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like a vision of heavenly glory. The polychromed buildings form a tightly knit unit that centers on the church. The wings, housing the library and imperial hall, are joined at the west by curving arms, which meet at a high balcony that provides a dramatic view onto the world beyond the monastery. Although Prandtauer never went to Italy to study from original works, he read Italian architectural treatises, which formed a basis for his work.
Balthasar Neumann
The work of Balthasar Neumann (16871753), who designed buildings exuding lightness and elegance, is the culmination of the Rococo in Central Europe. Trained as a military engineer, he was named a surveyor for the Residenz (Episcopal Palace) in Wrzburg after his return from a visit to Milan in 1720. The basic plan was already established and although Neumann greatly modified it, he was required to consult the leading architects of Paris and Vienna in 1723. The final result is a skillful blend of the latest German, French and Italian ideas. The breathtaking Kaisersaal (fig. 22.22) is a great oval hall decorated in the favorite color scheme of the mid-eighteenth century: white, gold, and pastel shades. The structural importance of the columns, pilasters, and architraves has been minimized in favor of their decorative role. Windows and vault segments are framed by continuous, ribbonlike moldings, and the white surfaces are covered with irregular ornamental designs. These lacy, curling motifs, the hallmark of the French style (see fig. 22.11), are happily combined with German Rococo architecture. (The basic design recalls an early interior by Fischer von Erlach.) The abundant daylight, the play of curves and countercurves, and the weightless grace of the stucco sculpture give the Kaisersaal an airy lightness far removed from the Roman Baroque. The vaults and walls seem thin and pliable, like membranes easily punctured by the expansive power of space.
22.22. Balthasar Neumann. Kaisersaal Residenz, Wrzburg, Germany. 171944. Frescoes by Giovanni Battista Tiepolo, 17511752
Dominikus Zimmermann
Dominikus Zimmermann (16851766), a contemporary of Balthasar Neumann, created what may be the finest design of the mid-eighteenth century: the rural Bavarian pilgrimage church nicknamed Die Wies (The Meadow). The exterior is so plain that by comparison the interior seems overwhelming (figs. 22.23 and 22.24). This interior richness reflects the fact that the architect and his brother, Johann Baptist Zimmermann (16801758), who was responsible for the frescoes, were initially trained as stucco workers. The interior design includes a combination of sculptural painted stucco decoration and painting. Like Fischer von Elarchs St. Charles Borromaeus, this churchs basic shape is oval. Yet because the ceiling rests on paired, free-standing supports, the space is more fluid and complex, recalling a German Gothic Hallenkirche (hall church). Even the way the Rococo decor tends to break up the ceiling recalls the webbed vaults of the Gothic Heiligenkreuz in Schwbisch-Gmnd (see fig. 12.52). Here Guarinis prophetic reevaluation of Gothic architecture has become reality.
ITALY
Just as the style of architecture invented in Italy achieved its climax north of the Alps, much Italian Rococo painting took place in other countries. The timidity of the Late Baroque style in Italy was transformed during the first decade of the eighteenth century by the rise of the Rococo in Venice, which had stagnated as an artistic backwater for one hundred years. The Italian Rococo is distinguished from the Baroque by a revived appreciation of Veroneses colorism and pageantry, but with an airy sensibility that is new. The Venetians, colorists skilled in Baroque illusionism, were active in every major center throughout Europe, especially in London, Dresden, and Madrid. They were not alone: Many artists from Rome and other parts of Italy also worked abroad. ART IN TIME 17141718War between Venice and Turkey 17141730Clement XII becomes pope 17141732Canalettos The Bucintoro at the Molo
22.24. Plan of "Die Wies"
22.25. Giovanni Battista Tiepolo. Ceiling fresco (detail). 1751. Kaisersaal, Residenz, Wrzburg
Canaletto
