5.1 — Neoclassicism
Neoclassicism (late 18th–early 19th century) looked to ancient Greece and Rome for models of moral virtue, civic duty, and formal clarity. Clean lines, balanced compositions, and restrained emotion answered the excesses of the Rococo and aligned with Enlightenment ideals.
Historical Context
Archaeological discoveries at Herculaneum and Pompeii, Grand Tour travel, and Enlightenment philosophy fueled fascination with antiquity. Revolutionary politics in France and America encouraged art that promoted republican values and heroic sacrifice.
Key Characteristics
- Form and Line: Crisp contours, clear modeling, and planar compositions inspired by classical reliefs.
- Subject Matter: Exemplary deeds from ancient history and virtue-driven narratives.
- Palette: Controlled, often cool colors; emphasis on drawing over painterly texture.
- Architecture: Columns, pediments, domes, and temple fronts adapted for civic buildings.
Definition: History Painting
The highest academic genre, depicting moral or heroic narratives—often from antiquity, scripture, or significant historical events—to inspire virtue.
Major Artists
- Jacques-Louis David: “Oath of the Horatii,” “Death of Socrates,” “Death of Marat” — stoic poses and republican virtue.
- Jean-Auguste-Dominique Ingres: Linear precision and cool surfaces (“Grande Odalisque,” “Apotheosis of Homer”), bridging Neoclassicism and later currents.
- Antonio Canova: Marble sculpture reviving classical grace (“Psyche Revived by Cupid’s Kiss,” “Pauline Borghese”).
- Angelica Kauffman: History paintings featuring learned women; founding member of the Royal Academy.
Architecture and Civic Ideals
Neoclassical architecture served government buildings, museums, and monuments, signaling stability and rational order (e.g., Panthéon in Paris, U.S. Capitol influences, British Museum).
Virtue, Reason, and the Body
Figures are idealized yet disciplined—bodies become vehicles for moral clarity rather than sensuality. Compositions often stage ethical choices and public duty over personal feeling.
Note: Transition Points
By the early 19th century, Neoclassicism coexisted with Romanticism; some artists combined classical form with heightened emotion, foreshadowing shifts in taste.
Looking Ahead
Next, Chapter 5.2 explores Romanticism, where individual feeling, nature’s sublime power, and dramatic color challenge Neoclassical restraint.