Ancient Greek and Roman Republics. These Republic-based (or Republican) ideas were brought back to Europe and America as people rebelled against tyrannical monarchies and sought to create a new form of the Classic Republics. They wanted to self-govern, and bring power and protection to the individual, and constrain monarchies that had exploited their citizens previously. These ideas influenced the French Revolution, as well as the American Revolution and so many artworks from the Neoclassical period depict political figures and scenes in order to elevate these new Republics to Classical heights.

Realism and Politics

Realism is a political theory which states that all political actors are constantly searching for power and wealth. There are many sub-genres of Realism, and each political philosophy believes that the motivations and primary goals come from different sources. For example, in Classical Realism it is believed that nation-states are always acting in their own self-interest and will always make moves to preserve their own power. Realism, in general, follows the logic of human nature and the egocentric need to self-preserve.