Classical Art Analysis

 Classical Analysis of Jacques-Louis David’s Oath of the Horatii, Thomas Jefferson’s Monticello, and Joseph Wright’s A Philosopher Lecturing on the Orrery

and How Scientific Advancements Influenced Them

 

The Classical Period of the 1700s was an enlightening era full of new discoveries and resurgences for the artistic and scientific communities. The art of the Rococo Period just before this time was all about elegant, soft, curving forms and figures that exhibited the owner’s wealth and privilege. The rising wealth of the middle classes during the Rococo Period significantly boosted the notoriety and clientele of artists during the time. This allowed artists to take more risks with their art, bolstering their wealth and status, and, in turn, the status of those able to buy their work. While this time brought with it many advancements for artists and their new middle-class clientele, the newly enlarged gap between the middle and lower classes fostered further resentment from the lower class not just for the better-off middle class but the excessively exuberant upper class. Such feelings quickly brought the luxurious art style of the Rococo Period to an end. In response to this frivolous-deemed art style emerged the Neoclassical Period.

Neoclassical art earned its name due to the fact that it takes many of its traits from the classical art of the Romans and Greeks. This resurgence of Classical styles was in a large part due to the recent discovery of the ruins of Pompeii and Herculaneum by De Alcubierre in 1748 (Tronchin). Having been covered in volcanic ash in 79 C.E., the city of Pompeii was preserved in time and appeared very similar to how it did before its destruction. This was an incredible find for the newly emerging art historian profession (Tronchin). The bodies of those found at the site, along with their homes, greatly inspired artists of the Neoclassical Period and brought with it a renewed passion for ancient times. Depictions of Greek and Roman mythology once again began dominating the world of art along with historical scenes.  One such portrayal is Jacques-Louis David’s Oath of the Horatii.

Oath of the Horatii is a 130.2 by 166.7 cm oil painting on canvas. Created in 1785, the painting was commissioned by King Louis XVI of France while David was serving the king in Louvre, France. The painting was meant to illicit loyalty to the state as the brothers are pledging to serve their empire (Oath). This is an understandable sentiment to wish to inspire but it proved ineffective as the French Revolution occurred just five years after the Oath of the Horatii’s completion. As for technique and composition, Neoclassical work emphasized line and structure allowing color to take a back seat importance-wise in regards to the rest of the painting (Classicism). Artists valued harmony and a sense of balance in their work. Additionally, idealized figures as seen in the art of Pompeii once again became the standard as they had in antiquity (Classicism). Neoclassical history paintings, such as Oath of the Horatii, had additional criteria that the vast majority met. Illustrating prominent events from religion, mythology, and literature, Oath of the Horatii and other Neoclassical historical paintings like it were meant to evoke feelings of loyalty and bravery while providing examples of great acts of heroism and other virtuous behavior (Black McCoy, British). For these reasons, Neoclassical history paintings were created in direct opposition to previous flamboyant art styles.  Oath of the Horatii brings forth feelings of duty accompanied by great sadness, a sentiment many more would soon empathize with as a result of the bloody and violent French Revolution that was fast approaching. The influence of Pompeii’s excavation and the subsequent reemergence of Classical styles made its way not only into paintings but also into the world's architecture.

Monticello is one of the best-known examples of Neoclassical architecture. Designed by Thomas Jefferson as his personal home in Virginia, the construction of Monticello began in 1769 (House). This first rendition was completed in 1784 but was later redesigned from 1796 to 1809 (House).  One of the home's most distinguishing features is its massive Classical-style columns at the entrance to the house. These columns became a staple of the time, harkening back to the Pantheon and Parthenon of ancient times. The vast majority of government buildings and others of importance were created in the Neoclassical style, wishing to elicit feelings of significance in those who saw them (LaChiusa). This re-emergence of Classical styles in architecture was inspired by the unearthing of Pompeii as were many other aspects of the period. Monticello is an impressive structure, meant to bring forth ideals of grandeur and importance by emulating some of the ancient time's best-known structures. For a man of Jefferson’s standing and position, these are precisely the emotions one would want to conjure as such feelings would reflect onto him. The use of the Neoclassical in government structures was prevalent in many of the major cities across the world and is still evident today (LaChiusa). This creates a sense of connection between important buildings in Washington DC, Sydney, St Petersburg, and Shanghai (LaChiusa). Although the discovery of Pompeii was revolutionary and infiltrated many aspects of the Neoclassical Period from paintings, sculptures, architecture, and even music, it was not the only scientific discovery of the 1700s which influenced the era’s art.

