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1,College 1 – eerste helft kunst: Neo-classicism: from the classical revival to the Napoleonic Era
12 February 2024
I. Winkelmann and the Doctrine of Neo-Classism
Neo-Classism is a product of the enlightment, artists were looking back at the classical world, looking
at the way at what art would look like. They looked back at the ancient world, were interested at art
that conveyed ideas, rather than art about ideas.
Winkelmann was one of the most important thinkers that used this classic thinking in art at his own
time. He catalogued the ancient art and theorized how it went about. He was responsible for
categorizing art. He wrote about ancient Greek culture and elevated that, found it to be the best art
ever made: a period of perfection that deserved to be studied and even more imitated by artist of his
own day. Noble simplicity and calm grandeur
Predominance of line/contour
Ideal beauty: don’t copy nature, because nature is imperfect, but behind every form lies an idea that
is perfect (idealism). Look if you can find that perfect idea, do this by perfecting and improving by
nature. Try to perfect what you see when you are painting someone. Winkelmann told to line and
contour because that was rational and appealed to intellect. The use of line, linear styling, would
help to get to the ideal essence of the thing you are painting, that is why drawing was the most
important.
Characteristics:
Colour and obvious brushwork were rejected in favour of line and smooth painting and a pure colour
pallet
- Almost literal imitation of Greek/Roman and Renaissance art
- Subjects drawn from ancient sources
- Shallow space: Relief- of relief-like composition:
- Linear: emphasis on drawing over painting
- Smoothly painted
- Moralizing (exemplum virtutus): moral story’s
- International movement
Painters also used this style in contemporary events, on a large scale. That was new, important
contemporary events were in prints, and big canvasses were used for ancient history or biblical
stories. That showed that men in that time could be heroic.
II. Jacquies-Louis David and the French revolution
The revisit of the ancients had a big influence in France. David painted the noble deeds of the
ancients. The took on all the classical forms, he knew the conventions of classical paintings: easy to
understand, linear, heroic story
exemplum virtutus: an example of virtue, morally clean and patriotic
Virtues subject matters began to have a political subject matter when the France Revolution
approached.
VB: Belisarius: corrupt government, resonated with the thinkers of the enlightment who wanted
to put a end to the monarchy.
Neoclassical style began to be associated with the ideals of the French revolution.
VB: the Oath of Horaii:
Pre-Revolution: very patriotic, to leave family and fight for your country.
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,Very relief-like composition. Read it from left to right and each group in their own place.
Sharp lineated with sharp contours.
It poses a complex moral question: family or duty of the nation and it answers this question: nation is
the right thing.
Death of Marat:
There are no signs of bravery, no symbols, Marat looks vulnerable and real. At the same time David
gives it something eternal because no background. That is why you can’t mark in 1793 because no
furniture or anything. David did reference Jesus and Pieta (Michelangelo), to inspire viewers by
making him the face of the revolution (he died for his country)
That was the reign of terror, the revolution went on after that. With the fall of Robespierre, it ended.
III. The Napoleonic Era
Napoleon toon over, marching through Europe. Art also changed a little.
Characteristics:
- Association with imperial rather than Republican Rome
- Art as propaganda: used to legitimate Napoleon’s rule
- Return to absolutists image of the ruler
Napoleon liked to be associated with powerful men, an image as a successor. Painted by David and
his student who would paint this picture. J.A.D. Ingres and Antoine-Jean Gros were two of those
students.
VB: portrait of Napoleon on his Imperial Throne, Ingres:
He was associated with the divine god; other kings did not have to do that because they always said
that they had the god given right to rule. This was taken from Eyck, which is interesting because this
was not taken from the ancients.
VB: Battle of Eylau, Antoine-Jean Gros:
Says something about the horror of war, not only the heroic (also).
Whenever he would conquer a country, he would steal all his favourite art and put it in the Louvre.
This importation had an important influence on French painters.
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, College 1 – tweede helft architectuur: Historicisme
I. Drie ontwikkelingen uit Janson (moderne tijd):
1. Industriële resolutie
- Nieuwe vormentaal voor architectuur
- Ambachtelijk vak wordt (voor een deel) industrieel: had invloed op aanzien van het vak en de
architect
- Grote tegenreactie: bewaar en behoud van ambacht (arts and crafts movement)
2. Politieke revoluties:
Adel en Geestelijkheid ten einde: gebouwen en kunstwerken vroeger vaak in opdracht van kerk en
aristocraten – deze kwamen ten einde, hierdoor nieuwe dementie van opdrachtgeverschap van
architectuur en kunst namelijk de burgerij (hogere middenklasse net onder aristocratie). Zij waren
rijk geworden door de revolutie en waren heel belangrijk voor negentiende -eeuwse cultuur. Er werd
voor hen gebouwd, maar ook in opdracht van hen gebouwd.
Hierdoor kwamen nieuwe gebouwtypen:
- Museumgebouwen voor publieke kunst: alles wat eerst achter gesloten deuren plaatsvond
bij die koningen bijvoorbeeld
- Operagebouwen: publiek toegankelijk, want componisten schrijven voor iedereen
- Bibliotheken: symbool van vooruitgang, gaslichten waarmee je s ’avonds kon studeren en je
als burgen dus kennis tot je kon nemen
- Stadspark: parken bedoeld voor het publiek van de stad, dus niet de vorstelijke tuinen maar
echt publieke parken.
Bestonden al voor hogere kringen vroeger, werden nu voor publiek toegankelijk gemaakt
- Warenhuizen: Voor enorme welvaartsgroei en bevolkingsgroei, was echt nieuw.
Dit alles zorgde voor een heel nieuw stadsbeeld.
3. ‘doctrine of progres’
= weg van traditie, vraagt zich alles af en onderzoekt van alles – zorgt voor progressie.
De geschiedenis wordt de nieuwe wetenschap. Wat doet geschiedenis als wetenschap:
Ordent het verleden:
- Chronologie
- Groei-bloei-verval
is echt een negentiende -eeuwse manier van denken in tijd. Dit noem je historicisme: je
historiseert het. Je verwijst met je vormentaal naar een bepaalde historische periode, die hebben
associaties. Bij architectuur wordt dit dan vertaald naar neostijlen.
Historische manier van bestuderen is dat er debat ontstaat over welke periodes in het verleden goed
waren, welke in verval was etc. Dit had effect op kunst uit hun eigen tijd, want wanneer je denkt dat
een periode goed is ga je sneller kunst daarvan na maakt.
Referenties van romeinse opgravingen werden gedaan en toegepast in moderne gebouwen. Dit
kwam dus door historicisme, hiermee werden culturen toegeëigend door het te citeren en
samenbrengen in moderne gebouwen of meubels.
Vrouwen waren uitgesloten van het beroep architect, maar zijn achteraf weldegelijk aanwezig als
schrijvers en opdrachtgevers. Als je als vrouw bij de burgerij hoorde, was je vaak een opdrachtgever
voor het huis. Hierdoor werden er boeken voor en door die vrouwen geschreven (vb.: Tuthill en Edith
Wharton)
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