Morality and Art in the Classical Era

The issue of morality in art is a well-worn battlefield. The discussion of what is good or right to be depicted comes up again and again in history. Whether it's for religious, political, or personal reasons, there is always someone with an opinion. 

Rococo
The same was true during the classical period. The earlier art movement of the time was dubbed 'Rococo', which was art depicting an idealized form of the world and its people that did not have much if any basis in reality. It was characterized by a mostly light color palate and lighthearted depictions of mythic and religious material as well as regular people. 

 

La Camargo Dancing, 1730, by  Nicolas Lancret painted in Paris, France

This painting shows a variant of the Rococo style called fêtes galantes. It often depicted finely dressed people frolicking in green nature scenes. The woman in the white dress is the natural focal point of the painting. All heads are turned towards her and the bright color of her garments makes her stand out against the dark greens of the background and the reds and yellows of the people around her. Nothing particularly is happening in this scene to elicit emotion. It is merely a pretty scene with pretty people. I may own a copy of this work, but it's not my favorite example of this kind of art, so I would likely pass it up for a version that more appealed to me. 

 

Neoclassical

The later movement was called Neoclassicalism and was developed as a counter to the Rococo style, which was seen as a moral breakdown of the aristocratic people. Instead, the people turned their interests towards creating and patronizing works that showcased good morals and historical events. Much of it was inspired by Greek and Roman style, coinciding with archaeological finds of Herculaneum and Pompeii.

 

 

Oath of the Horatii, 1784, by Jacques-Louis David painted in Rome.

Perhaps the most famous example of Neoclassical art is of Oath of the Horatii. The men in this painting are pledging to fight to the death for Rome. The men are tense and linear. They project masculine, somber self-sacrifice, which were desirable traits. The compositional elements are arranged in a triangular point through the upheld arms of the men. The devastated figures of the women and children are a stark contrast to the stoic faces of the men who are soon to die. The eye is drawn right towards the bright red cloak the man holding the swords has on as well as the shirt of the brother closest to the viewer. Perhaps it represents the bloodshed that will happen later. I would not own a copy of this work. I think it would be most impressive to view in a museum surrounded by related works. As separated as we are from this story, I think it would be best to have a plaque explaining the story beside the painting as context is sorely needed.

 

Watson and the Shark, 1778, by John Singleton Copley painted in London, England.

This painting is of a story where a boy (Brook Watson) went for a swim and got attacked by a shark, only saved by the heroic actions of the people in the boat. Saving someone's life is quite a noble deed, so it is no wonder that this is a prominent example of good morals in art. This one deviates from the Roman theme because it is from a more recent story that took place in Cuba. This one also has a triangular composition, with the tip of it being the harpoon the man is hoisting to stab the shark. The lighting is dramatic and the colors solemn. The boy is brightly illuminated, setting him apart from the darker colors of the water. The people on the boat have heroic poses, each working to save Watson either by maneuvering the boat, attacking the shark, or reaching for the boy. I might own a copy of this work. I like the expressions on the people's faces and the mighty stances they all have. It's just so dramatic.

References

“Rococo.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 20 Oct. 2023, www.britannica.com/art/Rococo.

“Neoclassical Art.” Encyclopædia Britannica, Encyclopædia Britannica, inc., www.britannica.com/art/Neoclassicism. Accessed 21 Oct. 2023.

Miles, Ellen Gross, et al. “Pages 55-57.” American Paintings of the Eighteenth Century, National Gallery of Art, Washington, 1995.

McCoy, Dr. Claire Black. “Jacques-Louis David, Oath of the Horatii.” " Jacques-Louis David, Oath of the Horatii, smarthistory.org/jacques-louis-david-oath-of-the-horatii/. Accessed 21 Oct. 2023.