Birth of art history, archeology redesigned
As stated in the introduction, we can consider that the nineteenth century marks the end of rebirth. Freedom and individuality conquered by the artists give them the ability to create a clear command of the principles and subject only to an expressive will. Yet the late eighteenth century was marked by a doctrinaire desire conventional models. The history of art that develops from the large model of Vasari Lives continues among thinkers like Winckelmann. The reference to antiquity is strengthened in the second half of the eighteenth century, leaving an emerging art history develops a principle of artistic progress. The major models of Greek and Roman civilizations are considered tops curves artistic evolution. Indeed, the art history building a progressive and evolutionary thinking in which each peak period is a period of decline.
The birth of art history is accompanied by a strong development of archeology. This phenomenon is not French but European. The hub of these influences is Rome which feeds the fantasy of an antique. Developments in neoclassical the late eighteenth and early next century are deeply marked by this science idealized history of art.
Between reality and imaginary historical fantasy, the ancient model is adapted to the expectations and wishes of the new company. The principles of ancient quotes are developed since the Renaissance development in this archeology. Various scientific publications as well as travel stories and support experience in the confrontation of the antique. Archaeology is meditative poetry of this ancient and gives rise to the recovery of past models.
This conference addresses a synthetic way the recovery and transformation at the very origin of the great neoclassical models of the early nineteenth century. For some details we will try to understand how artists can do with their earlier models of personal expressive principles. Despite a science that seems to rationalize the ancient history The art is nevertheless subject to changes and inflections.
The city of Rome is the center of influences, sources, and great classics. But in this great tour for artists and fans, Sicily as well as sites in Asia Minor Hellenic become new horizons of this emulation erudite. From 1750 we are seeing an increase of scientific publications of these great trips. The works of statements, descriptions and restoration of large orders from other sources Doric become models or controversial conjectures. Thus in 1758, the book The ruins of the most beautiful monuments of Greece by Julian David Roy knows a success and an important influence.
The impact of Piranesi is a European phenomenon, including Paris and London were first received by the stays of their respective artists. Greek and Roman sites are competing for this model of a certain purity of antiquity. If the survey work provides some accuracy, curiosity quickly will feed the fantasy. Observation and explanation of previously unknown ancient monuments will oscillate between science and dreams to provide this ethnographic study of past civilizations a deep desire to discount moral and civic purposes.
We find a similar framework for the development of this imaginary old already present for political reasons to rebirth. Iconographic and poetic practice of mythology and Greco-Roman history will develop in new settings allowing vision at times purely heroic side to open horizons more familiar manners of antiquity.
Drama of the great epics will now feed concrete visions. The Greek world inspires a more anthropological discourse on the character of landscapes inhabited. Travel stories reflect a common movement between antiquarians, scholars, architects and painters. So the books back on his visits will be illustrated by the artist giving visual support but also feeding this fantasy interpretation of the ruins. As a painter Hubert Robert became the great champion of this antiquity revisited. Image of an ideal society still perceived by its remnants have survived the centuries.
Despite this shift to the East sources, prestige Rome is not weakened. The museums of the eternal city, its churches, monuments and ancient and modern works continue to be an attraction for foreign artists. The city of Rome can be regarded as the essential starting point in the careers of many European artists. This is based on an economic fact, the support of big Italian families but also foreign diplomats and fans makes this melting pot of art. Some artists are even only career in Rome and never return to the country of origin. Specifically for French artists Hubert Robert that this is Joseph Vernet Charles Natoire or Jean-Baptiste Lallemand, each spends more than a dozen years with his sources for permission to acquire sufficient vocabulary for classical revival. In this context the price of Rome becomes a passport to access to the Italian culture, a guarantee of quality and precision for any artist who stayed in the Eternal City. We can observe that the mixture works between ancient and modern artists of the Renaissance as a source directs the adaptation and customization of past models. Rome is now the Academy of Europe, the crucible where the neoclassical is based.
is where the writer and German archaeologist Johann Joachim Winckelmann (1717 - 1768) will develop the foundation for art history with a doctrinaire commitment of antiquity. The history of art as a science is the study of civilizations. Is based on principles of historical relativism initiated by Montesquieu or Voltaire still, Winckelmann published a book in 1755 Reflections on the imitation of Greek works in painting and sculpture. Even if it seems German's quick translations in French and English will enable a wide dissemination. Winckelmann moved to Rome where he was Cardinal Albani's librarian before being named superintendent of the antiquities of Rome in 1764. Like Piranesi reinvented in these records, Winckelmann argues for an experimental approach of the past.
enrichment and private collections "public" are the result of excavations at Herculaneum, and the discovery of Greek painting, which until then was known only by his literary translations, form the substrate of numerous books who advocate a return or the development of an art " the ancient. "
An uncompromising dogma stands: antique models must be constantly a source of contemporary art. We can meet in 1764 in his book the history of art from antiquity this sentence: "the only way we can be great, inimitable even if possible, and to imitate the ancient [. ..]. The prominent general feature of Greek masterpieces is a serious [...] simplicity and quiet grandeur. "The basis of a new art, ideal model is that great ancient need to integrate knowledge a major new artistic period. Winckelmann characters entered an era of plastic as the testimony of that company. Based on an anthropological and archaeological heritage, he believes that knowledge of objects or works of art can approach the study of morals and society and its evolution.
