Context and General Characterization

Context and general characterization [edit | edit source]

The first signs of neoclassicism are remarkable in many parts of Europe in the first decades of the eighteenth century, although already is due to warn that the chronology of styles is always very controversial, and its limits, very inaccurate. Neoclassicism, as the name implies, was a revivalist cultural movement that turned to classical antiquity - Greece and ancient Rome - as the main aesthetic reference and model of life. It was considered long ago that the classical tradition - which included the Renaissance culture, also a classicist revival - was imbued with high moral and aesthetic authority, and so it was an ideal model. In fact, the "return to the classic" is a recurring phenomenon in Western cultural history. [1] [2] [3] [4] [5]

Terpischore: A Rococo typical work by François Boucher, 1739

The excavation of the Temple of Isis in Pompeii, illustration of Pietro Fabris treated in Campi Phlegraei (1776) William Hamilton

The Three Graces listening to Cupid's Song, an exemplary work of neoclassical aesthetics by Bertel Thorvaldsen, Thordvaldsen Museum, Copenhagen

A number of factors combined to that in the mid-eighteenth century there was born a new current classicist, sharp and influential, centered in Rome, living with and fighting the latest manifestations of the Baroque and Rococo. Two factors were key: first, depletion of baroque formula and the condemnation of that saw it as overeating, weight, futile decorativism, impropriety and irregularity, accompanied by a growing interest in classical antiquity in general, with its rationalism values, modesty, balance, harmony, formal simplicity, idealism and detachment of luxury. Second, neoclassicism is closely linked to the declining influence of religion and the rise of the ideals of the Enlightenment, which were based on rationalism, fighting superstitions and religious dogmas, and emphasized personal development and social progress within a strong ethical framework . The classical values ​​remained a strong reference in art academies and science even during the Baroque, the Anticlássico style par excellence. [1] [2] [6] [7] [8] [9] [5]

It was also invaluable to academic contribution and antique shops as Robert Wood, John Bouverie, James Stuart, Robert Adam, Giovanni Battista Borra and James Dawkins, who published from various eighteenth century detailed and illustrated reports of archaeological expeditions, being especially influential treaty Bernard Montfaucon, L'Antiquite Expliquee et en représentée figures (1719-24), lavishly illustrated and with parallel texts in modern languages, not only in Latin as was the custom academic, and the Count Caylus, Recueil d'antiquités (1752-67), the first to try to group the works of art from classical antiquity second style criteria and not gender, also addressing the Celtic antiquities, Egyptian and Etruscan. [1] [2] [10] the writings of Johann Joachim Winckelmann - a German scholar of great influence among Italian intellectuals and German, including Goethe, and often considered the main theoretical mentor of movement - even more praised Greek art, and seeing in it a "noble simplicity and quiet grandeur", called for all artists to imitate, restoring an idealistic art that should be stripped of all transience, approaching the archetypal character. His appeal generated sound response. History, literature and ancient mythology returned to be the main source of inspiration for artists, while they were reevaluated other cultures and ancient styles such as Gothic and folk traditions of northern Europe, producing a diversity of trends that make study of this period sometimes quite hard. [11] [10]

Add to this the discovery of Herculaneum and Pompeii, two ancient Roman cities buried by the eruption of Vesuvius, a big surprise for connoisseurs and the public, soon becoming an obligatory stop at the Grand European Tour and local search for artists and antique shops. Although the excavations that began to be held in the ruins in 1738 and 1748 have not found great masterpieces, brought to light a number of relics and artifacts that reveal aspects of Roman daily life hitherto unknown. Followed by other systematic research of art and ancient culture, formed important public and private collections of art and ancient artifacts and the "Greek style" became increasingly a favorite for decorators, fashion designers and architects. These factors contributed significantly to the education of a wider audience and to a broadening of their vision of the past, stimulating a new passion for everything that was old. [11] [2] [10]

Although classical art be appreciated long before, according Cybele Gontar was it circumstantial and empirically,

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