The Classical Era, A Gallery of Rococo and Neoclassicism Art Styles
The Mortality and the Arts of the Classical Era
The Enlightenment was a significant shift for humans in the seventeenth and eighteenth centuries. It was a movement with the idea of knowledge, freedom, and happiness, helping inspire the American Revolution, 1765-1791, causing the defeat of Britain and the writing and signing of their Declaration of Independence, declaring America a free country. Many scientists were beginning to question and study knowledge-based reasoning so humans could understand the universe and physical understanding of themselves. They wanted to find science-based theories of realism as an alternative to always believing God to be the reason behind universal and life happenings. The shift in art expressions in the Classical era was more an idea of self-expression using one's voice through artwork vs. the luxurious wealthy styles of the Baroque period. There were fewer political and religious statements in paintings and more realistic ideas of Mortality.
Two styles commonly seen in the Classica era were Rococo and Neoclassicism. Rococo was similar to the Baroque era's opulent artwork ideas but with a lighter tone and subjects, shown glorified in a self-indulgent state of pleasure. Neoclassicism rejected Rococo heroism's depiction of their ideas of one's self-pleasure, but heroic leaders of the French and American Revolutions and subjects showed acts of greatness for everyone.
Below is a journey through Mortality and the Arts of the Classical Era. Showcased are different paintings from three artists who made an impact on the era, Neoclassical French artist Jacques-Louis David (1748–1825) and Pierre-Narcisse Guérin (1774-1833) and Rococo French artist Jean-Honore-Fragonard(1732-1806).
Comparing Rococo and Neoclassicism Styles of Art
Oil on Canvas
Jacques Louis David was said to help pioneer the evolution of the Neoclassical art movement in the middle of the eighteenth century during the French Revolution. David became a politically involved artist in revolutionary propaganda during the Revolution's early years. He joined as a member of the extremist Jacobin group led by Maximilien de Robespierre. The Death of Marat is thought to be David's loudest expressional masterpiece of depicting the Revolution. The murder of revolutionary leader Jean-Paul Marat is represented in the painting leading to his overnight political symbolic heroism of sacrifice in the name of the republic.
The Death of Marat is a great depiction of a Neoclassical painting. It is more than just a piece of artwork but used to relay a message during the French Revolution. Marat is holding a letter in one hand and a feather pen in the other, which could be a suicide note written by him—possibly stating the sacrifice he had made to his people to save their republic. Marat's skin is glowing a soft yellow while he lies deceased on a dull-lit white blanket under a murky colored green tablecloth. On his face, Marat has a look of peace, a half smile, and his eyes softly closed. His death appears to be a relief; he may have died proudly with honor. Notes in his hand are intended to be found; under his arm and beside him are disregarded papers or notes designed to be seen by others. The gloomy tones give a chill feeling of a cruel death to the portrayed eerie message.
Oil On Canvas
Pierre-Narcisse Guérin's rise to fame began with winning the Prix de Rome in 1797; his Neoclassical painting The Return of Marcus Sexton was three years later. It depicts a Roman aristocrat, Marcus Sexton, who escaped his wife Sylla's proscriptions but, upon return, finds his child in tears next to his lifeless wife's body. It was present in the Salon in 1799; not only was it highly admired by peers, but the fictional episode relayed a message using ancient history to cover the evocation of present history. The painting was used as a powerful symbol of French émigré, meaning a person leaving their country to settle in another, usually for political reasons; upon returning after fleeing, all personal effects have been ransacked, robbed, and family has been done away with.
In the lightly lit room sits a man beside a ghostly white lifeless body lying on creamy white bedding. A small child grasps the leg tightly while the wife's stiff fingers are held in his. The room is bright but feels cold and full of grief; his dark helmet looms like a hiding shadowy figure preying on the family. The spear pointed toward the family; a decision to flee caused the end for all of them. Shadows cast his face a hint of anger that he is not surprised by the outcome of what he has returned to.
Oil on Canvas
Jean-Honoré Fragonard's early works are of the Rococo style of artwork. The Progress of Love was a series of paintings Fragonard crafted; The Pursuit, The Meeting, The Lover Crowned, and The Love Letters. The artworks were painted as a progression of love, painted similarly, but with themes matching their titles. They were intended to depict four stages of love through a romantic story timeline. Fragonard's Progress of Love series is his most recognized work produced at the peak of his career.