This correlation between art and society to consider that the artwork reflects the magnitude or the decadence of the people who produced it. The desire to perfect an art rests on the latter as a witness. We understand how the work art becomes "state" because as with past models contemporary testimony to the greatness of our time. The ideal of beauty based on religion or mythology is determined by an environment sufficiently conducive to its expression. The ideal of a higher beauty figured among others by the naked old can design proportions, aesthetic standards that identifies the beauty of her time. A social ethic of civic morality documentation accompanying the liberal arts and reveals a transcendence of nature that Winckelmann called "Beau Ideal". From these studies it is a certain constant period by a humanism that period would experience oscillations between grandeur and decay, the grandeur is still committed to a principle of ancient classical and renaissance to be reinserted into contemporary practice. Beau ideal would be almost a standard reference to the size and quality of the company that produces it. It's about understanding that we are facing an ancient doctrine which the European powers fully understand its function and role. The ideas of the German theorist will be realized in a rigorous manner. German neo humanism embodied by Goethe amongst others will build on this theoretical principle.
One of the fundamental advances in the analysis of the artwork is the description style. Indeed, if until the middle of the eighteenth century cultural history of artistic practice is tied to big names and big schools, Winckelmann addresses by the styles of all the characters' own form of art. This allows a comparison of the qualities of a work regardless of time and place of production. Sociologically speaking it means that you can compare a Greek, Roman and French. In dialogue and a willingness progressive artistic practice that look to the past should allow artists to offer a work whose visual characteristics alone would exceed the major existing models. This has important consequences, the living artist is able to offer a work top and then himself to be better than the previous major artists. It is an example of a company which is itself superior to the great ancient civilizations.
Styliistiquement this imposes the primacy of drawing over the chiaroscuro. The refusal expressions distorting colorists, simplicity placid compositions frieze imitation of ancient bas-reliefs will then characterize the Roman production exported across Europe. This revival of classicism flame in contact with an archaeological culture creates collusion between past and present. Drawing on fragments of paint Herculaneum, or even sculptural reliefs observed in Rome, the artist revisits offer a renewal at some point "the Greek" or even "Roman". This nourishing value of the work depends solely on the look that you can ask about the past.
After the revolution can we still maintain that ideal loan periods and literary models already shown too many times?
These characteristics of the paint and are developing further in the early nineteenth century French painting, where the ideas of Winckelmann already old, continues in its principles of an ideal of art. Neoclassicism, for young painters of the early nineteenth century, the "noble simplicity and calm grandeur", the internal voltage is controlled at the point of taking often the mask of coldness. The historian Anthony Quincy defended the neoclassical doctrines in the Essay on the ideal in 1805. Stendhal in a note to the History of Painting first published in 1817 and defined the art of painting: "If I was talking to the surveyors, I dare say my thoughts as it appears: painting is that of morality built. "The work in France is a medium which can learn from.
Jacques Louis David in 1807 proposed the Coronation of Napoleon conciliation without penalty where the neoclassical ideal meets the modern exaltation of the will. Thus the profile cameo Roman Emperor could not be more conventional. Yet when one observes the play of light on the surrounding portraits have little to understand the artistic foray will already romantic.
What remains especially high in 1800 of the neoclassical period to the end of the previous century, beyond the cliches of a history painting became simple way, what are the material conditions of artistic creation Institute The Academy of France in Rome, the School of Fine Arts are the chokepoints for any new artist. A tradition was born in France at arts training that corresponds to its institutionalization.
The very conditions of conservation works are familiar with this phenomenon. The time to create and neoclassical art museums in Europe. Louvre and the encyclopedic 1793 (Napoleon Museum in 1803, known to contain all the masterpieces of Europe) as well as the museum of French monuments of 1795 create models of Museums "romantic" almost, with rooms theatrically staged for a heritage conservation nineteenth century. These new institutions, such as provincial museums in France in the broader dimensions of the great Napoleonic empire must be the first inheritors of this culture encyclopedia.
over Europe even to U.S. East Coast museums arouse public interest in the art of a population now exceeding the circle of connoisseurs and collectors and artists are able to form in an ideal educational legacy of Enlightenment. The works of contemporary artists purchased by the state to each show are grouped together. We can therefore now paint works without acquiring and articulating new forms for new audiences, attracted by this revolutionary system.
The thought of art history and archeology of this new form the basis of a typology of artistic and historical reference to the size of the company and unveiled new institutions at the fair. The biennial exhibition of contemporary artists under the influence, improper under the Restoration, from 1833 annual, biennial under Napoleon III in 1863, stood at the Louvre and the palace of the industry. A jury decided Academician admissions. The exhibition lasts about three months and creates a vast literature of criticism and satirical books. The Jury recognizes the most outstanding artists, some paintings acquired for the Luxembourg Museum went to the Louvre to the artist's death. The artists in the nineteenth century will end by then paint "for the show, what effects sought by their paintings are distinguished from. It was in 1850 to provide a showcase of French contemporary art to Europe and cultivated deeply marked by the same desire to perfect.
The time neoclassical and art museums throughout Europe are all areas open to artists who sought the beautiful in these temples and denied that Raphael, Rubens or Rembrandt seems to have given in advance to the followers of David.
Jacques-Louis David and his many students have set up training where we learned to draw from the antique and from life, by shaping the figures for purposes of transparency, the button is being invisible is perpetuated until 1860. The neoclassical feeds the thought of art history and archeology where reality and fantasy intersect at all times as a reflection of society itself up major bases earlier civilizations.
Stretching a scientific approach and not only the chronological evolution of the work of art, history of art allows artists to consider both as his successor but also as superior by their consecration contemporary of the past.
The image of a nineteenth century building where the humanities, where art becomes a reflection of the society that creates it explain how the visions classical and modern will cross at all times as an art image that can not disengage from the time they appear. The birth of Art History and Archaeology this redesigned and updated to reflect a debate in which contemporary art will become a major social, political and economic. Large windows that are open at the salons image an entire society of his time, a debate between the beautiful and the ideal.
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