CHAPTER 25 neoclassicism. (End)
CHAPTER 26 THE ROMANCE (1)
Jacques rouveyrol
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CHAPTER 24: THE SECOND PHASE OF Neoclassicism (late eighteenth and early nineteenth) I. TOWARDS THE "DECORATIVE" THE "EMPIRE STYLE"
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1. Architecture and decoration Charles Percier and Leonard FONTAINE Series Decor 1812)
The Brandenburg Gate in Berlin is neoclassical "pure": the Doric capitals. Simplicity and austerity of lines are the rule.
But the Arc de Triomphe du Carrousel in Paris , Percier and Fontaine neoclassical 'Decline': the Corinthian capitals are, the largest and polychrome decoration appeared.
The furniture follows the same path. The bed Récamier David has a purity of line not found in the drawing made by Percier bed. 
2. Painting.
a. The cult of the emperor: the new Alexander .
Neoclassicism in its Phase " pure "showcases the stoic hero characterized by self-control. Neoclassicism in its second phase emphasizes the conquering hero characterized by controlling the world. For the first, the model or the Stoic philosopher Socrates, the second is Alexander. In The Plague Victims of Jaffa , Big shows a general protecting themselves against the nose from the miasma of the plague victims while the emperor who do not seem bothered, touches on the contrary a patient for the purpose of curing as did the kings with scrofula.
Big (with Vernet) will be the main painter of battles (wins) of Napoleon. Gregory the propaganda of the emperor. 2. Around the turn of the century, and because the Napoleonic adventure was something romantic (staging feats of engineering), Neoclassicism will evolve into what was to become romance. First, by introducing the exotic (See Atala Girodet, illustrating Chateaubriand) and to treatment that revives that neoclassicism had outlawed : Return to the color (leaving the drawing in the background), a composition more tormented (renunciation of simple geometric lines, the "plank"). Witness below: Justice and Vengeance Pursuing Crime Prud'hon.
Thus, neoclassicism is not a block:
1.Il is sometimes entered the rococo sensationalism.
2.Il sometimes gives rise to revolts whose excesses himself prefigure Romanticism.
3.Il knows the end of the century, a change in its values of Stoic self-control to master the world of Napoleon.
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CHAPTER 25: THE ROMANCE (1)
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I. ROMANTICISM AND CLASSICISM
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1.La reference
-> For neoclassicism, the reference is antiquity and in ancient times, the rule.
-> For romance, reference it is the middle ages, and because it is a little known period in the Middle Ages the free imagination.
In this landscape of one of the greatest masters of the Romantic, Caspar David Friedrich, Abbey in Forest, point of Roman ruins, but the remains of a Gothic religious building. 
The Palace of Westminster was built in 1840-1864 in Gothic style and in no way inspired by ancient Rome. 2. From design to color.
-> For neoclassicism, priority goes to the drawing, not color. The reference material is Poussin.
-> For romance, priority goes to the color and the reference is Rubens
The opposition is clear if we compare (above) works of Guerin (neoclassicism) and Loutherbourg (romanticism)
3. Of reason to passion
-> For neoclassicism, the theme is the triumph of reason over the passions
-> For the romantic, that premium is Passion, emotion, irrationality (below Fuseli's Nightmare).
Accuracy: The romantic is a passionate . But not under "common" of the term. Passionate, he is passive . Not active, but stirred. Owned by an external force. Lover, Werther no longer belongs where it is "struck" by the vision of Charlotte. Scientist is Faust or Frankenstein, possessed by the demon of science (or Balthazar Claes de Balzac The Search for the Absolute ). Villain is The Monk Lewis incarnation of the Devil. The romantic hero is taken by a force that transcends and destroys it. (See further: the sublime).
II. PAINTING THE LANDSCAPE.
Since the fifteenth century and the recommendations of Alberti's history painting (which borrows from Bible, mythology and even history itself its themes) is the noble kind. In the seventeenth, the Netherlands, because of the Reformation, it gives way to landscape, genre scenes, still life. Elsewhere, more than ever, history painting premium. In XVIII, imposes the Rococo genre scenes (as, indeed, the moralizing painting Hoggart or Greuze). Neoclassicism, a reaction, brings the history painting in the first place. He will return to romanticism, the nineteenth, to the landscape genre of choice.
But what landscape? We must distinguish the romantic landscape of classical landscape.
1. The classical landscape.
There is a history painting. By itself, it says nothing. He speaks only:
a. it is the appropriate setting of a story (or mythology of Christianity),
b. if it is allegorical.
c. if the man dominates the landscape.
Example: The four seasons Poussin. Each table is
a) the staging of a biblical story (Adam and Eve, Ruth and Boaz, the cluster of Canaan, the Flood),
b) l’allégorie d’une saison (Printemps, Eté, Automne, Hiver) peinte à la lumière du jour qui convient le mieux (matin, midi, après-midi, nuit) et,
c) la scène jouée par les personnages donne son sens au paysage. L’homme domine.
2. Le paysage romantique.
Il parle de lui-même; il est en lui-même une histoire. Le paysage peut traduire des pensées, des émotions, des sentiments. Il est lui-même comme possédé by a force it expresses. The Capuchin the seaside of Caspar David Friedrich expresses quite the dichotomy on which is great if you think about our lives. On the one hand, this tiny, man-nothing. On the other, that is to say all around, the infinite (God? Universe? Whatever), everything. But this feeling of being nothing is comparable to what can feel crushed by the grandeur of the Nazi or Soviet totalitarianism work (which intends to build the neoclassicism), the individual denied by ideology Party. Rather it is an exhilarating feeling to the extent that the individual participates in this infinity that surrounds it. Where it is penetrated with the greatness to which it arises.
3. The three great Romantic landscape
a. Caspar David Friedrich 1774-1840
Let them beware, this traveler over the Sea of Mist is not Lamartine and Chateaubriand. Only a traveler devastated by the immensity of the spectacle before his eyes. Without doubt this is the epitome of romantic and therefore both the romantic poet. Because you can not imagine being mounted at that height and discover the awesome power of the elements, it can never consent to go down to the narrowness of ordinary life. b. William TURNER 1775-1851
This painter of light prefigures both the Impressionists that abstract painting. But it is romantic expressive power that communicates precisely this light.
c . Hubert Robert 1733-1808
is the painter of ruins. This is not to the Middle Ages he turns, but to antiquity. Yet it is not neoclassical. His pictures tell no story and there is no nostalgia for the old, as in neoclassical. It ruin that fascinates. And what is to be expressed in his paintings is still something great. A vast, infinite: the depth of time. A time that passed us and embraces the same time.
Here are all the points on which all the romanticism and neoclassicism opposed.
continued ...
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