[Redbook10:8][19910512:1718k]{Neoclassical and Romantic Art [continued (11)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Although the Neoclassical artists and writers expressed contempt for what they regarded as the frivolous aspect of the Rococo, there is a strong influence of French Rococo on the early styles of some of the Neoclassical painters.’
*
*– ibid [Encyclopaedia Britannica 25:] 360
[continued]
[PostedBlogger15for18122025]
[Redbook10:8][19910512:1718j]{Neoclassical and Romantic Art [continued (10)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Classical antiquity was not the only source of Neoclassical art. The Neoclassicists also distilled their view of antiquity partly through the eyes of Raphael & Poussin. The paintings of these two artists often lie behind works of the 1760's & 1770's [ce],* in particular.’
**
*?64A~1760|u~J~}1768[ce]
**– ibid [Encyclopaedia Britannica 25:] 360
[continued]
[PostedBlogger15for17122025]
[Redbook10:8][19910512:1718i]{Neoclassical and Romantic Art [continued (9)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘The principal large-scale decorative schemes of Neoclassicism are to be found in palaces together with secular buildings. The styles ranged from geometrically patterned walls* into which were inserted specially commissioned canvases, to large frescoes covering practically all the surfaces of ceilings and walls.’
**
*{c[ontra]?}
**– ibid [Encyclopaedia Britannica 25:] 360
[continued]
[PostedBlogger15for16122025]
[Redbook10:7][19910512:1718h]{Neoclassical and Romantic Art [continued (8)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
I suppose that as the time approaches C – during the Crisis Approach Phase – the degrees on inner and outer circles, respectively approaching each other, both attract and interact with each other. You could argue that in both these instances one may see romantic/revolutionary ideals already attracted on the way that leads once again around the outer circle.
It will be interesting to see whether this attraction and interaction continues.
[continued]
[PostedBlogger15122025]
[Redbook10:6-7][19910512:1718g]{Neoclassical and Romantic Art [continued (7)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Classical history and mythology provided a large, but not entire, part of the subject matter of Neo-classical works.’
****
‘Neo-classical art was hardly connected with contemporary politics, except in France, just before and during the Revolution, when parallels were drawn between the contemporary struggle for liberty & events in ancient Greece & Rome.
The parallels undoubtedly affected the art of David, who himself took part in the Revolution. His “Oath of the Horatii” (Louvre) was subsequently interpreted as foretelling revolutionary struggles, and the gestures of allegiance were re-enacted in 1794[ce] at a Republican demonstration organised by the artist together with Robespierre (see Plate 19).*
In the case of David's “Lictors bringing to Brutus the Bodies of His Sons” (1789[ce]: Louvre and Wadsworth Athenaeum, Hartford, Connecticut), the death sentence passed on his own sons by Brutus was seen at the time as a noble example of the state's welfare taking precedence over a father's natural feelings.’**
****
Contrast: ‘Napoleon's mastery over his own fate & denial of accepted norms of behaviour captivated the Romantic generation….’*** (re: Romanticism)
#
*[Not reproduced in the ms or the ts]
**(Remember [th]at France is the exception [per 2nd paragraph above])
***(– [[Redbook10:12][19910512:1718#] {Neoclassical and Romantic Art [continued (#)]}[23rd March 1991],] 12↓)
**** – ibid [Encyclopaedia Britannica 25:] 360
# – ibid [Encyclopaedia Britannica 25:] 362
[continued]
[PostedBlogger13for14122025]
[Redbook10:6][19910512:1718f]{Neoclassical and Romantic Art [continued (6)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Engravings to the second collection of Hamilton's * Vases by the German artist Johann Heinrich Tischbein were entirely in outline, as were plates in “Les Argonautes” (1794)** by a German painter, Asmus Jakob Carstens.
The most famous outline engravings, widely acclaimed at the time, were those of John Flaxman,*** who, in the 1790's [ce], published a large series of engravings to the Iliad & the Odyssey (1793[ce]). In the same decade he illustrated Aeschylus (1795[ce]) & Dante (before 1799[ce], possibly as early as 1793[ce]). Later he illustrated Hesiod (published 1817[ce]).’
****
*(1791-1795[ce])
**64C|2048s~R~1792[ce]
***[FLAxman was our local telephone exchange in Chelsea (when it was still a haunt of artists and other bohemian types), in the days of London dialling, preceding nationwide Subscriber Trunk Dialling which largely did away with memorable letter codes. I seem to recall as a child being told that he was a poet with a connection to Chelsea, neither of which appear to be true….]