During the eighteenth century, landscape painting in Italy evolved into a new form in keeping with the character of the Rococo: These paintings were called vedute (meaning view paintings). The new form can be traced back to the seventeenth century, when many foreign artists, such as Claude Lorrain (see fig. 21.8), specialized in depicting the Roman countryside. After 1720, however, vedute took on a specifically urban identity, focusing more narrowly on buildings or cityscapes. The most famous of the vedutists was Canaletto (Giovanni Antonio Canal, 16971768) of Venice. His pictures found great favor with the British, particularly young men on the Grand Tour after their schooling, who brought them home as souvenirs. Canaletto later became one of several Venetian artists to spend long sojourns in London, where he created views of the citys new skyline dotted with the church towers of Wren (see pages 752753). The Bucintoro at the Molo (fig. 22.27) is one of a series of paintings of Venice commissioned by Joseph Smith, an English entrepreneur (later named British Consul to Venice) living there. Smith later issued the paintings as a suite of etchings to meet the demand for mementos of Venice from those who could not afford an original canvas by the artist. It shows a favorite subject: the Doge returning on his magnificent barge to the Piazza San Marco from the Lido (the citys island beach) on Ascension Day after celebrating the Marriage of the Sea. Canaletto has captured the pageantry of this great public celebration, which is presented as a brilliant theatrical display. Canalettos landscapes are, for the most part, topographically accurate. However, he was not above tampering with the truth. While he usually made only slight adjustments for the sake of the composition, he would sometimes treat scenes with considerable freedom or create composite views. He may have used a mechanical or optical device, perhaps a camera obscura, a forerunner of the photographic camera (see Vermeer, pages 728729), to render some of his views. The liveliness and sparkle of his pictures, as well as his sure sense of composition, sprang in large part from his training as a scenographer. As in our example, Canaletto often included vignettes of daily life in Venice that lend a human interest to his scenes and make them fascinating cultural documents as well.
22.27. Canaletto. The Bucintoro at the Molo. ca. 1732. Oil on canvas, 30 49 (77 126 cm). The Royal Collection. 2004 Her Majesty Queen Elizabeth II
SUMMARY
France in the eighteenth century was defined by longstanding tradition. The monarchy continued its dominance, and the policies and practices of the ancien rgime persisted through the reign of Louis XV and his influential mistress, Madame de Pompadour. French aristocracy regained its freedom and set about consolidating power during the long rule of Louis XV. Yet wealth was bestowed upon the privileged few, and the era was characterized by gaping disparities between rich and poor, aristocracy and peasantry. The Rococo style emerged in the eighteenth century partially as a reaction to the large, dynamic, and dark or intensely colored works of the 1600s. Characterized by pastel colors, small scale, and delicately rendered figures and settings, Rococo art reflected the frivolity and extravagance enjoyed by the aristocracy. These wealthy classes indulged in the construction of the elaborate htels (townhouses) in Paris and extensively patronized the arts to decorate their new homes. As the sites of salons and other gatherings of the intellectual and financial elites, htels boasted lavish interiors decorated in pastel color schemes and embellished with charming, intimate paintings and sculptures evoking the gaiety and lighthearted mood sought by aristocratic patrons. The charm and appeal of the Rococo style proved popular throughout Europe, and its lasting influence was felt in England and in central and western Europe as well.
sculpture that are closely linked with their settings. In the church of St. Charles Borromaeus, architect Johann Fischer von Erlach incorporates aspects from the canon of Western architecture to produce an entirely new building type that projects the power of the Christian faith to transform the art of antiquity. The elaborate, elegant interiors of buildings such as Balthasar Neumann's Kaisersaal or Dominikus Zimmermann's "Die Wies" church embody the culmination of the Rococo in Central Europe.
ITALY
Many Italian artists worked abroad, and therefore much Italian Rococo painting was produced in other countries. Giovanni Battista Tiepolo, in particular, executed the illusionistic ceiling decorations of several German and Austrian churches and palaces. Venetian painter Canaletto painted vedute, or view paintings, of Venice which became particularly popular with young Englishmen who brought these works back to England as souvenirs of their Grand Tour.
