Classical Era Exhibit_Deemer

Classical Era Introduction: 

    

    The classical Period, Renaissance to Neoclassicism era, were taken from ancient Greek and Roman art and culture, putting emphasis on proportion, structure, simplicity, and form. Classical art is an idealized quest for beauty and harmony. You find it in sculpture, painting, and architecture. The art of the era depicted heroism, patriotism, and sacrifice, Enlightenment values as well. Neoclassicism, as a return to classical form, also addressed Enlightenment values of rationality and morality consequently from Greco-Roman heritage. Renowned artists like Jacques-Louis David portrayed classical subject and historical facts as a source of "moral lessons". Other philosophers and critics considered art to be a tool of moral education. In fact, the restraint, balance, and order placed on the center stage during the Classical Period both formed its art tradition and conditioned Western civilization, as artists and architects tapped into those motifs for centuries to follow.

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Morality and the Art of the Classical Era Introduction:

    

    Throughout this Exhibit, you will see a comparison of the art to "Morality and the Art of the Classical Era." In the Classical Era, art and morality were closely linked, with artworks reflecting and exploring moral principles such as justice, courage, and civic duty. Classical art, inspired by ancient Greece and Rome, emphasized realism, proportion, and harmony, often depicting idealized human forms to represent virtue and excellence. The period also valued reason and order, reflected in the balanced compositions of its art. Classical artworks served as tools for moral instruction, with public art, displayed on temples and civic buildings, reinforcing these values within communities. These principles of beauty and virtue continued to influence later art movements like the Renaissance and Neoclassicism. 

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Oath of the Horatii:

 

    Oath of the Horatti is a Roman painting by Jacques-Louis David created in 1784. "The story of Oath of the Horatti came from a Roman legend first recounted by the Roman historian Livy involving a conflict between the Romans and a rival group from nearby Alba." (McCoy) It shows three men, saluting toward three swords held up by a man as the women behind him curl up in sorrow. The three men are brothers and based off the original story Oath of the Horatii. When I see this painting, I see color. As I do in most paintings. The orange stands out to me the most. The brother in front is wearing orange, and so is the man with the swords. to me, orange represents anxiety, and seeing the saddened women in the back, it looks like they are all in a very anxious situation. I also see blue. Blue most times represents sadness, and as I said before, the women being in the back looking upset, represent the sadness in the painting. 

    The Oath of the Horatii is an excellent example of the way art and morality were interlinked during the Classical period. The work shows that human beings are capable of being courageous and sacrificing their lives for the general welfare, using the visual beauty that was based on Greece and Rome. The painting is not merely a depiction of one specific historical occurrence but also one that reminds us of the importance of virtue and doing the right thing no matter what. It shows the idea of right and wrong, or morality, and what it is to be a man of honor. The brothers here are willing to lay down their lives for their country, even if it pains their family. The philosophy of sacrifice and giving the country's welfare priority overone's sentiments was especially relevant while the painting was done. 

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Pylades and Orestes Brought as Victims before Iphigenia:

    Pylades and Orestes Brought as Victims before Iphigenia is a painting created by Benjamin West in 1766. The painting is currently on display in London. In Greek myth Iphigenia in Tauris, Orestes and his companion Pylades are caught and brought before Orestes' sister Iphigenia and priestess of Artemis in Tauris. They will be sacrificed, and they do not reveal each other's presence. When discovered, Iphigenia learns that they are her brother and his companion. She ends up saving them and turning the possible catastrophic result into one of reconciliation and divine rescue. I am not a major fan of this piece. I like brighter colored pieces, but this one represented the theme well, so I chose it. To me, this piece is too dark. I can't see certain details I should be able to see in other paintings. The story behind this painting is terrific, I just don't like the piece. 

    Pylades and Orestes Brought as Victims before Iphigenia is a morality and artwork in the Classical era. In depicting a moral dilemma, the painting shows key concepts of the era: the struggle between duty and personal sentiment, and the victory of virtue, sacrifice, and families. It is the employment of Neoclassical artistic techniques that vitalizes these subjects, illustrating how art during this period was both a reflection of moral principles and an affirmation of universal, timeless truths.

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Venus and Adonis:

 

    Venus and Adonis is a painting by Titan Prado in 1553. The story behind Venus and Adonis is interesting in its own ways. Venus, the goddess, she fell in love with a mortal Adonis. Adonis is a hunter. Now he decides to go hunting one day, and "the goddess of love hopelessly implores him to stay." (Burke) Of course he doesn't listen, and Adonis gets killed by a wild boar. This story represents love, fate, and loss, proving that even our gods can’t change the things that were meant to happen. Unlike the last painting, this one is very bright. I'm seeing colors and although it’s a sad painting, the colors show otherwise. 

    The painting illustrates moral lessons like love, fate, and the consequence of not listening to advice. The entreaty of Venus to Adonis is interpretable as a lesson on listening to advice, especially from someone who loves you. The tragic fate of Adonis for his stubbornness and failure to listen to the advice of Venus educates the viewer on the deadly consequence of ignoring wisdom or being impulsive. 

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Refrences: 

Black, Claire. “Jacques-Louis David, Oath of the Horatii – Smarthistory.” Smarthistory.org, 7 Jan. 2016, https://smarthistory.org/jacques-louis-david-oath-of-the-horatii/

“Venus and Adonis.” Metmuseum.org, 2020, https://www.metmuseum.org/art/collection/search/437826

Gallery, Mayfair. “The “Classical”: What It Is, and Why It Always Endures.” Mayfair Gallery, 22 Nov. 2022, https://www.mayfairgallery.com/blog/the-classical-what-it-is-and-why-it-always-endures/

“Venus and Adonis | Isabella Stewart Gardner Museum.” Www.gardnermuseum.org, https://www.gardnermuseum.org/venus-and-adonis

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