****– ibid [Encyclopaedia Britannica 25:359]
[Source text continues from last previous ts journal entry]
[continued]
[PostedBlogger13122025]
[Redbook10:6][19910512:1718e]{Neoclassical and Romantic Art [continued (5)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Simplicity* (which neither Winckelmann nor other writers precisely define) and linearity** are the principal characteristics of Neoclassical art. These two characteristics appear at their most extreme in the outline engravings published *** from the 1780's [ce] on. In 1785[ce] Volpato & Morghen published engravings of antique statues in outlines, with hardly any shading.
****
*{r~}R~-type Simplicity would not always be utterly calm
[Note that r~ was inserted here subsequently]
**S~
(but see [[Redbook10:10][19910512:1718#] {Neoclassical and Romantic Art [continued (#)]}[23rd March 1991],] 10↓)
***64s~R~1784[ce]
2048s~R~1792[ce]
****[– ibid (Encyclopaedia Britannica 25:359)]
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
[PostedBlogger10for12122025]
[Redbook10:5-6][19910512:1718d]{Neoclassical and Romantic Art [continued (4)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘The emphasis on outline is one of the principal tenets in the writings of German scholar, Johann Joachim Winckelmann, who was the most important 18th-century [ce] theorist on the art of the ancients. He was a prominent figure in classical circles in Rome, where he was librarian to Cardinall Albani, one of the notable collectors of classical antiquities in 18th-century Italy.
In his “Gedanken über die Nachahmung der griechischen Werke” (1755[ce]; “Reflections on the imitation of Greek Works”) he identified the main characteristic of Greek art as idealization* and argued that the *** “last and most eminent characteristic of the Greek works is a noble simplicity**** & sedate grandeur # beneath the strife and passions in Greek figures”. Winckelmann developed this interpretation of ancient art at greater length in subsequent publications, most notably in his important “Geschichte der Kunst der Altertums” (1764[ce]; “History of Ancient Art”).
Winckelmann’s detailed, chronological classification & analysis#* was an important addition to the already existing body of literature on ancient art, which was either not as scientific or which grouped material according to subject matter & themes, not according to chronology.’
#**
*(cf formulaization at c[irca]M~-U~?)
**NB (cf VIII [])
***{(cf IX: [presumably, [Redbook9:214][19910430:1230d]{Renaissance Sculpture (and Classical Influence) [continued (4)]}[30th April 1991](/ant?),] 214)}
****{r~}R~
#s~?; M~+G~?
#*NB!
#**[– ibid (Encyclopaedia Britannica 25:359)]
[Source text continues in next ts journal entry]
[continued]
[PostedBlogger10for11122025]10for
[Redbook10:4-5][19910512:1718c]{Neoclassical and Romantic Art [continued (3)]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
‘Linear Qualities. Classical sculptures were one of the main sources of Neoclassicism, with paintings – because they were fewer in number – playing a secondary role. These provided both subject-matter & poses. Sculptures, especially reliefs, contributed further to the development of Neoclassicism, namely the stylistic emphasis flat planes * and the concentration on linearity. Even complex outdoor subjects, such as that of “Agrippina with the Ashes of Germanicus” (1767[ce];** Yale University Art Gallery, New Haven, Connecticut) by an American-born English painter, Benjamin West, were composed with an emphasis on flat planes & outlines: large ships with great sails and the attendant crowd at the quayside all managed to be compressed into the narrow, *** shelf-like space of a frieze.’
****
*S~?
cf Primitive art
**64u~|J~1768[ce]
***S~
****– E[ncyclopaedia] B[ritannica] 25:359
[Source text continues from last previous ts journal entry]
[continued]
[PostedBlogger10122025]
[Redbook10:4][19910512:1718b]{Neoclassical and Romantic Art [continued]}{Neoclassical Painting}[12th May 1991]
19910512.1718
[continued]
{Neoclassical Painting}
NEOCLASSICISM (1780-1850)*
‘The great surge of Neoclassicism in the mid-eighteenth century is partly a reaction against the Baroque & Rococo styles, but even more it is the result of new archaeological excavations and the published engravings of discoveries. In the very year after the Herculaneum fresco of the "Seller of the Cupids" was published as an engraving, the French painter Joseph-Marie Vien used it as the basis for a painting of the same subject (1762[ce]:** Fontainebleau).
***
*
2048s~|R~1792[ce]
64m~|G~1776||s~|R~1784[ce]
to
2048ssC~|RRC~1856[ce]
64C1856||s~R~1848[ce]
**64A~1760[ce]
***– E[ncyclopaedia] B[ritannica] 25:359
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
[PostedBlogger09122025]
[Redbook10:4][19910512:1718]{Neoclassical and Romantic Art}[12th May 1991]
19910512.1718
‘Neoclassical and Romantic.
