Classical Blog Exhibit

   Morality in the Arts of the Classical Era 

     During the 18th century there was a divide between two major art styles: Rococo and Neoclassical. According to a publication by Boise State University, Rococo was an artistic style that followed the Baroque period characterized by elaborate ornamentation, curved lines, and pastel coloring. Rococo tends to have themes depicting romance, love, nature, and playful scenes. During the Enlightenment period, Neoclassicism was formed, which is art that draws inspiration from the ancient culture of the Greeks and Romans. Many viewed the Rococo style to be immoral, which is why the Neoclassicism style is often described as a reaction against the frivolous Rococo style. As described in the publication by Boise State University, Neoclassical art is characterized by a smooth paint surface, clear definition of forms, straight lines, and a minimal use of color. The French Neoclassical style also contributed to the monumentalism of the French Revolution by emphasizing virtue and patriotism. (BSU)

    

Jean-Honoré Fragonard, The Pursuit, from The
Progress of Love, 1771-73, oil on canvas, 1790-91

    Jean-Honoré Fragonard was a highly esteemed Rococo painter who painted the above piece titled The Pursuit. This was one of four paintings of a series titled The Progress of Love, which was commissioned by Madame du Barry (Louis XV’s mistress) between 1771 and 1773. Madame Barry wanted this series painted specifically to decorate her private salon. Fragonard depicts a scene of romance as a young boy leans towards a girl, giving her a rose. There seem to be two chaperones who are holding her back from falling. In the background, there is a sculpture of two cupids, one holding back the other. Both the figures and the sculpture have the same movement, this can indicate the maiden holding their desire back. I enjoy this painting’s depiction of romance, as well as the use of colors. Within the background, there are cool colors making it appear dull. The figures are highlighted by warm colors which produces the tangible feeling of sunlight in the garden. This Rococo styled piece follows the characteristics of pastel coloring and romance. It portrays a theme of love and playfulness with no moral stance involved. 

 

Giroust, Jean Antoine Théodore. The Harp Lesson, Oil on Canvas. 1791, Dallas Museum of Art , European Art - 18th Century, Level 2.

    The Harp Lesson, painted by Jean Antoine Théodore Giroust in 1791, depicts a music lesson involving a young woman. This young woman is named Louise Marie Adelaïde Eugénie de Bourbon d’Orléans and she was the daughter of the Duc d’Orléans. In the background of this painting there is a bronze statue of Minerva, which is the Roman goddess of wisdom. This statue shows symbols of the French revolution as she wears a Phrygian bonnet and holds a pike. The young girl is playing a duet with Madame de Genlis, who was her private tutor for learning the harp. The third figure appears to be flipping pages at the music stand, aiding the young girl and the music teacher. This painting stands out to me because of the clear and crisp details of the figures. For me, this piece is very easy to look at - it does not overwhelm my senses but allows me to methodically gaze through each detail. As described by the Dallas Museum of Art (DMA) the purpose of this painting was to distance “the Duc d’Orléans from the Bourbon monarchy in an attempt to avoid death by guillotine” (DMA). Giroust accomplishes this by depicting the “intelligence, talent, and dedication” (DMA) the Duc d’Orléans possessed so that the family would be viewed as supporters of liberal, Enlightenment values – which also aligns his work with Neoclassical values.

Detail, Jacques-Louis David, Death of Marat, 1793, oil on canvas, 165 x 128 cm (Royal Museum of Fine Arts, Brussels; photo: Steven Zucker, CC BY-NC-SA 2.0)

    Jacques-Louis David is revered to have had the perfect definition of Neoclassical taste within his painting style and is tagged the official artist of the French Revolution. David’s piece titled The Death of Marat was painted as a tribute to his murdered friend Jean-Paul Marat who was a revolutionary propagandist. During the Reign of Terror, a woman named Charlotte Corday gained entrance to Marat’s house and stabbed him to death while he was in a bathtub. Marat was known to have a skin disease causing him to spend much time in a bath. This piece of art is fascinating as it has a simplistic style to it as well as qualities of tragedy and stillness. This painting has straight lines, minimal use of color and a clear definition of the figure seen. The stillness in this painting is so tangible for me - the sobering reality of death is depicted so well. David painted this scene to mark Marat as a martyr of the French Revolution.

    Through the course of the 18th and early 19th centuries, we can see a clear shift of artistic styles. From the Rococo era, Fragonard captures the essence of curvy lines, pastel coloring and themes of love and romance. On the other hand, Giroust and David draw from cultural art styles of the ancient Greeks and Romans, as well as depicting morals in line with the Enlightenment era and inspiring patriotism within the paintings.

 

References

Jones, Muffet. “The Rococo and Neoclassicism.” Introduction To Art, n.d., https://boisestate.pressbooks.pub/arthistory/chapter/rococo-and-neoclassicism/

Watson, F.J.B.. "Jean-Honoré Fragonard". Encyclopedia Britannica, 18 Aug. 2022, https://www.britannica.com/biography/Jean-Honore-Fragonard.

Sevelis, Laura. “The Harp Lesson.” DMA Collection Online, 2015, https://collections.dma.org/artwork/5340929.

McMullen, Roy Donald. "Jacques-Louis David". Encyclopedia Britannica, 26 Aug. 2022, https://www.britannica.com/biography/Jacques-Louis-David-French-painter.

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