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[continued]

‘In this context Neoclassicism can be seen as a transitional phenomenon: contemporary uncertainty of faith & dramatic social and political changes experienced by 18th-century [ce] societies underlay much of the Neoclassical nostalgia for the simpler ideals of the pagan world. It is this sense of uncertainty and yearning for the past which, almost imperceptibly, introduces Romanticism into the heart of Neoclassical artistic inspiration.’

*

* – ibid [Encyclopaedia of Visual Art 4:] 744

[Source text continues from last previous ts journal entry but one]

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[continued]

*

**

*[Canova, Tomb to the Austrian Archduchess Maria Christina (1798-1805; Augustinerkirche)]

[This work is not illustrated in the source text]

**[See last previous ts journal entry]

[continued]

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[continued]

‘In Vienna, Canova’s great tomb to the Austrian Archduchess Maria Christina (1798-1805; Augustinerkirche)* is probably the most moving Neoclassical monument ever made, It consists of a frieze of classically draped figures, depicting all ages of man. At the time, this frieze was compared to a chorus from Sophocles. The figures seem to advance towards the blackness of an open door, set in the side of the tomb itself, which is a plain marble pyramid. Neither Banks** nor Canova chose to add any supernatural images to those monuments, despite the pathos and sentiment of both works. They seem to be expressing a disillusion and doubt which was also expressed by writers & philosophers at the end of the 18th century [ce].’

***

*[See next ts journal entry ↓]

**([[Redbook10:46][19910512:1718cn](Neoclassicism & Romanticism){Neoclassicism [continued (28)]}[Extracts from source text with ms notes][12th May 1991],] p46↓)

***[– ibid (Encyclopaedia of Visual Art) 744]

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[continued]

‘''PSYCHE (ψυχή)'' The Soul. It's also the name of the heroine of a tale told by Apuleius in his "Metamorphoses". Psyche, the daughter of a king, had two[↓]

*

**

*[Marginal note above:]

NB; cf Orpheus, Astarte, &c

** – Dictionary of Classical Mythology: 396-397; P. Grimal.

[See last previous ts journal entry]

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[continued]

{– Psyche}

*

*’Cupid and Psyche by Antonio Canova; marble; 46x58x43cm (18x23x17in); 1783-93. Louvre, Paris’

– ibid [Encyclopaedia of Visual Art 4:] 742

[The illustration in the source text & ms is not reproduced here; the illustration above is from Wikipedia]

[See next ts journal entry]

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[continued]

‘Canova studied Antiquity as a way of achieving his conception of perfect beauty in sculpture, which might transcend the imperfections of nature.’

*

{– Psyche}

[See next TS journal entry]

*– ibid [Encyclopaedia of Visual Art 4:] 743

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[continued]

*

*‘Etienne Louis Boullée’s vision for a monument to Sir Isaac Newton; c[irca]1780-90[ce]. Bibliothèque Nationale, Paris.’

– ibid [Encyclopaedia of Visual Art 4:] 741

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[continued]

*

* ‘The Glyptothek, Munich, designed by Leo von Klenze; built 1816-30[ce]’

– ibid [Encyclopaedia of Visual Art 4:] 741

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[continued]

*

*‘Osterley Park, Middlesex: the Portico was designed by Robert Adam and built c[irca[1762[ce]’

‘[Adam inserted] an exact copy of the temple of the Sun from Palmyra onto the existing redbrick Elizabethan facade.’

– ibid [Encyclopaedia of Visual Art 4:] 740

[The illustration in the source text & ms is not reproduced here; the illustration above is from Wikipedia]

** {See [[Redbook10:19][19910512:1718au](Neoclassicism & Romanticism – Architecture){Neoclassical Architecture [continued (7)]}[Extracts from source text with ms notes][12th May 1991],] p19}

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[continued]