‘Neoclassical art and architecture flourished from about 1780[ce] until the middle of the 19th century [ce]. Essentially a new taste for classical serenity and archaeologically correct forms, it manifested in all branches of the visual arts.
*
*– E[ncyclopaedia] B[ritannica] 25:359
[Source text continues in next ts journal entry]
[continued]
[PostedBlogger08122025]
[Redbook10:4][19910511:2115] Visual Art continued {Art Cycles [continued]}[11th May 1991]
19910511(continued).2115c[irca]
[continued]
If, as I suspect,* the year 1 CE was the changeover point between two 8192 year cycles, then our 2048C is not only of significance for the next 2048 years but also the final point of the struggle of the Crisis Resolution phase for the current 8192 year cycle – of which we are approaching 8192g~M~ 2048CE.**
*(ref earlier vol[ume []
**{That is, if 2048 year cycles express manifest in the same way as (for example) 64-year cycles, & personal life-cycles (eg 32 years). But do they?}
[PostedBlogger06for07122025]
[Redbook10:(1-)3][19910511:2115] Visual Art continued {Art Cycles}[11th May 1991]
19910511(continued).2115c[irca]
(& amended subsequently)
{[Hunter]}
{Volume X}
{Notebook-Journal}
{19910511 - 19910716}
*
**
[p3:]
***
Looking back a few periods, and forward one or two, we might get something like this:
1400s~|R~ Italian Renaissance from c[irca]1400 (& Northern[Renaissance] also in some views c[irca]1420-c[irca]1600)
& NB: Romanesque**** Gothic****
1408C 1424g~|M~ 1440A~ 1456m~|G~ 1472C |
2048umm~|JGG~ |
\ \ > / / |
Italian Early Ren[aissance] 1400-95 (ref IX:187#) ↕c[irca]128 years |
\ \ \ \ \ |
|
1488g~|M~ 1496j~|U~ 1504A~ 1520m~|G~ 1536C |
& 2048m~|G~ |
/ \ > /\ \ |
(↓?) Italian High Renaissance 1495-1520 (ref IX:195)# |
\ \ > / / |
Renaissance (ref IX: 187)# (after Gothic) 1495-98 Leonardo da Vinci: Last Supper; 1502 Mona Lisa 1508-1512 Michelangelo’s Sistine [Chapel] ceiling c[irca]1514 Raphael: The [Triumph of] Nymph Galatea Titian |
1552g~|M~ 1568A~ 1584m~|G~ 1600C |
(2048mms~|GGR~) |
\ > / / |
Italian (Late Ren[aissance] Mannerism 1520-1600 (ref IX:204)# c64yrs+ |
/ / / / |
‘Mannerism was all the more readily appreciated in the north for having certain characteristics in common with the still largely prevalent late Gothic…. [continued #*] |
1616g~|M~ 1632A~ 1648m~|G~ 1664C --- |
(2048ms~|GR~) |
|
↓↓ Baroque Period c[irca]1600-1715 c]irca]128y[ear]s- (ref 1X:340)# |
\ \ \ > / / |
#**→‘The art of this period, unlike Gothic art or even Romanesque art, is so varied that no single set of stylistic criteria can be applied to all the works created during it.’ (ref IX:304)# #*** ‘Throughout the period a classical movement resisted the Baroque appeal to the senses and emotions.’ (ref IX:318)# |
1680g~|M~ 1696A~ 1712m~|G~ 1728C |
(2048mss~|GRR~ |
\ |
↓↓↓ |
/ / / | |
,In the first half of the eighteenth century there were at least three major parallel currents of architectural#**** |
1744g~|M~ 1760A~ 1776m~|G~ 1792C |
& 2048s~|R~ |
\ > / |
Rococo: Early 18th century (ref IX:340)# → [c1770's (ref IX: 346)#] c[irca]64y[ear]s+ ↓ |
| | ┘ |
thought…: late Baroque..., Rococo..., & neo-Palladian classical. (ref IX: 307)# ## ↓↓↓↓ |
1808g~|M~ 1824A~ 1840m~|G~ 1848R~ 1856C
|
(But by mid-17th → c[entury] in architecture (ref IX:315)# |
|
Neoclassicism c[irca]1780-c[irca]1850 c[irca]64 y[ear]s
c[irca]1760-c[irca]1870 ‘Romanticism’ ‘Last decades of the 18th c[entury] to middle of 19thc c[entury]’(ref 11)# |
|
‘Romanticism is a term loosely used to designate numerous changes in the arts….in reaction against Neoclassicism….’ [ref ??]# ‘Romantic art… reflects a climate of feeling… so abundant and diverse in its forms of expression as to defy any concise elucidation.’ (–EB25:360) Note that the ‘classical’ stream continues as one (s~?) whereas the ‘romantic’ stream multiplies (R~?) |
1864r~-S~ 1872g~M~ 1888A~ 1904m~|G~ 1920C
|
|
|
(To p.63)# |
|
‘The term Modern art has come to describe the innovative developments in western art since the second half of the 19th century.’(ref ??2)#<910515> (ie until Postmodernism c[irca]1980, ie c[irca]128 years?
