| Art and Scientific Discovery in the 1700s |
The title of the blog may be deceiving in that scientific discovery did not shape new materials or techniques used to create art rather the scientific discoveries occurring throughout the world influenced the subject of art in the 1700s.
The philosophical movement, the Enlightenment, dominated Europe during the 17th and 18th centuries and altered artistic development from Baroque to Rocco to Neoclassicism. Influencers of art shifted from Biblical paintings for the Roman Catholic Church and monarchies to a growing merchant class who desired paintings of everyday life. The style of each era shifted from Baroque art being dramatic, motion, and intense use of light and shadow to Rococo art using soft pastel colors, curvy lines, and depicts scenes of love and nature, to finally Neoclassicism which featured sober colors, strong horizontal and verticals, and moral virtue.
Scientific Revolution – 1543 to 1687Enlightenment - 1685 to 1815Baroque Art – 1600 to 1750Rococo Art – 1740 to 1770Neoclassicism Art – 1760 to 1840
Neoclassicism art was ushered in by:
(1)
Public outcry over the moral content of Rococo
Art
(2)
Sir Isaac Newton’s physics advancements especially
his Theory of Gravity
(3)
Denis Diderot’s creation of the first Encyclopedia
(4)
Carl Linnaeus’s creation of the binomial classification
system of plants and animals (Linnean)
(5)
The discovery of the ruins of Pompei sparked a
renewed influence of Greek and Roman styles, clothing, hairstyles, etc.
Sir Isaac Newton – 1643 to 1727Binomial Classification System - 1735First Encyclopedia – 1751
Neoclassical Art had a symbolic message to convey.
It focused on moral virtue, patriotic self-sacrifice, goodly deeds, and Roman ideals.
It focused on moral virtue, patriotic self-sacrifice, goodly deeds, and Roman ideals.
Sir Isaac Newton by Sir Godfrey Kneller 1702
Oil on Canvas, feigned oval
29 ¾ in x 24 ½ in
Production location unknown
Sir Isaac Newton’s self-portrait is a lovely example of Neoclassical art. The subject matter himself is a renowned scientist changing the world with his Theory of Gravity. The portrait uses a sober color palette for example the plain brown background, brown hair wig, brown robe, and natural flesh tones. The portrait is a moment frozen in time rather than an idealized or ethereal depiction of a moment. I appreciate the talent of the artist; however, I do not find this painting particularly pleasing, nor would I own a copy of it.
A Philosopher Giving a Lecture at the Orrery by Joseph Wright Derby 1763-65
Oil on canvas
4' 10" x 6' 8"
Production location unknown
According to the Science History Institute:
“Wonder, curiosity, and deep thought: the audience in this mezzotint, after a painting by Joseph Wright of Derby, models a range of possible responses to science. At the center, a brass orrery--a device used to model the arrangement and rotation of the solar system--is operated by a lecturer. A candle has been placed to represent the sun, allowing the lecturer to demonstrate the mechanics of an eclipse, and allowing the painter to make use of deep chiaroscuro shadows for dramatic effect. Highlights and reflections illuminate the faces of those listening, from the contemplative young woman in pearls at left, to two playfully attentive children at the center, to a young man at right who shades his gaze with one hand as if lost in thought.
Wright's paintings of scientific lectures, experiments, and emerging technologies have led many to name him a "painter of the Enlightenment." His paintings typically represent "new" or up-to-date apparatuses and practices that showcase changes in scientific understanding. Wright was a member of the Lunar Society of Birmingham, an informal learned society consisting of chemists, physicians, artists, engineers, and other amateur researchers interested in natural philosophy.”
The Oath of the Horatii by Jacques-Louis David 1786
Oil on canvas
51 ¼ x 65 5/8
Production location unknown
During my initial viewing of this picture, I thought it was a Renaissance painting rather than a Neoclassical piece. Knowing the history of this piece gives a clear understanding of how this piece is highly influenced by the scientific discoveries happening throughout the world. This piece was a result of the renewed interest in classical antiquities from the discovery of Pompeii. I see Roman influences in the clothing the men are wearing, toga-style robes, sandals, and soldier headpieces. The characteristics of this piece that appear Neoclassical are the linear lines created by the columns in the background. Also, the symmetry of the tiles in the flooring. There is a symmetrical balance to this piece. The men are on the left and the women on the right, with one central figure, the father. This piece is also a great representation of moral virtue, patriotic self-sacrifice, and goodly deeds that are significant of the Neoclassical period.