The discovery of physics, the creation of the first encyclopedia, the invention of the microscope, and the confirmation of the Copernican theory of Earth moving around the sun were some of the most influential advancements of the era (Revolution). A Philosopher Lecturing on the Orrery by Joseph Wright of Derby is a 4′ 10″ by 6′ 8″ oil painting on Canvas created between 1763-65 (Fox).  Wright likely created this painting after witnessing a lecture by James Ferguson, an astronomer and instrument maker, who demonstrated the use of an Orrery in addition to other scientific instruments (Discovery). In the painting, a philosopher is lecturing to several onlookers about the placement of the sun at the center of the universe and how all other planets orbit around it. Had the man in the image chosen to teach the Copernican Theory at an earlier time he would have encountered substantial opposition from religious orders, as many had before him. However, with the aforementioned scientific advancements came an age of enlightenment where people became more concerned with discovering for themselves, through the newly invented scientific method, how the world worked rather than blindly accepting what the church taught (Fox). 

A Philosopher Lecturing on the Orrery is an excellent example of these shifting ideals in the world, brought on through scientific advancement which pierced every aspect of life including the arts. Although images of people teaching and discussing topics of advancement have been around for centuries, A Philosopher Lecturing on the Orrery stands apart as the embodiment of ideas that would have likely been suppressed or even destroyed in previous eras. From its subdued colors, strong structure, and proud depiction of scientific innovation for all to experience, A Philosopher Lecturing on the Orrery is one of the best representations of Neoclassical art including its style and values.  A Philosopher Lecturing on the Orrery perfectly encompasses the new and reemerging scientific and social ideas of the Neoclassical period with the brilliant light at the center of the painting illuminating the people to new ways of viewing the world. Although it holds no claims of great fame, to me this painting is a piece of profound hope, an image that exhibits the greatest aspects of the Neoclassical Period. 

Work Cited

“Art and Scientific Discovery in the 1700s,” SATEMPLE, WordPress, October 15, 2013. https://satemple.wordpress.com/2013/10/15/art-and-scientific-discovery-in-the-1700s/. Accessed 18, March 2023.

“British and American History Paintings of the 1700s,” National Gallery of Art, https://www.nga.gov/features/slideshows/british-and-american-history-paintings-of-the-1700s.html. Accessed 18, March 2023.

Black McCoy, Claire. “Jacques-Louis David, Oath of the Horatii,” Smarthistory, https://smarthistory.org/jacques-louis-david-oath-of-the-horatii/. Accessed 18, March 2023.

Fox, Abram. “Wright of Derby, A Philosopher Lecturing on the Orrery,” Khan Academy, https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/wright-of-derby-a-philosopher-lecturing-on-the-orrery. Accessed 18, March 2023.

A History of the Scientific Revolution, 1500-1700,” Brewminate, August 20, 2020. https://brewminate.com/a-history-of-the-scientific-revolution-1500-1700/. Accessed 18, March 2023.

“House FAQ,” Monticello, https://www.monticello.org/house-gardens/the-house/house-faqs/. Accessed 18, March 2023.

LaChiusa, Chuck. “The Neoclassicising of Pompeii,” buffaloah, January 2018. https://buffaloah.com/a/virtual/italy/pomp/tc.html. Accessed 18, March 2023.

“The Oath of the Horatii,” Toledo Museum of Art, http://emuseum.toledomuseum.org/objects/55069/the-oath-of-the-horatii?ctx=739d11b7-2f63-4ad0-9596-69dcd5791a3e&idx=0#:~:text=Label%20TextIn%201784%20Louis,pledging%20to%20fight%20the%20Curiatii. Accessed 19, March 2023.

Tronchin, Francesca. “The rediscovery of Pompeii and the other cities of Vesuvius,” Khan Academy, https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/x7e914f5b:pompeii/a/the-rediscovery-of-pompeii-and-the-other-cities-of-vesuvius#:~:text=De%20Alcubierre%20shifted%20his%20focus,town's%20name%3A%20REI%20PUBLICAE%20POMPEIANORUM. Accessed 19, March 2023.