Neoclassical and Romantic Art: A Comparative Analysis of Masterpieces
Eros and Psyche Continuation (1787-1793)
The author sculpted a work full of tenderness, enhanced by the separation within the story and the careful treatment of the material. The artist transformed the hard marble into a soft texture by polishing volcanic rock and bathing it in lime and acid to create the impression of anatomical realism.
Oath of the Horatii (1784)
This piece showcases a perfect integration of figures within the architectural space, assigning each figure or group to one of the three arches in the background. This order allows for separation and embodies the precepts of Neoclassical painting: clarity. David exhibits a refined style, subordinating color to drawing, and meticulously outlines each figure with perfect anatomical modeling, reminiscent of classical sculpture. The painter emphasizes straight lines for male characters and wavy lines for female characters, highlighting the aggressive nature of men and the sentimental nature of women.
Stylistic Aspects:
In terms of color, the scene is dominated by gray, red, and ochre tones. Dark tones are used for the background, and light tones for the figures. The red, used in three separate areas of the painting, allows the painter to balance the scene chromatically. However, as it is a warm color, David makes it a cool color, strictly subordinate to the line, illustrating the new tastes of the era.
Liberty Leading the People (1830)
The composition forms a solid pyramid, with the French tricolor flag at the apex and fallen figures at the base, leading into the scene. The female figure is the backbone of the work, around which other characters are distributed. Another important aspect is the dynamism the painter imbues the scene with, emphasizing lines and curves and slightly elevating the main figure so that no obstacle can visually impede her progress. In this way, Delacroix directs the action towards the viewer. In the background, silhouettes of Parisian buildings provide context for the action.
Stylistic Aspects:
Chromatically, the work is dominated by dark shades and tones. The artist breaks this monotony with the inclusion of the French flag’s colors: white, red, and blue. These colors are illuminated by an unreal light source. Delacroix suspends naturalistic features of color and light to create an internal dynamic that reinforces the painting’s combative nature.
The Family of Charles IV (1800-1801)
Goya painted this portrait of a modern royal family, breaking from tradition and resembling a snapshot. In a scene devoid of rich, dramatic scenery, Goya arranges the figures in a frieze parallel to the picture plane, with a neoclassical columnar alignment, far from theatrical poses. The artist divides the figures into three groups of four: a central group with the king and queen, another on the left dominated by the heir Ferdinand VII, and another on the right with the princes of Parma. The treatment of the characters highlights Goya’s ability to capture individual psychology, revealing the queen’s arrogance and the king’s lack of authority. The light, coming from the left, focuses on the central group and enhances the brilliance of their jewelry and medals. The brushwork is vigorous and dense, yet confident, and leaves the line and drawing in the background without sacrificing detail. The color scheme is based on gold and yellow, perfectly balanced by blue and red.
Burial at Ornans (1849-1850)
The author presents a collective portrait of characters from different social classes during a funeral rite. The placement of the coffin in the hole at the bottom center of the painting invades the viewer’s space. Around it, life-size figures gather without hierarchy, arranged like a frieze. The only element that rises above this democratic composition is the crucifix, which breaks the uniformity of the background. The predominance of horizontal lines contrasts with the height of the crucifix and the figures, as the artist directs the viewer’s gaze towards the main action, avoiding any other element that could visually distort the composition. The dim light of dawn creates contrasting chiaroscuro, giving the figures a sense of corporeality. The color palette is limited, with emphasis on the red of the two central characters. The white of the clergy’s robes, the mourners on the right, and the dog creates points of light. The predominant black reinforces the tragic nature of the scene.
The Vicarage (1867-1870)
The painting is structured around the perspective established by the vanishing point, located where the groom signs the papers under the gaze of the witness and the assistant priest. On the same horizontal plane, behind him, stand his wife, relatives, a beggar, and a man with his head covered. To the left, detached from the action, the vicar sits at his table.