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19910512.1718
[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
[continued]
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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 19th 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
[continued]
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19910512.1718
[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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19910512.1718
[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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19910512.1718
[continued]
*‘David’s style was an essentially personal interpretation of Neoclassical artistic rules. His pictures are simple in construction: ** all action is confined to the foreground & the colours he uses maintain cool, consistent tones. By means of this formal simplicity, the sentiments conveyed are made doubly arresting.
‘Like Rousseau, David felt that it was the artist's moral duty to paint elevated subjects and that those subjects should be rooted in ancient notions of virtue.'
***
*cf [[Redbook10:10][19910512:1718q]{Neoclassical and Romantic Art [continued (17)]}{Neoclassical Painting}[12th May 1991],] 10
**{r~R~-(s~)}
***– ibid [Encyclopaedia of Visual Art 4:] 735-738
[continued]
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[continued]
‘... Mengs' painting of “Parnassus" does share the stilted academic quality of many early Neoclassical pictures. It indicates the uneasiness felt by European painters as they attempted to meet the rules of the new style.’
*
* – ibid [Encyclopaedia of Visual Art 4:] 734
[continued]
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19910512.1718
[continued]
*
**
***
*[‘Winckelmann himself…’ – see last previous ts journal entry]
**[Marginal notes above, in vertical order:]
{r~
R~, s~?}
{R~
S~, s~}
***[Encyclopaedia of Visual Art 4:733]
[Source text continues from last previous ts journal entry]
[continued]
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19910512.1718
[continued]
*
**
*[Marginal note above:]
{s~}
**[Encyclopaedia of Visual Art 4:732-733]
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
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19910512.1718
[continued]
**
***
*[‘these publication’ – see last previous ts journal entry]
**[Marginal note above:]
{R~}
***[Encyclopaedia of Visual Art 4:732]
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
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[continued]
*[Encyclopaedia of Visual Art 4:732]
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
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[continued]
**
*[Footnote above:]
{2048R~|s~1792CE|256BCE}
**[Encyclopaedia of Visual Art 4:732]
[Source text continues from last previous ts journal entry]
[Source text continues in next ts journal entry]
[continued]
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[continued]
*[Encyclopaedia of Visual Art 4:732]
[Source text continues in next ts journal entry]
[continued]
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[continued]
*[Pages 33 & 34:] (This page left blank deliberately)
**’The Apotheosis of Homer; relief design by John Flaxman, vase by Josiah Wedgwood; jaspar ware; height 47cm (19in); c[irca]1785[ce].’
***[Encyclopaedia of Visual Art 4:731 (where the illustration is in colour)]
[continued]
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19910512.1718
[continued]
**
*[Marginal note in ms:]
[Source text continues:] ‘indeed, parallel to that of Viollet-le-Duc….’
**– E[ncyclopaedia] B[ritannica] 13:1036-1037
[continued]
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[continued]
**
*[Marginal note above:]
{2048R~1792[ce]}
**– E[ncyclopaedia] B[ritannica] 13:1035-1036
[continued]
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[continued]
**
***
*Law Courts, London, by George Edmond Street, 1874-82[ce]
**And of this complex, of course, my personal memories are not so pleasant, although I did appreciate its qualities….
[ref [Redbook10:29][19910512:1718bc](Neoclassicism & Romanticism – Architecture){Romantic Architecture [continued (17)]}[Extracts from source text with ms notes][12th May 1991], 2nd mn]
***– E[ncyclopaedia] B[ritannica] 13:1034
[continued]
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