Petrarch (13041374)
Sonnet from the Rime Sparse, n. 77 (Translation by A. S. Kline) The humanist Petrarch encountered the unattainable Laura in Avignon, and immortalized his love for her in many sonnets. This poem, number 77 from his Rime Sparse (Scattered Rhymes), describes his reaction to a portrait of Laura painted by his friend, the Sienese painter Simone Martini. The portrait itself does not survive, but Petrarch's words make a comparison between the fourteenth-century painter and the famous Greek Sculptor, Polyclitus. Such learned references to the ancients in service of human emotion parallels the innovations of visual artists who explored the emotional content of religious narratives. Polyclitus gazing fixedly a thousand years with the others who were famous in his art, would not have seen the least part of the beauty that has vanquished my heart.
But Simone must have been in Paradise (from where this gentle lady came) saw her there, and portrayed her in paint, to gave us proof here of such loveliness. This work is truly one of those that might be conceived in heaven, not among us here, where we have bodies that conceal the soul. Grace made it: he could work on it no further when he'd descended to our heat and cold, where his eyes had only mortal seeing.
SOURCE: PETRARCH: THE CANZONIERE. SONNET 77. TR. A.S. KLINE. HTTP://WWW.TONYKLINE.CO.UK)
that paint made with oil could be applied more easily and mixed more thoroughly than paint made with egg and glue. . . . Joannes . . . had created a new type of painting, to the amazement of the world. . . . This noble discovery, of painting with oil, was the only thing the art of painting still needed to achieve naturalistic rendition. If the ancient Greeks, Apelles and Zeus [Zeuxis] had come to life again in this country and had seen this new method of painting, they would not have been any less surprised than if war-like Achilles [had] witnessed the thunder of cannon fire. . . . The most striking work which the Van Eyck brothers did together is the altar-piece in the church of St. John, in Ghent. . . . The central panel of the altar-piece represents a scene from the Revelation of St. John, in which the elders worship the Lamb. . . . In the upper part, Mary is represented; she is being crowned by the Father and the Son. . . . Next to the figure of Mary are little angels singing from sheets of music. They are painted so exquisitely and so well that one can detect readily, from their facial expressions, who is singing the higher part, the high counter part, the tenor part, and the bass. . . . Adam and Eve are represented. One may observe that Adam has a certain fear of breaking the command of the Lord, for he has a worried expression. . . . The altar painting of the Van Eyck brothers was shown only to a few personages of high standing or to someone who would reward the keeper very well. Sometimes it was shown on important holidays, but then there was usually such a crowd that it was difficult to come near it. Then the chapel containing the altar-piece would be filled with all kinds of peoplepainters young and old, every kind of art lover, swarming like bees and flies around a basket of figs or raisins. . . . Some Florentine merchants sent a splendid painting, made in Flanders, by Joannes to King Alphonso I of Naples. . . . A huge throng of artists came to see this marvelous painting, when it reached Italy. But although the Italians examined the picture very carefully, touching it, smelling at it, scenting the strong odor produced by the mixture of the colors with oil, and drawing all kinds of conclusions, the secret held until Antonello of Messina, in Sicily, went to Bruges to learn the process of oil-painting. Having mastered the technique, he introduced the art into Italy, as I have described in his biography. . . . Joannes had once painted in oil two portraits in a single scene, a man and a woman, who give the right hand to each other, as if they had been united in wedlock by Fides. This little picture came through inheritance into the hands of a barber in Bruges. Mary, aunt of King Philip of Spain and widow of King Louis of Hungary, . . . happened to see this painting. The art loving princess was so pleased with this picture that she gave a certain office to the barber which brought him a yearly income of a hundred guilders.
