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Art History Encyclopedia:… Century to 17th Century
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Art History Encyclopedia - 11th Century to 17th Century.iso
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NEO-CLASSICISM
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The birth process of this school is particularly given in
France and this is not casual since after having surpassed the
Baroque and being sensibly affirmed in Classicism, everything
seemed to indicate that the transition from XVII to XVIII
century was going to assert this tendency and prolong it
towards the XIX century. However, an incipient Gothic rebirth
awakes in France a new trend of art, exported paradoxically
from dominated countries which strongly reacted against the
ruling aristocracy and their farther projection abroad.
However, in the very France a brutal turmoil was going to
burst out against aristocracy and, thus, an art born abroad as
a reaction finds here a powerful development.
This school, in fact, comes to restate the foundations of
Renaissance, in the sense that it implies a reflection on
the prototypes of beauty. We can witness this in the table by
David, "Oath of the Horatii", where he breaks away from
narration to concentrate in the acute expression of a dramatic
moment.
Within Neo-Classicism, we can also distiguish two
moments, the first in which the dispute is centered between
the Roman and the Greek, while the second is more devoted to
culture and observation.
Painting naturally reflected the evolution towards an
increasingly individualistic and bourgeoise culture.
Neo-Classicism then remained as a hinge between two styles:
the last expressions of Classicism and the emergence of
Romanticism in the XIX century.
From the aesthetic we can distinguish in this style a
strong individualistic content, more oriented to the interior
(or to the intimate and personal) than to the representation
of the exterior. In the following century, this concept will
be molded in the division between the objective and
the subjective worlds. In fact, this Neo-Classical reaction
will bring up problems whose solution will be a concern for
the XIX century art.
Also in Italy this Neo-Classical reaction occurred. Its most
outstanding exponent was Pompeo Batoni who admired
Raphael and Antiquity.
Main Pictorial Expressions of Neo-Classicism
--------------------------------------------
Jacques-Louis David (1748-1825) is one of the greatest
artists of the XVIII century. In Rome, he gets acquainted with
Neo-Classical school, embracing the doctrine of the "ideal
beauty". We can mention "The Oath of the Horatii", "The
Sabines", "The Portrait of Mme. Pécoul" and, from the
revolution time, "The Last Moments of Michel Lepeletier" and
"The Dead Marat".
Pompeo Batoni (1708-1787), admirer of Raphael and the
Antiquity. We can mention "St. Catherine Receiving the
Stigmata".
Anton Raphael Mengs (1728-1779) in his day was considered the
best painter in Europe. His written doctrine about Neo-
Classicism was far more important than many of his oeuvres. We
can mention "The Portrait of Domenico Annibali".
Francisco de Goya and Lucientes (1746-1828). His genius
practically dominates all the century. Typical of his painting
are colors and expressions, such as the ones molded in "The
Tyrant". After a serious disease he becomes deaf and paints
"Los Caprichos", and also his Majas. The war with its
terrible visions is shown in "The 3rd of May Execution".