‘Suddenly... I am twice the man l used to be....’##* |
[p1:]
*{Age: 40!
4
8
16
32
64
128}
**{Last previous entry is Vol IX: [[Redbook9:364][19910511:1817cc]{Bubbles}[11th May 1991],] 364 on 19910511}
***{cf [] p63}
[All dates are ce]
****& NB:
Romanesque (ref VIII: [] 306)
c[irca] mid 11th c[entury]–: 2048A~1024 ≡
to (c[irca] 256 years)
c[irca] mid 13th c[entury]: 2048J~1280 –
Gothic (ref VIII: [] 314)
(but developing in 12th C[entury]
(c[irca] 128 years)
(to c[irca] 1400) ---
#[References:]
ref IX: [[Redbook9:187][19910424:0902d]{The Renaissance}[24th April 1991]&f(f?),] 187
ref IX: [[Redbook9:195-197][19910428:0955c]{Italian High Renaissance – Leonardo, Raphael, Michelangelo}[28th April 1991]&f,] 195
ref IX: [[Redbook9:204-206][19910429:0914]{Italian Mannerism}[29th April 1991],] 204
ref IX: [[Redbook9:304][19910510:0904]{Baroque Architecture}[10th May 1991],] 304
ref IX: [[Redbook9:306&7][19910510:0904h]{Baroque Architecture [continued (8)]}[10th May 1991],] 307
ref IX: [[Redbook9:315][19910510:0904bb]{Baroque Architecture [continued (28)]}[10th May 1991],] 315
ref IX: [[Redbook9:318][19910511:1000d]{‘The Baroque’ [Extracts from source text with ms notes][continued (4)]}[11th May 1991],] 318
ref IX: [[Redbook9:340*][19910511:1000ii]{‘The Rococo’ [Extracts from source text with ms notes][continued (35)]}[11th May 1991],] 340
ref IX: [[Redbook9:344-346][19910511:1000bbb]{‘The Rococo’ [Extracts from source text with ms notes][continued (54)]}[11th May 1991],] 346##**
ref [] 11
ref [] ??
ref [] ??2
EB25:360
To [] p[age]63
#* [continued from above] ‘… Its formal complexity, for instance, or its tendency towards elongation could be much more easily assimilated into local traditions than the clear and harmonious classicism of the High Renaissance.’
E[ncyclopaedia of] V[isual] A[rt] 4:681 ([quoted in ms but not in ts] at IX: [[Redbook9:270][19910506:0000c]{‘Mannerism’ [Footnotes][continued (3)]}[6th May 1991]f,] 271)
#**‘Strictly, Baroque is a stylistic term, with little or no chronological significance, but for convenience the above time limits are generally accepted.<910614> → [Source text continues at #** in text above] (ref IX:304)#
#***’Realism dominated Dutch art of the 17th century.’ (ref IX: 318)#<910616>
#****[ms emphasis]
– (& see IX: [[Redbook9:293][19910507:0915q]{The Baroque Period [continued (18)] (Late Baroque and Rococo}[7th May 1991]?&/2?f?] 293 re similar comparisions in painting)
##‘Fundamentally a style of decoration, Rococo is much more a facet of late Baroque than an autonomous style, & the relationship between the two presents interesting parallels to that between High Renaissance & Mannerist art’ (ref IX: 304)#<910616>
##*[Presumably adapted from the lyrics of the Beatles’ song ‘Yesterday’: ‘Suddenly, I’m not half the man I used to be….’, & presumably referring to the doubling & subsequent multiplication of art styles referred to above.]
##**[The page reference appears to refer to the general summary of late Rococo church architecture in Encyclopaedia of Visual Art 4:730 (photocopied in the ms at IX:346 but only the beginning of which is in the ts) which provides examples finishing in the late 1770s, to the early 1790s at the latest]
[continued]
[PostedBlogger06122025]
