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THE XVIII S CHAPTER 24: THE SCULPTURE NEOCLASSIC

CHAPTER 24 THE SCULPTURE NEOCLASSIC

1. The requirements are Winckelman the sculpture over painting, the kind noble par excellence. It's in the sculpture that must be done to better the neoclassical ideal. Here, no color, only the form, the noble outline, fold wet. Here, the "imitation" of the statuary of Greece came to find fulfillment.

Of all the sculptors of the eighteenth, Antonio Canova (1757 - 1822) is perhaps the most characteristic and most talented.

2. However, neoclassicism, with its strict rules, a yoke is that artists, specifically sculptors (who come from Pygmalion) are struggling not to fall off.

a. This is done for example in terms of themes . Flaxman (below) evokes the madness of a Hercules who puts her children to death.

one hand, the theme is romantic and not neoclassical. Madness entirely opposed to the rational ideal of Neoclassicism.

other hand, Hercules appears here as the opposite of the Laocoon. We are far from mastering Stoic passions. Conversely passion, delusion triumph of reason here.

The subject of this work is therefore in no way neoclassical, even if the face of Hercules insistently reminds one of Laocoon, although the attitude of the mother is fully comparable with poses that are listed in parallel by The Sabine David

b. This is still in the figures. Pradier, below, gives up the universe for the Greco-Roman, Oriental, exotic so romantic of Odalisque.




c. It is finally in shape. We saw Carstens, the neoclassical sculptor, sculpt and draw Fates screaming, incompatible with the canons of Winckelman: Laocoon can not scream.

Well Canova, the neoclassical sculptor par excellence takes up the theme of the madness of Hercules in a drawing and a sculpture group.


Better, people immobile and inanimate figures diaphanous Galateas returned to their original white marble,

this people fridge, Canova around 1795 in a series of drawings, will the ' warm and animate the burning affect.

In the first of three drawings below, two warring worlds clash: the, manly, muscle, and that, feminine, tears. We saw how David, still separates the world of virtuous and manly because of that, female and low, passion ( The Oath of the Horatii, The Lictors Returning to Brutus the Bodies of His Sons ) . Here Canova grouped inappropriately for the neoclassical ideal.

If in Madness of Hercules, the woman-child group is well separated from the male group, it is facing one side of madness (Hercules), the other certainly something other than reason (as a child tries, with another man whose appearance is not the hero of neoclassical prevent the demented to use his weapon against his own family). Conflicting passions.

d. The expression.

chios If there is one that banishes the neoclassicism, it is expression. The Apollo Belvedere is perfectly expressionless in his "dress" marble. The expression that will be at the heart of Romanticism will be by return to the flesh. And the flesh will be movement, subsidence. The form could not accept the neoclassical expression. The expression thus found to occur in the deformed . We see how the madness distorts the body of Hercules in the drawing below.

What happened to the noble outline ? Everywhere (in the pictures above) the body is deformed, the stomach does creases. What happened to the fold wet? It was noted that the perfection of the "noble outline," it changes function (see below) and order instead the deformation of the body.

In sculpture as in painting, neoclassicism known at the end of the century if not a decline of less questioning of its fundamental values. The romance will find its place in the rebellion of the imagination, passion against reason.