NeoClassical vs Romantic: Pre and Post-French-Revolutionary Davids
(1748-1825)
David's work spans a brief space of time during which hope and trust in Enlightenment reason and order gave way to more Romantic sensibility. David himself was deeply committed to the French Revolution and even an ardent supporter of its darker, more violent characters and moments: Robespierre and what we now call The Reign of Terror. Most of the Romantic authors we will read this semester started out as ardent supporters of the Revolution and even of Napoleon; in the wake of so much violence and brutality, all would later regret that support and, in turn, question many of the core principles of the Enlightenment. David, however, never wavered in that support and stood center in some of its more bloody events.
The Oath of Horatii. 1784
Painted before the French Revolution, many Enlightenment thinkers
considered this the masterpiece of its era: it uses a Neo-Classical theme and
content: Roman soldiers pledging their oath to the Republic, set against Roman
arches, with classic attention to geometrical order. Recognize the salute?
In hindsight it perhaps gives an insight into the problems with Enlightenment
reason, order, and belief that individual passion must be sublimated to the
state.
The Lictors Returning to Brutus the Bodies of His Sons. 1789
This is painted at the height of the French Revolution, and it was initially
banned. Those in support of Revolution, however, made sure it was
displayed. The content is again Roman, and revolutionary: the bodies of
Brutus's sons (as in "et tu, Brutus") are being returned to the family, after their
failed attempt to end Caesar's empire and restore the Roman Republic. It
also hints at Romantic themes: order is replaced with emotion and hope
with death and grief.
Death of Marat. Oil on canvas. 1793
Now we have entered the Romantic era: note the focus on a single, tragic
individual. Rather than pledging himself to an Enlightened new
Republic, Marat is a victim of political violence. Ironically, both
Marat and David were still ardent supporters of the bloodier elements of the
Revolution, and David has presented his close friend -- he was in Marat's home
the day before Marat was murdered -- as a Christ figure. But this
comparison to Christ's passion is still much more Romantic than the "oath to the
Republic" we started with.
Napoleon In His Study. 1812
Napoleon At Saint-Bernard. 1801
This is pure Romanticism in both content and style: we focus entirely on a
single, brilliant individual in imagery that is both imaginative (vs. realistic)
and dramatic. If you want to understand Romanticism, open up this picture and
listen to Beethoven's famous 5th Symphony..
The Coronation of Napoleon. 1806
This is a fairly Classical/Enlightenment painting in style, but note the
important details that tell us how much the world has changed: Napoleon made the
Pope come to France for the coronation, and Napoleon placed the crown on his own
head. If nothing else, this tells us that the Catholic church would
never again be the single most powerful political body in Europe.
Self-Portrait. 1794
Finally, pure Romanticism in a self-portrait: the artist himself as individual,
as creative genius, becomes the focus. In the age of Ann Sexton, Hemingway
and Madonna, this may not appear so radical, but consider this: what we know of
Shakespeare the individual fills about one page, while Rousseau filled over 500
pages with his own autobiography.
