I am a revolutionary.

Introduction

The revolution has begun, a sudden change that is instigated by the people, the noises, the expressions, and the thoughts. One can consider the concept itself of the 'classical' being a total opposite of what a revolution creates and yet that is something you will find out in this exhibition of 'revolution' and the 'classical era' of art. 

Classical. This term so often refers to in 2021 terminology as that of 'classic' or belonging to a period in the past. Something that is cherished for its value. But, in the case of the 1700s classical was a period that shifted away from the Baroque era and into a new period of artistic, architectural, and musical expression. Forms such as Rococo and Neoclassical art came to the limelight through a shift away from the Baroque period of great drama, contrasting of dark and the light, and intensity into the free-flowing, development of the intellect, and expansion of the spirit as uniquely 'classical'. 

This shift away from the dramatized world and into reality is something particularly definitive of the Classical art era of the 1700s. By returning to the natural beauty, curving forms, and pastel colors of the Rococo or the heroism, somber, and linear forms of neoclassicism one begins to realize the inherent reasons for such artistic development. Of the many influences society imposed upon the Classical era was that of the historical context. One can consider the historical influence of two pivotal revolutions that inspired, enraged, and engaged artists from across the respective revolutionary movements and around the world. Such revolutions for which is spoken of in the 1700s and influential on the Classical era is the American Revolution starting in 1776 and the revolution of the sciences scattered across the 1700s. These two revolutions so crucial and so fundamental to the artistic determinants of the time are spoken for through the pieces displayed in this exhibit today.

Welcome to the Exhibition

We turn to three pieces today to compare and contrast their distinct features and how they are indicative of being revolutionized by the revolutions. 

 To begin we have John Singleton Copley and his piece "The Defeat of the Floating Batteries of Gibraltar" painted in 1783 using oil painting on canvas most likely in America.

Copley (1783) https://www.tate.org.uk/art/artworks/copley-the-siege-and-relief-of-gibraltar-13-september-1782-replica-n00787

Copley's work is indicative of the neoclassical style containing this revolutionary moment in time wherein the American Revolution has spurred a people fighting back. The extremely neoclassical form of using heroism similar to that of the Roman style in the context of American was an instrument for portraying optimism and victory that comes about from revolution. By showing self-sacrifice and heroism these components themselves are extremely important in the eyes of the neoclassical form. The colors help to evoke the emotion of a somber battlefield and yet the chaos and smoke in the background push you forwards with the fight.

Copley (1783) - https://www.nga.gov/collection/art-object-page.179524.html

As provided by the National Gallery Archives of the U.S. federal government one can see a sketch made by Copley for a section of the original piece as a "Study for 'The Defeat of the Floating Batteries at Gibraltar'". One can notice in the artistic technique of the line drawing with graphite as Copley uses the curving forms of the Rococo and the Neoclassical flow of freedom that evokes movement and a struggle. The people in this imagery are moving forward through the battle the hands reaching out to grab on and go forward. Copley's piece is indicative of neoclassical and the classical era of artistic heroism for the American Revolution and all similarly depicted revolutions. 

 

The second piece presented here is a famous one as painted by Jacques-Louis David titled the "Oath of Horatii" painted oil on canvas in 1785. The piece depicts three men, who are all brothers, saluting swords as the women behind grieve. The depicted images are of heroism and of the Roman period for which Horatii brothers are to fight the Albans. This final moment of taking the oath to protect Rome. The neoclassical depiction of the virtuous behavior of the Horatii brothers evokes a clear path of wanting and needing to be loyal. The image shows the three brothers saluting each with their faces of pride but just like the others in the background, the sentiment is graceful yet somber like that of the Rococo. This painting by David is a clear example of inciting revolution, as painted by the French artist there is cause for acknowledging the sacrifice and dedication of the Horatii. For David, it is this sentiment of willingness to give one's life for the sacrifice of the country that he is trying to play into the painting. 

David (1785) - https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/david-oath-of-the-horatii

If you look closely at the different components of the piece from the hand gesture, the somber emotions, the pastel palette, and finally the contrast of light and dark this is distinctly a neoclassical and rococo influence. The revolutionary spirit of the American Revolution flowing over into the French Revolution gave the way for a distinct sense that art is far beyond just a painting. David is using his art to evoke a feeling that you the audience which was at the time in 1785 able to participate, able to be a part of the change that makes your life better. To be the hero. 

 

The third piece introduced here today is "The Expulsion of Adam and Eve from Paradise" by Benjamin West also an oil on canvas painted in 1791 the location of the origin of the painting is unknown. West shows us a different side of the classical era of painting. As this painting is near the end of the long classical period of the 1700's West expresses a religious moment in his series Genesis as this is a part of a collection of paintings focused on revealing religion. West uses this depiction of Adam and Eve being expelled from Eden through the curvature forms of the humans, the light and dark contrast similar to the Baroque period, and most importantly as mentioned throughout this post the influence of the revolution. With the revolution of sciences such as Sir Issac Newton's physics and theories of the universe published in 1687 in "Principia", Linneaus and his classification system of humans, and even the discovery of Pompeii in 1738 gave rise to a new form of thinking disengaged with religion.

 

West (1791) - nga.gov/collection/art-object-page.70986.html

If one pays attention to the West 1791 piece of Adam and Eve in paradise. They can notice the light and dark contrast, the human form with curves and movements, and the extremely somber expression of the human face all pointing towards this classical era. By having science revolutionize the thinking of the time, humanity began to ponder and doubt the values of religion. The superstition towards religion indicative of this period is painted by West with Adam and eve facing the snake rather than paradise. The reality of the world coming out as did the discovery of Pompeii the fleeting existence of humanity is tested. The science of archaeology, physics, and even culture began to push forth a revolutionary notion that humanity has only limited time and the cherishing of antiquity is as such. One can see that West uses the motif of traditional imagery in a new 'Romantic' form of theatrical gestures, rich paint colors, and the clash of light and dark to express this pivotal religious moment being re-imagined or depicted once more in 1791. 

The pieces presented here today are all pieces I would like to view and sit in front of at a museum. I feel if I spend too much time with them I begin to lose a sense of pride by the immensity of the artistic expression that Copley, David, and West provide. The heroism, sacrifice, and gesturing towards a better future through revolution. I find myself loving and fearing the pieces. The formidable strength of this art is its ability to inspire, truly indicative of this Classical era that we have discussed here today.

One begins to wonder what the true meaning of the classical era was. From the revolutionary period it is you, it is me, it is us. Making a stand and deciding that we can be optimistic about our future. That is the sense that I get from the revolutionary influences of the 1700s. The revolution of science paired alongside the American and French revolutions pave the way for art that is uniquely inspiring, realistic, and definitive of a time shift away from pondering the wealth of others.

References: 

Christinallove. “Revolution. Art. Enlightenment.” Welcome, 3 July 2018, christinallove.wordpress.com/2018/07/03/revolution-art-enlightenment/.

“David, Oath of the Horatii (Article).” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/david-oath-of-the-horatii.

“Study for The Defeat of the Floating Batteries at Gibraltar.” Art Object Page, www.nga.gov/collection/art-object-page.179524.html.

Tate. “'The Siege and Relief of Gibraltar, 13 September 1782; ?Replica', John Singleton Copley, C.1783.” Tate, 31 Dec. 1782, www.tate.org.uk/art/artworks/copley-the-siege-and-relief-of-gibraltar-13-september-1782-replica-n00787.

“The Expulsion of Adam and Eve from Paradise.” Art Object Page, www.nga.gov/collection/art-object-page.70986.html.