A marvelous scene is captured by a painter wearing a royal red petticoat who watches her every move. A beautiful woman dressed in a golden white silky gown draped in a flower shawl sits in a garden of bright pink and white flowers and a bright blue sky filled with fluffy white clouds. In the spotlight, she is cast in a brilliant shiny hue of light. Beneath her sits a male caller, a suiter who looks up at his lover, adoring her every move. He holds the stunning woman ever so softly, waiting for her dainty hand to lay the flower crown upon his head. In the shadows is a statute of cupid, known as the ancient Rome god of love, which may symbolize a twist in romance as the woman looks off into the distance and dreams of being somewhere else. Maybe with someone else.
Oil on Canvas
Fragonard began using Neoclassicism art subjects during the last years of the French Revolution, but his style was tame compared to other Neoclassicism artists. He was deprived of private patrons due to his paintings using subject matter from the pre-Revolutionary era.Conclusion
The Classic Era was a step in the direction artwork is analyzed in the present. The underlying messages within the works can be seen in several different ways; it depends on the critique. Art is a way to express feelings and emotions; all three paintings are tied to significant events at the time they were crafted. As an American who loves that we live in a country with freedom of expression and speech, a connection I shared with the paintings was the personal feelings and messages the artists used within their artwork. These techniques have been utilized to depict occurrences over many timelines. The historic artworks I displayed are fascinating, and I enjoyed learning and analyzing them for my art blog gallery, but I would not add them to my art collection in my home.
Works Cited
Editors, Encyclopædia Britannica. “Jean-Honoré Fragonard.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Jean-Honore-Fragonard.
Editors, Encyclopædia Britannica. “Pierre-Narcisse, Baron Guérin.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Pierre-Narcisse-Baron-Guerin.
Editors , Encyclopædia Britannica. “Jean-Honoré Fragonard.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Jean-Honore-Fragonard.
Editors , Biography.com. “Jacques-Louis David.” Biography.com, A&E Networks Television, 13 Apr. 2021, https://www.biography.com/artist/jacques-louis-david.
Huguenaud, Karine. “The Return of Marcus Sextus.” Napoleon.org, June 2002, https://www.napoleon.org/en/history-of-the-two-empires/paintings/the-return-of-marcus-sextus/.
Lundin, Elizabeth, and Theodore Hoosevelt. “What Was 'the Enlightenment?” History Things, 19 Apr. 2021, https://historythings.com/what-was-the-enlightenment/#:~:text=Art%20during%20the%20Age%20of%20Enlightenment%20saw%20a,to%20spread%20their%20feelings%20and%20voice%20their%20opinions.
Richman-Abdou, Kelly. “'The Death of Marat': A Powerful Painting of One of the French Revolution's Most Famous Murders.” My Modern Met, 16 Aug. 2019, https://mymodernmet.com/jacques-louis-david-death-of-marat.
Writer, Staff. “How Did the Ideas of the Enlightenment Influence the Arts?” Reference, IAC Publishing, 10 Apr. 2020, https://www.reference.com/world-view/did-ideas-enlightenment-influence-arts-8924d3fd1a0887c2.
“The Progress of Love: The Lover Crowned.” The Progress of Love: The Lover Crowned by Jean-Honoré Fragonard, https://www.thehistoryofart.org/jean-honore-fragonard/progress-of-love-lover-crowned/.
The comparison of the Rocco and Neoclassism art styles are great way to discuss contrast and how that elicits different emotions through the vibrancy. I would expect a painting depicting death to induce sadness or fear as The Death of Marat attempts. The contrast between the nothingness of the background with the trickling of the blood helps to highlight the minute details. With The Progress of Love, we get a brighter contrast that creates a busy effect. It becomes unclear as to where the viewer should divert their eyes first. The background is overshadowing the people in the painting. We can see a love for nature and a love for those around us in the same painting. The contrast between different bright colors helps to allude to multiple points of a story. The differences in these two painting styles help to showcase how painting can tell their own stories with the most minute details.
ReplyDeleteHi, I love that you included so many rococo art pieces and I find them more appealing than neoclassical paintings. so many differences between the two styles are recognizable, including the moral aspect and lack of. It's interesting how the neoclassical style of art usually has a message about morals, while rococo is the exact opposite and focuses more on depicting care-free circumstances.
ReplyDeleteMorality. Such a great topic choice. Through revolutions, Scientific discoveries, and the enlightenment’s influence, artwork in many ways became an expressive version of a memorial. Both of a life’s accomplishments, as well as the passing of a life. "The Death of Marat" was one of the paintings I really wanted to choose, however, I decided on the Death of Socrates. In most of our eyes, during today, on first perception of this painting suicide would be the automatic description that comes to mind. However, the description from the website I found on this piece states that the paper with handwriting is meant to state a murder the cause of the wounds, and the reasoning behind them. However, the website did mention that the overall meaning is based off speculation rather than an actual firsthand description. Great choices! I thoroughly enjoyed your blog and comparison between morality within Classical era art.
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