Academic and Neoclassical Painting Principles
1. Academicista Painting
1 – Principles of the Academy
To meet the demands of the Academy, the painters should respect a certain number of principles.
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Respect the hierarchy of genres
topics: religious, mythological or historical must convey a moral message [where people can learn from the table]. They come in decreasing order: the scenes of daily life (called small genus or genre or custom), stories the landscape and still life (Still Life)
According to the Academy, portraits, landscapes and still lifes were inferior because they were mere representations of objects, without moral force or artistic imagination. Genre painting was admired for his skill, ingenuity and even their mood, but never confused with great art.
Joshua Reynolds reiterated the argument that the tavern had posicióninferior in the hierarchy of genres basándoseen that interfered with the painter access to central forms, those products generalizing powers of the mind. There was history painting, focusing on the human body. The natural order of genres argued that an important work of any genre of painting could occur in the hands of a genius.
European academies insisted strictly on their domains, many artists were able to invent new and unique genres that rose the most low to the importance of history painting. Reynolds managed to invent a style of portraiture that was called Grand Manner (stylish) which flattered their models to become like mythological characters. Jean-Antoine Watteau invented gallant fêtes (festivals gallant). Claude Lorraine practiced ideal landscape (Prix de Rome in 1817). Jean Siméon Chardin began to include figures in his work in 1730, mainly women and children
·
Respect the hierarchy of sizes
A gender hierarchy corresponds to a hierarchy of formats: large format for history painting, small format for still life.
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Assert the primacy of drawing over color:
It was then to bring out the spiritual and abstract art. The artist uses the outline and shadow. As for the color is confined to a secondary role and learning is not considered necessary.
·
Deepen the study of the nude:
It is based on work from antique sculpture and live model. It is not just copying nature. The drawing of the human body is the superior expression and embodiment of the highest ideal.
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Privilege to work in the shop opposite the outdoor work on the ground: this latter practice is tolerated, but only to execute drawings and sketches to be used after the workshop in the genre.
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Make the finished works
The works should have a finished look. The bill must be smooth and no visible brushstrokes
·
Imitating the old, to imitate nature:
the imitation of nature through imitation of the ancients.
1.1.Instituciones relating to the Academy: The School of Fine Arts
The education provided to students is based only on the drawing from live model and of ancient sculpture. Candidates for the School of Fine Arts have to pass an admission contest is to draw a nude figure modeled live. Each year students are invited to participate in numerous competitions. The proposed themes come essentially from mythology and Greek and Roman history on the one hand, and the other from the Bible. Students must acquire the skills needed to address these themes through the subjects taught at the school. • The Hall
The Hall was first organized in 1667 by Colbert. Defined as a regular exhibition of living artists, is named after the fact to be held in the Salon Carré of the Louvre until 1848. It occupies an essential place in the artistic life of the nineteenth century, is the only place where artists can show their works. At this time, personal or private exhibitions are rare. In the Chamber, the Ministry of Fine Arts acquired the works that will enter the Luxembourg Museum in provincial museums or public buildings.
• The art critic
The criticism of art is born from the moment you begin to organize the Hall on a regular basis, about 1750 with media reports. In 1850 journals in the arts and the newspapers are multiplied open their columns to reports of the Salons and exhibitions
Neoclassical Painting 2.LA
The neoclassical reaction will presume the mid eighteenth century classical to art breakup of the former regime. The art forms that rely revive the noble forms of Greco-Roman past. The theoretical and painter Anton Mengs Rafaelsen neoclassical theories would lead to painting, I believe in the roof of one of the rooms in the Villa Albani in Rome that might be considered a manifesto of this new born classicism. In his Parnassus renounce the colorful effects or own baroque composition for a painting in which protruded symmetry and reason and pooled the perfection of the forms of ancient sculpture with the values of the painting by Raphael. Mengs’s Parnassus became one of the most admired works of the town, place to visit for all travelers on the Grand Tour. In the work of Mengs summarizes many of the ideas of neoclassical culture of antiquity. Mengs’s Parnassus seeks to leap in time. Mengs often introduce foreign elements. Enter a small stubby column Doric without basis which supports one of the muses. The composition is given a key role in the Greek Doric style. The controversial Mengs echoed a debate that would have important theoretical implications and figurative, becoming the Greek Doric order, without basis, almost an emblem of simplistic and abstract tendencies of neoclassical later. Archeology led to paintings that followed the examples of antiquity, Joseph M. Vien, director of the French Academy in Rome from 1775 to 1781. Shortly after his arrival in Rome took over 22 students. She tried to give greater rigidity and discipline in the institution. There was also a return to traditional painting masters Raphael, Correggio, Carracci and Poussin. This genre painting somewhat eclectic who tried to dispense with all superfluous detail to highlight the importance of the topic. The issue is central to the neoclassical painting because it is intended to regenerate society by showing the virtues of citizenship that were interpreted through subjects drawn from classical literature. Neoclassicism was a style reminiscent of classical antiquity. There are plenty of naked Greek style and grandiose posturing and cold, very scholars and academics. It is an art full of rules, where what matters is the drawing while the color is considered secondary. The principal advocate of neoclassicism was the French painter Jacques-Louis David, who was imbued with classical influences received during his stay in Rome.David based the shape of their figures in ancient sculpture. His great successor was Jean Auguste Dominique Ingres, who became identified with the academic tradition in France by the cold serenity of its lines and colors and for its careful attention to detail.
NEOCLASSICISM FEATURES
Composition with use of vertical and horizontal .
Clarity and harmony. Rejecting artifice and decoration.
Predominant form of drawing and coloring.
Uniform light, clear and cold.
The picture surface appears smooth, flawless with a bill that did not appreciate nearly touches the author.
It is cultivated in the history box, playing acts of the French Revolution and celebrating Greek and Roman myths. The themes were stories and allegories. The scenes did not represent the climax of the story.
She paints in oil on canvas. The style also was looking for simplicity in composition. Each table was referring to a single topic. The frame is usually architectures.
It almost looked for a recreation of ancient archaeological playing on the canvas those objects discovered by archaeologists in excavations.