Neoclassical Art Inspired by Sciences

Archaeological and Scientific Influences During the 18th Century:

 18th Century Enlightenment-

The Enlightenment was a period of blossoming discovery amongst Europe and America between 1680 and 1820, in which individuals were inspired to understand the world through science and reason in order to improve conditions on earth. In addition to famous political and philosophical ideas of the Enlightenment, leaders of this movement believed that with the use of scientific methods they could explain the laws of society and human nature. The Enlightenment focused on the use and celebration of reason along with the power by which humans understand the universe, and the excavation of ancient Greco-Roman civilizations helped inspire many of the prominent scientific ideas and subjects of art during this age. 

The Discovery of Pompeii and Herculaneum-

Ruins of the ancient city of Pompeii were initially discovered in 1592 by an architect named Domenico Fontana, who was accidentally introduced to the buried city while excavating a canal. After this incident, no further action was taken to discover the remainder of the ruins until after the discovery of Herculaneum during 1709. Herculaneum was unfound until a local farmer in Naples stumbled across buried marbles, which quickly sparked the interest of Prince D'elbeuf. With the wish of collecting artifacts for himself, the prince ordered further exploration of the findings. Excavators established a series of tunnels that led to the ruins of Herculaneum, and most of the artifacts were given to Prince D'elbeuf to reside in his palace. In later years, during the reign of King Charles VII of Spain, art and cultural pursuits were encouraged and led to more excavations near the site of Herculaneum. Excavations of Pompeii began in 1748, and King Charles VII had the goal of enticing people to come and visit the archeological site. Majority of visitors were unimpressed by what Pompeii offered, since excavators didn't methodically unveil the ruins, but ultimately many artists and writers were drawn in and inspired. Sketching and painting were originally forbidden amongst the site, which prompted artists to create images from memory, and many visuals of Pompeii were replicated in books and paintings. 

Related Neoclassical Works of Art:

Ancient Rome, Giovanni Paolo Panini, 1757, oil on canvas, created in Rome

In the Artwork Ancient Rome, Panini precisely depicts the large collection of art belonging to Cardinal Silvio Valenti Gonzaga. Different paintings of Roman ruins shows the popularity of Greco-Roman antiquity during the Classical age. Inside the broad architectural space housing Cardinal Gonzaga's collection, a large green cloth is featured near the ceiling, while a red cloth rests on the right side of the room, tucked behind the sculpture Laocoön and His Sons. Bottom-center of the artwork, two men sit and kneel while unwrapping art, and slightly above that a man can be seen kneeling as he studies the painting, Aldobrandini Wedding. Next to this, the patron, the duc de Choiseul is depicted to be standing while holding a book; behind the patron and orange chair is the artist himself. 

Panini's use of shape is a major element featured in Ancient Rome. Each painting in the displayed art collection has its own shape, which allows it to fit perfectly next to its neighboring artwork. Use of form can be spotted all throughout the artwork, which allowed the artist to illustrate the variety of sculptures in a three-dimensional manner. Positive space is more present than negative space in order to represent the many different arts of the collection, however, Panini uses negative space to give the room a sense of depth and completion by adding a hall that leads the room to the outdoors. 

Small and minute items are my favorite depictions within this artwork. If you take a closer look, there are two small bouquets of flowers on both sides of the hall, and I think they are so cute. It also amazes me that the artist was able to finish a painting this complex without getting bored; the artwork itself is not boring, but I can only imagine how committed you have to be in order to render a painting within a painting, especially so many. Ancient Rome was created in addition to a similar painting titled Modern Rome, and in total the artist made three copies of each artwork. The details in every aspect of Ancient Rome blows my mind, and it's easy to see how fascinated people of the 18th century were with the antiquity of the Greeks and Romans. 

Charles Towneley in His Sculpture Gallery, by Johann Zoffany, 1782, oil on canvas, created in London

Like other neoclassical paintings, Charles Towneley in His Sculpture Gallery represents Ancient Greek and Roman sculptures. The sculptures depicted in this painting are all a part of a collection owned by Charles Towneley, who was a young and wealthy aristocrat of the time. Towneley often visited Europe's cultural areas and collected a variety of archaeological gems from Italy. 

