ARTS COME ABOUT? Many artists during the mid-17 th century, like the Frenchmen, profited much from the nobles and royals. They did this by appealing to the extravagance and ornate lifestyles of the rich. Many artists cater to the caprices and vanities to promote the royal lifestyles by means of the visual arts.
WHAT IS NEO-CLASSICAL ART? NATURAL REALISM became the trend during this period to portray the magnificence of the national character of the people and their leaders. Artists were inspired by the Graeco-Roman history and myths which deal with human characters around this theme. Artists looked back to the old glory of Greece and the grandeur of Rome. FAMOUS ARTISTS DURING THE NEO- CLASSICAL PERIOD JACQUES-LOUIS DAVID (1748-1825): FRENCH Although born to illustrious parents, David preferred to work more with the militant intellectuals who were to overthrow the French monarchial system. His solid proper training in art and literature made him the prime propagandist of the revolutionaries. He portrayed the grandeur of characters of the ancient Greek and Romans protecting the affairs of their particular state. His weakness of not being a good speaker made him more expressive in painting. Human characters and virtuous actions are powerfully conveyed. His subjects seem to bulge out from his canvas; thus, they appear realistic.
Fascinated and inspired by the past cultures of the Romans and the Greeks, David used his knowledge of the classical culture to advance his political views against the monarchy. His subjects are his ideal heroes whom he wanted to be emulated by his countrymen. The lines and forms of his genre are juxtapostition of vertical, horizontal, and diagonal lines to convey the THEATRICAL ELEMENT. In The Oath of the Horatii, the patriotic three sons on the left firmly saluted in the gesture of a gladiator who is ready to die. Likewise, the gesture of old philosopher Socrates strongly pointed upward appeared very firmed to his belief even in the face of death. The use of chiascuro (the play of light and dark) is subtly washed to emphasize the mood of courage, patriotism, and brotherhood. The space is put in almost as balance as to colors and shapes. His central figure is always a man, who dominates the whole scene. JEAN AUGUSTE DOMINIQUE INGRES (1780- 1867): FRENCH Unlike his teacher David , Ingres, was not involved in the Revolution. But he admired the post-revolution governance of the Emperor Napoleon and the imposing personality of the leader himself. As an innate gifted artist, Ingres was granted scholarship with art studies in Rome, and thereafter appointed as President f Ecole des Beaux Art (the most prestigious University in France). Being religious since childhood, he wanted to combine religion, history, and Greek mythology as motif of almost all of his masterpieces. Ingres is a master of using neutral earth colors to depict the antiquity and nostalgic mood of the remote past. But he is very rigorous when it comes to portraying the elite women of his time. He appreciated educated, cultured, and imposing women who are subjects of his works The content (mood, character, and idea) of his paintings are well combined with excellent color as and direction of lines
Ingres loved to portray ancient history, using Greek mythology as motif. The gesture that reflected the Roman and Greek idea of courage, nobility, and righteousness dominate Ingres paintings. As he is too obsessed with Greek mythology and religion, he painted objects in solid and weighty form to convey strength and used smooth texture to express elegance. FAMOUS ARTISTS DURING THE ROMAN PERIOD FRANCISCO JOSE DE GOYA Y LUCIENTES (1746-1828): SPANISH Studied under the vituoso of art teacher Luzan in Saragoza during his childhood, Goya furthered his art studies in Rome where he honed his loose-brushstrokes style copying from Renaissance masters. Upon his return to his beloved country, he worked as portraitist of the nobles, and shortly after, was appointed official painter of the Royal Court of King Charles IV In his midlife, he became deaf due to unknown malady. Though his sickness had made him learned to polish his paintings more. But this time, he became more aloft and extremely critical of the social and political events, especially the French temporary annexation of Spain. His disposition turned to be darker than usual, and he appeared to be pessimistic. He dared to paint paranormal phenomena of ghosts and witches. Nevertheless, his ability to read human character and translate the same to the canvas is incredible an ability he sharpened until his death in 1828. His ability to use colors to reveal the characters of his subjects and to handle the gradation of their values is unusual. The gradation between black and purple side by side with red in his works tend to project the bizarre and appalling atmosphere of his paintings. Yet, he succeeded to express beauty amidst darkness.
In The Third of May, he expressed his emotions of disgust in humanity by painting an image of a bloodbath perpetrated by French soldiers on his beloved countrymen. The colors suggest sheer horror and cold carnage. The spectacle of the bizarre is the theme of most of his genres. This is also shown in his famous masterpiece Isabel, though amidst images of dignity and elegance The direction of diagonal, vertical, and horizontal lines jibes well with the colors and perspective in imparting a horrible scene. The mastery of such strokes is his tool in painting the paranormal, witches, lunatic, and depressed.