{Neoclassical and Romantic Art [continued (7)]}{Neoclassical Painting}[12th May 1991]

[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 2^nd 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

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