SOURCE: KAREL VAN MANDER, DUTCH AND FLEMISH PAINTERS. TR. CONSTANT VAN DE WALL. (MANCHESTER, NH: AYER CO. PUBLISHERS. 1978)
Perugino, although he gave his figures a grace that he understood instinctively. . . . Nonetheless, Raphael realized that in this manner he could never rival the accomplishments of Michelangelo, and . . . being unable to compete with Michelangelo in the branch of painting to which he had set his hand, resolved to emulate and perhaps surpass him in other respects. So he decided not to waste his time by imitating Michelangelo's style but to attain a catholic excellence in the other fields of painting. . . . When Michelangelo had finished the statue [of Pope Julius II, later destroyed], Bramante, the friend and relation of Raphael and therefore ill-disposed to Michelangelo, seeing the Pope's preference for sculpture, schemed to divert his attention, and told the Pope that it would be a bad omen to get Michelangelo to go on with his tomb, as it would seem to be an invitation to death. He persuaded the Pope to get Michelangelo, on his return, to paint the vaulting of the Sistine Chapel. In this way Bramante and his other rivals hoped to confound him, for by taking him from sculpture, in which he was perfect, and putting him to colouring in fresco, in which he had had no experience, they thought he would produce less admirable work than Raphael. . . . Thus, when Michelangelo returned to Rome, the Pope was disposed not to have the tomb finished for the time being, and asked him to paint the vaulting of the chapel. Michelangelo tried every means to avoid it, and recommended Raphael. . . . At length, seeing that the Pope was resolute, [he] decided to do it. . . . Michelangelo then made arrangements to do the whole work singlehanded. . . . When he had finished half, the Pope . . . daily became more convinced of Michelangelo's genius, and wished him to complete the work, judging that he would do the other half even better. Thus, singlehanded, he completed the work in twenty months, aided only by his mixer of colours. He sometimes complained that owing to the impatience of the Pope he had not been able to finish it as he would have desired, as the Pope was always asking him when he would be done. On one occasion Michelangelo replied that he would be finished when he had satisfied his own artistic scene. And we require you to satisfy us in getting it done quickly," replied the Pope, adding that if it was not done soon he would have the scaffolding down. . . . Michelangelo wanted to retouch some parts of the painting a secco, as the old masters had done on the scenes below . . . in order to heighten the visual impact. The Pope, learning that this ornamentation was lacking . . . wanted him to go ahead. However, he lacked the patience to rebuild the scaffolding, and so the ceiling stayed as it was. . . . Giovanni Bellini and other painters of [Venice], through not having studied antiquities, employed a hard, dry and laboured style, which Titian acquired. But in 1507 arose Giorgione, who began to give his works more tone and relief, with better style, though he imitated natural things as best as he could, colouring them like life, without making drawings previously, believing this to be the true method of procedure. He did not perceive that for good comparison it is necessary to try several various methods on sheets, for invention is quickened by showing these things to the eye, while it is also necessary to a thorough knowledge of the nude. . . . On seeing Giorgione's style Titian abandoned that of Bellini, although he had long practised it, and imitated Giorgione so well that in a short time his works were taken for Giorgione's. . . . Titian's methods in these paintings differ widely from those he adopted in his youth. His first works are executed with a certain fineness and diligence, so that they may be examined closely, but these are done roughly in an impressionist manner, with bold strokes and blobs, to obtain the effect at a distance. This is why many, in trying to imitate him, have made clumsy pictures, for if people think that such work can be done without labour they are deceived, as it is necessary to retouch and recolour them incessantly, so that the labour is evident. The method is admirable and beautiful if done judiciously, making paintings appear alive and achieved without labour.
SOURCE: GIORGIO VASARI, THE LIVES OF OF PAINTERS, SCULPTORS, AND ARCHITECTS. EVERYMAN'S LIBRARY EDITION, ED. WILLIAM GAUNT (1963 EDITION, FIRST PUBLISHED 1927)
derived from all holy images, not only because the people are thereby reminded of the benefits and gifts bestowed on them by Christ, but also because through the saints the miracles of God and salutary examples are set before the eyes of the faithful, so that they may give God thanks for those things, may fashion their own life and conduct in imitation of the saints and be moved to adore and love God and cultivate piety. But if anyone should teach or maintain anything contrary to these decrees, let him be anathema. If any abuses shall have found their way into these holy and salutary observances, the holy council desires earnestly that they be completely removed, so that no representation of false doctrines and such as might be the occasion of grave error to the uneducated be exhibited. Finally, such zeal and care should be exhibited by the bishops with regard to these things that nothing may appear that is disorderly or unbecoming and confusedly arranged, nothing that is profane, nothing disrespectful, since holiness becometh the house of God.
