Neo-Classicism, Romanticism &
Realism
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Neo-Classicism
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| When: |
1780 - 1820 |
| What: |
Age of extraordinary change and upheaval:
- Intellectual ferment of the Enlightenment,
- The French Revolution
- The Napoleon Era |
| What: |
A reaction to the Baroque.
- It sought to revive the ideals of ancient Greek and Roman
art. |
| Why: |
Why the revival of Classical Ideas?
- Pompeii and Herculaneum excavated. |
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Here are some paintings archaelogist found on
the walls of the excavated city of Pompeii.
These images relighted the interest in ancient Greek and Roman
art.
More details can be found here. |
| How: |
Subjects:
- Neoclassic artists used classical forms to express their
ideas about courage, sacrifice, and love of country.
- Accurately painted subjects.
- Backgrounds depict Roman columns and arches.
- Subjects are generally idealised to enhance their beauty
or power.
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Composition:
- Harmonious (sometimes dramatic), nobly and uplifting paintings.
- Conventional triangular composition.
- Symmetrical and straight lines, instead of the dramatic curves
of the Rococo and Baroque.
- Very large monumental paintings. |
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Brushstroke:
- Little trace of brushstrokes. |
| Who: |
David and Ingres |
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Romanticism
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| When: |
1800-50 |
| What: |
A cultural movement involving literature (first),
art, architecture and music.
Place intuition and emotions above (or at least equal) reason.
Belief of there is something or certain experience that cannot
be comprehend by reason.
Importance of the individual, the subjective. |
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Goethe: “Feeling is all!”
Friedrich: “A painter should paint not only what he
sees before him, but also what he sees in him.” |
| How: |
Subjects:
- Contemporary events
- Gothic literary works
- Nature - landscape
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Composition:
- Still used the conventional triangular composition, but incoorperated
the strong diagonals of the Baroque.
- Similar dramatic lighting of the Baroque was used as well.
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Brushstrokes:
- Somewhat looser compared to the Neo-Classical artists. |
| Who: |
Gericault,
Delacroix, Turner,
Constable and Friedrich |
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Realism
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| When: |
1850-1870 |
| What: |
Faithful depiction of daily life.
Close observation of outer appearance.
Rejects idealization.
No gods, goddesses, and heroes of antiquity. |
| What: |
Barbizon School |
| Who: |
a group of landscape artists working in the region
of the French town of Barbizon. |
| What: |
They rejected the Academic tradition, abandoning
theory in an attempt to achieve a truer representation of the
countryside.
Are considered to be part of the French Realist movement. |
| Who: |
Daumier, Millet and Courbet |
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