According to the Toledo Museum of Art:
"In 1784 Louis XVI commissioned from Jacques-Louis David a life-size depiction of the ancient Roman story of the Horatii family pledging to fight the Curiatii. That famous painting is now in the Musée du Louvre, Paris. Toledo’s canvas is a reduced replica ordered from David by the high-ranking courtier Comte de Vaudreuil. It is close to the original, except that it includes a distaff with spun thread near the women’s feet. David’s pupil Anne-Louis Girodet (1767–1824) reportedly assisted in making this version.
In a composition inspired by classical relief sculpture, the three Horatii brothers of Rome swear an oath before their father. They vow to fight to the death against their three cousins, the Curiatii of Alba Longa, in order to settle a dispute between the two cities with minimum bloodshed. Their tense stances contrast with the fluid contours of the women, slumped in grief and resignation. Complicating the situation, the young men were married or betrothed to each other’s sisters. In the unrest leading up to the French Revolution of 1789, David’s powerful image exhorted restrained emotion, order, and the sacrifice of the individual for the good of the state."
I am glad I have a better understanding of Neoclassical Art; however, I do not find this art very appealing. I am interested in seeing how art changed after this time. The stark contrast between Rococo art to Neoclassical art seemed obvious and easily detectable. It's interesting having studied Neoclassical, I can identify common/popular Neoclassical statues and architecture throughout America.
| Works Cited |
Britannica. “Neoclassical Art.” Neoclassical art | arts | Britannica. Accessed on 3/11/2023.
The Linnean Society. “Linnaeus and Race.” Linnaeus and Race | The Linnean Society. Accessed on 3/11/2023.
Lisa Kljaich, “Classical Era Content.” Explorations in Art, F200X 001, UAF Online, Class Lecture.
Science History Institute. “A Philosopher Giving a Lecture on the Orrery.” A Philosopher Giving a Lecture on the Orrery - Science History Institute Digital Collections. Accessed on 3/11/2023.
Toledo Museum of Art. “The Oath of the Horatii.” The Oath of the Horatii – Works – Toledo Museum of Art. Accessed on 3/11/2023.
Wikimedia Commons, “File:Sir Isaac Newton by Sir Godfrey Kneller, Bt.jpg.” File:Sir Isaac Newton by Sir Godfrey Kneller, Bt.jpg - Wikimedia Commons. Accessed on 3/11/2023.
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ReplyDeleteI really enjoyed your discussion of art and scientific discovery in the 1700s. I liked how you presented three very distinct pieces that were neoclassical and held similar elements including themes of self-sacrifice, the use of sober palettes, linear structure, and much more. In my blog, I also presented the piece The Oath or Horatii by David but looked at the influence of the French Revolution. It was very interesting how David was able to bring up the struggle France was having with individual freedom through a work that resembled that of self-sacrifice.
ReplyDeleteBecause I examined the influence of the Revolution in the 1700s, I thoroughly enjoyed reading through your discussion. It provided me with a broader perspective and understanding of the Classic art era. I loved looking at the second piece presented by Derby because it truly represents the influence of art and scientific discovery in the 1700s. The brass orrery was something I didn’t know much about previously. I would agree with you that I would not own any of these pieces personally, but that they would be great in a museum setting. The sober color palettes are just not as appealing to me, but I really do love the history behind the works. Great Discussion!
Hello Sheresica, I love how you organized your post! I think the addition of bullet points explaining neoclassicism was a great idea and helps a reader if they need to go back to help identify if certain things follow the guidelines of a theme. In terms of connecting each piece back to the theme you also did great at that.
ReplyDeleteI thought it was interesting that The Oath of the Horatii by Jacques-Louis David 1786 was also under this theme because in my blog writing about morality it was a piece I almost wrote about as well! It's very cool how during this period in time, the pieces not only had a variety in how they looked yet were still in the same categories in terms of what they were inspired by, but that a lot of pieces also had multiple inspirations.
Hi Sheresica, great work! I really enjoyed how thorough your post is. Of the three paintings you chose, I would have to agree that the first is not exactly my favorite. Although, adding the piece does complement your theme of scientific discovery quite well. Also, the details by the artist is truly great (the texture of the robe!), but it is quite stark my liking. That aside, the other two are great works and I even included The Oath of the Horatii in my exhibit as well. Great connection to the discover of Pompeii to tie in your theme! From what I learned in my research, there is a great deal of Greek and Roman influences in the setting of this scene. Thanks for sharing!
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