{"id":595,"date":"2015-10-14T22:40:19","date_gmt":"2015-10-14T22:40:19","guid":{"rendered":"https:\/\/courses.candelalearning.com\/zelixart102\/?post_type=chapter&p=595"},"modified":"2015-10-29T21:27:49","modified_gmt":"2015-10-29T21:27:49","slug":"introduction-to-neo-classicism","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-arthistory2\/chapter\/introduction-to-neo-classicism\/","title":{"raw":"Introduction to Neo-Classicism","rendered":"Introduction to Neo-Classicism"},"content":{"raw":"In opposition to the frivolous sensuality of Rococo painters like Jean-Honor\u00e9 Fragonard and\u00a0Fran\u00e7ois Boucher, the Neo-classicists looked to Nicolas Poussin for their inspiration. The decision to promote Poussiniste<\/i> painting became an ethical consideration. They believed that strong drawing was rational, therefore morally better. They believed that art should be cerebral, not sensual.\r\n\r\n[caption id=\"attachment_596\" align=\"aligncenter\" width=\"1024\"]\"Three Figure 1. Nicolas Poussin, Et in Arcadia Ego<\/em>, 1637\u201338, oil on canvas, 185 cm \u00d7 121 cm (72.8 in \u00d7 47.6 in), (Louvre).[\/caption]\r\n\r\nThe Neo-classicists, such as Jacques-Louis David (pronounced Da-VEED)<\/i>, preferred the well-delineated form\u2014clear drawing and modeling (shading). Drawing was considered more important than painting. The Neo-classical surface had to look perfectly smooth\u2014no evidence of brush-strokes should be discernible to the naked eye.\r\n\r\nFrance was on the brink of its first revolution in 1789, and the Neo-classicists wanted to express rationality and sobriety that was fitting for their times. Artists like David supported the rebels through an art that asked for clear-headed thinking, self-sacrifice to the State (as in Oath of the Horatii<\/i>) and an austerity reminiscent of Republican Rome.\r\n\r\n[caption id=\"attachment_597\" align=\"aligncenter\" width=\"971\"]\"On Figure 2. Jacques-Louis David, Oath of the Horatii<\/em>, oil on canvas, 1784 (Mus\u00e9e du Louvre)[\/caption]\r\n\r\nNeo-classicism was a child of the Age of Reason (the Enlightenment), when philosophers believed that we would be able to control our destinies by learning from and following the Laws of Nature (the United States was founded on Enlightenment philosophy). Scientific inquiry attracted more attention. Therefore, Neo-classicism continued the connection to the Classical tradition because it signified moderation and rational thinking but in a new and more politically-charged spirit (\u201cneo\u201d means \u201cnew,\u201d or in the case of art, an existing style reiterated with a new twist.)\r\n\r\nNeo-classicism is characterized by: clarity of form; sober colors; shallow space; strong horizontal and verticals that render that subject matter timeless, instead of temporal as in the dynamic Baroque works; and, Classical subject matter\u2014or classicizing contemporary subject matter.","rendered":"

In opposition to the frivolous sensuality of Rococo painters like Jean-Honor\u00e9 Fragonard and\u00a0Fran\u00e7ois Boucher, the Neo-classicists looked to Nicolas Poussin for their inspiration. The decision to promote Poussiniste<\/i> painting became an ethical consideration. They believed that strong drawing was rational, therefore morally better. They believed that art should be cerebral, not sensual.<\/p>\n

\"Three<\/p>\n

Figure 1. Nicolas Poussin, Et in Arcadia Ego<\/em>, 1637\u201338, oil on canvas, 185 cm \u00d7 121 cm (72.8 in \u00d7 47.6 in), (Louvre).<\/p>\n<\/div>\n

The Neo-classicists, such as Jacques-Louis David (pronounced Da-VEED)<\/i>, preferred the well-delineated form\u2014clear drawing and modeling (shading). Drawing was considered more important than painting. The Neo-classical surface had to look perfectly smooth\u2014no evidence of brush-strokes should be discernible to the naked eye.<\/p>\n

France was on the brink of its first revolution in 1789, and the Neo-classicists wanted to express rationality and sobriety that was fitting for their times. Artists like David supported the rebels through an art that asked for clear-headed thinking, self-sacrifice to the State (as in Oath of the Horatii<\/i>) and an austerity reminiscent of Republican Rome.<\/p>\n

\"On<\/p>\n

Figure 2. Jacques-Louis David, Oath of the Horatii<\/em>, oil on canvas, 1784 (Mus\u00e9e du Louvre)<\/p>\n<\/div>\n

Neo-classicism was a child of the Age of Reason (the Enlightenment), when philosophers believed that we would be able to control our destinies by learning from and following the Laws of Nature (the United States was founded on Enlightenment philosophy). Scientific inquiry attracted more attention. Therefore, Neo-classicism continued the connection to the Classical tradition because it signified moderation and rational thinking but in a new and more politically-charged spirit (\u201cneo\u201d means \u201cnew,\u201d or in the case of art, an existing style reiterated with a new twist.)<\/p>\n

Neo-classicism is characterized by: clarity of form; sober colors; shallow space; strong horizontal and verticals that render that subject matter timeless, instead of temporal as in the dynamic Baroque works; and, Classical subject matter\u2014or classicizing contemporary subject matter.<\/p>\n\n\t\t\t

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Candela Citations<\/h3>\n\t\t\t\t\t
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