SOURCE: CANONS AND DECREES OF THE COUNCIL OF TRENT. TR. H. I. SHROEDER. (ROCKFORD, IL TAN BOOKS AND PUBLISHERS, 1978)
cellar and that, poor in invention and design, lacking in decorum and art, he painted all his figures in one light and on one plane without gradations. These accusations, however, did not retard the growth of his fame. . . . He never introduced clear blue atmosphere into his pictures; on the contrary he always used black for the ground and depths and also for the flesh tones, limiting the force of the light to a few places. Moreover, he followed his model so slavishly that he did not take credit for even one brush stroke, but said it was the work of nature. He repudiated every other precept and considered it the highest achievement in art not to be bound to the rules of art. Because of these innovations, he received so much acclaim that some artists of great talent and instructed in the best schools were impelled to follow him. With all this, many of the best elements of art were not in him; he possessed neither invention, nor decorum, nor design, nor any knowledge of the science of painting.
SOURCE: ITALIAN & SPANISH ART, 16001750 SOURCES AND DOCUMENTS ED R. ENGGASS AND J. BROWN (EVANSTON, IL: NORTHERN UNIVERSITY PRESS, 1999)
contribute the sole element still needed to perfect their artistic powers. How I would welcome their acquaintance with Raphael and Michelangelo, the feasting of their eyes on the creations of such gigantic spirits! How quickly they would surpass them all, giving the Italians due cause to come to Holland. If only these men, born to raise art to the highest pinnacle, know themselves better!
SOURCE: ERNST VAN DE WETERING AND BERNHARD SCHNACKENBURG AND OTHERS. THE MISTERY OF YOUNG REMBRANDT. (WOLFRATSHHAUSEN: EDITION MINERVA, 2001)
Arouet, 16941778), Jean Jacques Rousseau (17121778), and Denis Diderot (17131784), who along with d'Alembert, edited the 52-volume Encyclopdie, the world's first encyclopedia, which in its attempt to document the world and knowledge epitomizes Enlightenment empiricism. In addition to establishing basic human rights, logic and a new moral order, Enlightenment thought also ushered in modern science. Electricity and oxygen were discovered, for example, and chemistry and natural science as we know it today were established. Science helped launch the Industrial Revolution. By midcentury the first mills were churning out yards of fabric at an unimaginable rate in the Midlands of England, and the notion of labor was redefined as the first factory workers, employed at subsistence wages, were tethered to clattering looms in enormous spaces filled with a deafening noise. Miners excavated coal and ore to produce iron, permitting construction of the first metal bridge. Perfection of the steam engine by Scottish engineer James Watt from 1765 to 1782 aided the mining and textile industries and enabled Robert Fulton, in 1807, to send a steamboat chugging up the Hudson River against the swift current and public incredulity, arriving in Albany from Manhattan in unimaginably quick time. The second half of the eighteenth century was a period of transition as the world moved from the old to the modern. Art reflects this transformation, for it is often changing and complex, with several almost contradictory attitudes existing in a single work. The dominant style associated with the period is Neoclassicism, meaning the "New Classicism," which often illustrated what were considered the virtuous actions and deeds of the ancient Greeks and Romans. As we shall see, however, not all works labeled Neoclassical are set in historical antiquity; they may be contemporary genre scenes or contemporary major events that have the look or feel of Classical antiquity and that embrace similar moral values. Neoclassicism embraced the logic and morality of the Enlightenment, which were perhaps best expressed by Voltaire. In his plays, poems, novels, and tracts, Voltaire used logic to attack what he called "persecuting and privileged orthodoxy," mainly meaning church and state, but any illogical institution or concept was fair game for his satire. He believed science could advance civilization and that logic presumed a government that benefited the people, not just the aristocracy. It is from Voltaire that we get "doctrine of progress." The models for Voltaire's new civilization were the republics of ancient Greece and Rome, which in addition to being the first democracies provided the first rationalist philosophers. Neoclassicism took its vocabulary from ancient art, as well as from the classically inspired Renaissance and the great seventeenth-century French painter Nicolas Poussin (see pages 737740). Simultaneously, a second and seemingly antithetical thread appears in art: Romanticism. As we shall see in the next chapter, Romanticism comes of age about 1800, when the term itself is invented in order to describe the sweeping change in worldview then occurring. Instead of Neoclassicism's logic and its desire to control the forces of nature through science, Romanticism values emotion and intuition and believes in the supremacy of raw, unrestricted Nature. Jean-Jacques Rousseau is the principal proponent of this view, which he articulated in