‘In 1810 the marble frieze from the Parthenon in Athens, which had been brought to England by Lord Elgin, was exhibited in London. This frieze initiated a new idea of ancient sculpture, one opposed to the original strict rules of Neoclassicism. Some artists and scholars refused to accept the frieze as a genuine example of classical Greek works; for others, like Canova, who visited London in 1815, the frieze was a revelation. It was realized, almost for the first time, that ancient sculpture was not exclusively designed in terms of the static, compact outlines first described by Winckelmann. The Greeks had also created vital surface textures which conjured dramatic events. European sculptors were subsequently divided in the approach to the recreation of antique ideals; those like Thorvaldsen continued to produce cool, statuesque figures, while new experiments in sculpture appeared from other Neoclassical masters’

*

*– ibid [Encyclopaedia of Visual Art 4:] 743-744

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[continued]

*

*– ibid [Encyclopaedia of Visual Art 4:] 739

[Source text continues from last previous ts journal entry but one]

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[continued]

*

**

*‘Antiochus and Stratonice’ by Ingres; oil on canvas; 57x98cm (22x39in). Musée Condé, Chantilly

[See last previous ts journal entry]

**– ibid [Encyclopaedia of Visual Art 4:] 739

[The illustration reproduced here is from Wikipedia]

[continued]

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[continued]

*

**

***

*[‘...this doctrinaire ideal…’ – see last previous ts journal entry]

**[‘Antiochus and Stratonice’ – see next ts journal entry]

***– ibid [Encyclopaedia of Visual Art 4:] 739

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[continued]

*

**

*[The first part of this source extract, as far as the red┌ mark, is repeated from the previous ts journal extract, where it is associated with a marginal note]

**– ibid [Encyclopaedia of Visual Art 4:] 739

[Source text continues from last previous ts journal entry]

[Source text continues in next ts journal entry]

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[continued]

‘This widening of Neoclassical interests appears in the work of Jean-Auguste-Dominique Ingres (1780-1867), a pupil of David, who carried Neoclassicism through to the second half of the 19^th century [ce]. Ingres revered the masters of the past and copied their styles quite openly in his work. Eventually he created a unique synthetic style with adaptations after Raphael & Poussin, early Renaissance & Gothic art, Flaxman engravings, primitive vase designs, Eastern art, & Roman wall paintings.

 ‘Like his contemporaries, Blake & Flaxman, Ingres argued that ideal art had developed from a supremacy of line over colour.* This accounts for much of the experimental nature of his work, when he copied subjects from Homer into undulating, flatly coloured compositions, for example “Venus Wounded by Diomedes” (1805; Öffentliche Kunstsammlung, Kunstmuseum, Basel). These were condemned by French critics for their primitive qualities.’

**

*{s~>R~?}

**– ibid [Encyclopaedia of Visual Art 4:] 738-739

[Source text continues in next ts journal entry]

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[continued]

‘In England, the poet-engraver William Blake (1757-1827) spent his life delving into antecedent forms of art and became convinced that a flat, linear style such as Gothic was closer to the primal ideal than the art of Classical Antiquity.’*

**

*(See Romanticism)

[eg [Redbook10:12][19910512:1718aa]{Neoclassical and Romantic Art [continued (27)]}{Romantic Painting}[Extracts from source text with ms notes][12th May 1991]]

[Yes, I still see Blake as more of a Romantic than a Neo-classicist, or at least as much; but perhaps he stands higher than such categorisations]

**[– ibid Encyclopaedia of Visual Art 4:] 738

[continued]

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[continued]

*

**

– (And I’m happy to say that our telephone exchange in Chelsea used to be FLAxman – before ANN (All-figure Numbers Now) converted it to 352(-[nnnn])

[See [Redbook10:6][19910512:1718f]{Neoclassical and Romantic Art [continued (6)]}{Neoclassical Painting}[12th May 1991]fn=***]

*’Electra leading a procession to the tomb of Agamemnon, one of John Flaxman’s influential illustrations to the works of Aeschylus; published in 1795.’

**– ibid [Encyclopaedia of Visual Art 4:] 735

[ref last previous journal entry]

[continued]

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[continued]

‘The artist* intentionally designed a composition that rejected all graphic illusion and made his illustrations flat and colourless, drawn & printed in thin outlines which formed austere patterns over the white background. The success of these designs was almost unequalled in the history of illustration’

**

*[John] Flaxman [(1755-1826ce)]

**– ibid [Encyclopaedia of Visual Art 4:] 738

[See next ts journal entry]

[continued]

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