Within the pictured library, Towneley is portrayed on the right side of the room, sitting in a red chair while holding a book, as his dog rests at his feet. Center of the painting is M. d'Hancarville sharing his theories on the evolution of classical art, where as standing behind him, Sir Thomas Astle and Mr. Charles Greville converse. Below the men's feet is an elaborate carpet or rug, red in color and intricate in design, while above the men is what the viewer can assume to be a detailed skylight. A large bookshelf stands tall behind the three men in the center of the artwork, holding books with three sculptures resting on top of the shelf. Various sculptures crowd Towneley's library, his most favored arts residing on the desk in front of the bookshelf. Far left of the painting is a marble fireplace and three sculptures hanging above it, while smaller sculptures alongside a vase rest on top of the mantle.

The presence of value enhances Johann Zoffany's use of light throughout the painting. Light illustrated from the skylight brightens and warms the center of the room, while value intensifies this element by providing a contrast of light and dark. Each sculpture is golden in color, those portrayed within the light of the painting have a brighter value, while those portrayed towards the shaded, back end of the room have darker value. In addition to value and light, warmness embraces the scene of the painting as a result of the artist's use of color. Gold, yellow, and bright red give the depicted library a warm, yet serious feeling. Additionally, the utilization of white subtly brings the viewer's attention to the pictured characters.

If it weren't for the additional details about this painting, I would think it's more boring than captivating. Although the elements that bring this artwork together are great, something about old men sitting in a library makes it hard to keep interest in the art. Charles Towneley in His Sculpture Gallery isn't a favorite of mine, however, I enjoy the depiction on the base of the tallest sculpture, shown in front of the bookshelf.

The Artist's Despair Before the Grandeur of Ancient Ruins, by Henry Fuseli, 1778-1779, red chalk on sepia wash, created in Kunsthaus, Zurich

Henry Fuseli's creation, The Artist's Despair Before the Grandeur of Ancient Ruins, was inspired by Colossus of Constantine and the archaeological Capitoline Museum. It perhaps represents Fuseli's distress in knowing that all aspects of life will eventually decay, and that greatnesses of the past will never truly be replicated. 

In this somber drawing, a man, perhaps the artist, is portrayed sitting beside a large marble sculpture of a foot. The man is represented to be small as he leans against the wide, rectangular base of the marble foot, while burying his face into his palm. Behind the foot sculpture is an additional marble sculpture depicting a hand. The marble hand rests on a vertically rectangular base, smaller in size than the base of the foot, and seemingly shares the foot's platform. Bottom left of the hand, grass is illustrated to be sprouting from the base. A stone wall seems to be the backdrop of the scene, and there is writing scriptures on the side of the foot's platform beneath the toes. 

Various art elements cohesively provide the drawing with an antique and dismal feel. Fuseli utilizes form to give the depicted man three-dimensionality as well as body language to imply the feeling of hopelessness. Form can also be seen in the two sculptures, by the position of the hand and how it is stacked upon the base of the marble foot, and from the angle of the foot. Line work is precise in this artwork, creating details in the palm of the hand and toes in order to supply a natural, human look. Additionally, curving lines along the man's back shows that he is wearing a cape, the lines along the stone wall gives texture, and faint lines make up the image of the plant. Great examples of chiaroscuro are rendered not only to aid in three-dimensional visualization, but also to create a dramatic look. 

When I first glanced at this drawing, it seemed there was a lack of variety and the absence of color drove me away, but after I studied it I noticed that there is a deep sense of emotion, which changed my mind about the artwork completely. I really enjoy the way the artist portrayed sorrowful emotions, and the chiaroscuro makes the drawing interesting to look at. 

Villafane , Stephanie. “Excavations of Pompeii in the 18th Century.” Omeka RSS, 2017,   http://omeka.wellesley.edu/piranesi-rome/exhibits/show/discovery-of-pompeii-and-hercu/pompeii-excavations 

Sheldon, Natasha. “The Rediscovery and Excavation of Herculaneum.” History and Archaeology Online, 22 June 2020, https://historyandarchaeologyonline.com/the-rediscovery-and-excavation-of-herculaneum/

White, Matthew. “The Enlightenment.” British Library, 21 June 2018, https://www.bl.uk/restoration-18th-century-literature/articles/the-enlightenment

Salomon, Xavier F. “Ancient Rome.” Metmuseum.org, 2011, https://www.metmuseum.org/art/collection/search/437244

Howard, Lisa. “Charles Towneley and His Friends in the Towneley Gallery, 33 Park Street, Westminster.” CONTENTdm, https://vads.ac.uk/digital/collection/NIRP/id/32848

“The Artist's Despair before the Grandeur of Ancient Ruins - Wikipedia - Study in China 2023 - Wiki English.” Study in China 2023, https://www.duhoctrungquoc.vn/wiki/en/The_Artist%27s_Despair_Before_the_Grandeur_of_Ancient_Ruins