his Discourse on the Arts and Sciences (1750). Here he advocated a return to nature, arguing that humans are born good, not in sin, and that they use their innate sense or instincts to distinguish between good and bad, that is between what makes them happy and sad. Feeling determines their choices, not rational thought, which one uses to explain choices, not to make them. Society, he believed, through its mores, values, and conventions, eventually imposes its own rationalized standards on humans, distracting them from their first true and natural instincts. Rousseau praised what he called the sincere "noble savage," steeped in nature, and he denounced contemporary civilization for its pretensions, artificiality, and, in general, those social restraints that prevent us from tapping into the power of our basic emotions. The rational and the emotional survived side by side in art, and sometimes elements of each appeared within the same work, though usually not in equal proportions. Proponents of both attitudes aggressively rejected Rococo art (see Chapter 22), which they perceived as licentious, frivolous, even immoral, and which was generally associated with aristocracy and privilege, the twin evils condemned by the Enlightenment. While there was a call for a new art, one based on Classical values, no one was sure what it should look like. Not until the 1780s, with the paintings of Jacques-Louis David, did the Neoclassical style reach full flower. In the meantime, Neoclassicism would appear in many guises, sometimes even containing elements of Rococo elegance, a reminder that the Rococo still survived. Simultaneously, the Romantic fascination with strong emotions, with the irrational and unexplainable, and with the powerful forces of Nature was developing, which ironically would overshadow Neoclassicism by the 1790s, the decade following David's rise and the French Revolution of 1789. While England and France dominate art in the second half of the century and are the focus of our discussion, Neoclassicism, like the Enlightenment, was an international movement, well represented in Scandinavia, Austria, Germany, and Russia. ART IN TIME 1666French Academy establishes satellite schools in Rome 1738Excavation of Herculaneum begins 1 1748Excavation of Pompeii begins ca. 1761Hamiltons Andromache Bewailing the Death of Hector
Not just artists came to Rome, for no gentleman's education was complete without making a "Grand Tour" of Italy, including the North Country (Florence, Tuscany, Umbria, and Venice) and Naples, the jumping off point for Herculaneum and Pompeii, perfectly preserved Roman cities that were excavated beginning in 1738 and 1748, respectively. Rome, however, was the climax of the trip. Gentlemen, princes, and lordsanyone of means aspiring to cultureflocked to Rome from all over the Western world, including the American colonies. England led the list in sheer numbers, and in London there was even an archeological organization, the Society of Dilettanti, that many joined. The group sponsored excavations of the Acropolis (1751), Palmyra (1753), Baalbek (1757), Split (Spalato, 1757,) and Ionia (17641769), illustrations of which they published in lavish folio format, providing invaluable reference material of the largest size for artists seeking historical accuracy in their work. Rome itself was one large excavation site, with antiquities dealers furiously digging for artifacts and sculpture to sell to tourists. These tourists took back with them not only Roman art but a taste for the Classical, which surfaced in the designs of their country houses and gardens. The archeological excavations, especially of Herculaneum and Pompeii, fueled an interest in antiquity and fired the imagination of artists. Equally responsible for creating a renewed preoccupation with antiquity were the writings of the German scholar Johann Winckelmann (17171768), librarian to the great antiquities collector Cardinal Albani, whose Villa Albani in Rome was one of the antiquities museums along with the Villa Borghese and the Capitoline Hillthat every gentleman on the Grand Tour had to visit. In 1755, Winckelmann published Reflections on the Imitation of Greek Art in Painting and Sculpture, and in 1765, he produced his magnus opus, History of Greek Art. The latter was one of the most widely read books of its day, which accounts for its influence. In both publications, Winckelmann elevated Greek culture to a position of supremacy it never quie held in the Classical tradition: an era of perfection that was followed only by imitation and decline. But Winckelmann did not just see beauty in Greek art; he also saw moral qualities that paralleled Enlightenment thought: "the general and predominant mark of Greek masterpieces is noble simplicity and calm grandeur, both in gesture and in expression . . . The expression of all Greek statues reveals even in the midst of all passions a great and grave soul [italics added]." He concludes that "the only way for us to become great, and if possible, even inimitable, is through imitation of the ancients." In response to Winckelmann's influence, the rallying cry of Neoclassicism would be the creation of moral works embodying "noble simplicity and calm grandeur."
23.1. Anton Raphael Mengs. Parnassus. 1761. Ceiling fresco in the Villa Albani, Rome
23.2. Pompeo Batoni. Thomas, First Lord Dundas. 1764. Oil on canvas, 97 65 (298 197 cm). The Marquess of Zetland, Aske Hall, N. Yorkshire
23.3. Gavin Hamilton. Andromache Bewailing the Death of Hector. 1764. Engraving by Domenico Cunego, after painting of ca. 1761. Yale Center for British Art. Paul Mellon Collection
have been a catalyst. Increasingly in the 1760s and 1770s artists in all mediums turned to this kind of moralistic subject matter.
NEOCLASSICISM IN ENGLAND
It almost seem as though the British were predisposed to embracing Neoclassicism, not only because the birth of Enlightenment occurred in England but also because the nation already had an intense involvement with antiquity in literature, which dated to the opening decades of the eighteenth century. The Augustan or Classical Age of English poetry was in full bloom by then, with its leading authors, such as John Dryden, Alexander Pope, and Samuel Johnson, emulating the form and content of the writers active during the reign of the first Roman emperor, Augustus Caesar (63 BCE14 CE), many of whom these same British poets translated. Britain at this time was enjoying unprecedented peace and prosperity, which, in part, was responsible for the identification with Augustus Caesars reign, similarly marked by stability, economic prosperity, and the flourishing of culture. The liberal faction of the British aristocracy modelled itself on ancient Rome, relating the British parliamentary government that shared power with the king to the democracy of the Roman republic. As we shall see, by the 1720s, these liberals, who compared themselves with Roman senators, wanted country homes based on Roman prototypes.
23.5. Thomas Banks. The Death of Germanicus. 1774. Marble. Height 30 (76.2 cm). Holkham Hall, Norfolk, England. By Kind Permission of the Earl of Leicester and the Trustees of the Holkham Estate
one of only two women admitted into the academy, a statistic that on a negative note reflects male prejudice and on a positive one the high international esteem in which the 27-year-old Kauffmann was held. As a woman, she was denied access to studying the male nude, then considered critical to a history painters success, and making her accomplishments all the more remarkable. Of the few eighteenthcentury women artists to carve out a successful career in a mans world, Kauffmann was the only one who became a history painter. The others were either still-life painters, like the Parisian Anne Vallayer-Coster (17441818), or portraitists, like Marie-Louise-Elizabeth Vige-Lebrun (see page 766), who was Queen Marie Antoinettes favorite artist, and Adlade Labille-Guiard (17491803). Male prejudice was so strong against the latter two French women, both of whom rank among the finest painters of their period, that they were accused of having employed men to make their works. Enlightenment philosophy, with its emphasis on equality, may have provided a theoretical premise for greater social, economic, and political freedom for women, but in reality women artists remained second-class citizens throughout the eighteenth century, only occasionally gaining access to the academies in London and Paris (the French Academy only allowed four women at a time). Furthermore, male artists continued to depict women stereotypically, as wives and mothers who in addition to being fertile and pretty are helpless, passive, grieving, and immobile, just as we saw in Bankss The Death of Germanicus. Like so many of her contemporaries, Kauffmann raided Greek and Roman literature for her subjects. In 1769 at the first Royal Academy exhibition, she presented Hector Taking Leave of Andromache, and three years later she showed Andromache and Hecuba Weeping over the Ashes of Hector, two pictures portraying unwavering marital fidelity, both as wife and widow. A classic example of Kauffmanns moralistic pictures is Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi) (fig. 23.6) of about 1785. Here she champions child rearing and family over materialism. While portraying a woman as mother, she counters traditional male stereotyping by presenting her as proactive, deterministic, and controlling. In this second-century BCE story from Roman history, a visiting friend has just shown off her jewelry to Cornelia Gracchus. Instead of displaying her own gems, Cornelia proudly presents her children, two of whom, Tiberius and Gaius, would become great politicians. To prepare her sons for leadership, Cornelia acquired the finest tutors in the world, and it was said that she weaned them on conversation, not her breasts. She remained an ally and adviser to both, and in addition to her reputation for virtue and intelligence, she was one of the most powerful women in the history of the Roman Republic. Kauffmann, a woman artist struggling in a mans world, must have identified with the successful Cornelia, whose features resemble the artists. In Cornelia Presenting Her Children, Kauffmann has created an austere and monumental painting that reinforces the strength and nobility of the mother. Despite the Rococo grace of the gestures and the elegant proportions of the figures, the picture is dominated by the bareness of the floor and walls and the stable composition anchored by a strong, solid triangle culminating in Cornelia. The Cornelia theme was not unique to Kauffmann, however, and was quite popular with artists. Not only did it illustrate virtue, but it reflected the new interest in the importance of the family unit that stemmed from the Enlightenment teachings of Jean-Jacques Rousseau, who advocated that parents nurture their children at home, rather than sending them off to wet nurses and nannies until they were adolescents.
23.6. Angelica Kauffmann. Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi). ca. 1785. Oil on canvas, 34 42 (101.6 127 cm). Virginia Museum of Fine Arts, Richmond. The Adolph D. and Wilkins C. Williams Fund. 75.22
John Flaxman. Hercules in the Garden of the Hesperides. Designed 1785 and produced by Wedgwood ca. 1790. Jasperware, height 14 (35.7 cm). The Potteries Museum and Art Gallery, Stokeon-Trent
Hercules in the Garden of the Hesperides. Illustration in Pierre-Franois Hugues dHancarville, Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Honorable William Hamilton, 17661767. Vol. II, Plate 127
The Industrial Revolution was increasing wealth and creating an upper middle class in England, and Wedgwood was meeting the needs of the new clienteleart was no longer just for royalty, the aristocracy, and the church. Demand was so great, Wedgwood installed his first steam engine at Etruria in the early 1780s to make his plant more efficient. ART IN TIME 1725Burlington and Kent begin constructing Chiswick Houses ca. 1750Industrial Revolution begins in England 17651782James Watt perfects the steam engine 1767John Wood the Younger designs the Royal Crescent in Bath 1768Royal Academy founded in England 17751784American Revolution 1776Adam Smith publishes The Wealth of Nations
23.7. Benjamin West. The Death of General Wolfe. 1770. Oil on canvas, 59 84 (1.51 2.13 m). National Gallery of Canada, Ottawa. Gift of the Duke of Westminster
Lake George and Fort Niagara and therefore was a symbol of the important role that Americans played in winning the French and Indian war. Despite the picturess historicism, Wests image is a fiction: Johnson had not been at Quebec, and the Indians aided the French, not the British. West made this picture on the threshold of the American Revolution (the Boston Massacre was in 1770), and his ahistorical inclusion of Johnson was designed to make the British aware of their indebtedness to the colonists, represented here by Johnson, as faithful citizens who had supported England, and of the need to be more conciliatory in granting the concessions they felt they had earned. This interpretation accounts for many of the unusual components in the painting, although the fact that it is so logical is its only proof. Although conjecture, it provides a new way to think about the picture.