Contrasting Examples of Neoclassicism and Romanticism in Modern Art

The mid 18th century of Neoclassicism was filled with a return to the classics and revolutions. Neoclassic art exploded from a movement that explored expressive ideals and virtues. Many painting depicted sacrifice, courage and love of country. This art was rational, orderly but less emotional, focused on line and proportional order. One can understand its inspiration but it can be bland, not overly creative but marginally candid.



In contemporary art, neoclassic furniture is more often seen as the grand gesture of the movement. While the style embraces the bold, rigid lines of the neoclassic period, it is also is more apt to be seen in architecture such as Jefferson’s Monticello home or the San Francisco War Memorial and Opera House.



One piece of modern art that embraced the Neoclassicism movement, “Guernica” 1937, painted by Pablo Picasso has been considered an inspired masterpiece among his works. This mural, encouraged by heavy German bombardment and intense suffering inflicted upon the Spanish town of Guernica, heralds a “return to order" and created exceptional acclaim for the focus on atrocities of the Spanish Civil War. This piece, commissioned by the Spanish government for display at the Paris International Exposition of 1937, became an antiwar and peace symbol of its time.

Romanticism also rose out the mid 18th century artistic movement. It exemplifies free movement, obscure bodies, actual events, color, and drama. It is an artistic movement that redefined the manner in which people thought about themselves and their world. It stressed strong emotion and often focused on the human activities as the subject matter.

A contemporary example of Romanticism could be Norman Rockwell’s "Rosie the Riveter", 1943. During World War II in 1941, American women supported the war effort by filling traditionally male jobs left absent when men enlisted and fought in the war. This labor shortage allowed women to become wage earners, independent and confident in nontraditional jobs for the first time. Government trained women built and repaired airplanes and navy ships. Women from many ethnic backgrounds who had been housewives, mothers and single women changed history by entering the American workforce. Rockwell depicted these women in their work attire and forever made them into a symbol and cultural icon. This piece certainly repatriated them from an underclass to emerge as victorious heroines contributing to a great cause.


A contemporary artist, Jacob Lawrence, paints the black experience often focusing on morality, courage and determination. In “Forward” 1967, Lawrence portrays slave heroine, Harriet Tubman, leading runaway slaves to freedom via the Underground Railroad. Harriet Tubman is distinguished by her white apron and gun but asserts her power as a woman and leader. The angular lines of color that create the fugitive slaves and the diagonal lines depicting their movement gives this piece some of the neoclassic characteristics. Could this message be as powerful in its time as David’s “Oath of the Horatii” from another culture’s viewpoint? The faces and gestures of the slaves express both fear and persistence, qualities found in romantic painting where a dramatic movement, broken colors and drama dominate. This piece leaves saviour Harriet Tubman forever poised in time in the effort to save her people from hopeless and onward to self determination.




Here is an interesting contemporary piece. Does it not reject both styles yet.... speaks to them both....Norman Rockwell's "The Problem We All Live With, 1964- Oil on canvas, 36X58.

Inspired genius or NOT

The notion of the divinely inspired genius emerged during the High Renaissance period. It allowed for the elevation of artist as professionals and intellectuals instead of craftsman but it also was very restrictive to many artists. Does this the notion of genius still prevail and/or does similar restriction exist today for artists?

The image of the artist as an intellectual and genius fit the model of the inspired individual that was dictated in the creative surge of the time. In Florence, the birthplace of early Renaissance, artists appeared to dominate the artistic workforce. The artists of the Renaissance era were painters, sculptors, architects, goldsmiths… multifaceted people of various occupations and diverse styles of expressions. They worked at producing art pieces that would distinguished themselves from ordinary craftspeople. The knowledge and use of scientific methods positioned painters and sculptors on an axis that was intellectual, academic, and theoretical. The fact that selected artisans knew that their profession required ability and knowledge was enough to distinguish themselves from sheer craftsmen.

It could be argued that the Renaissance artistic period was not so unlike the surge that drove the birth of Silicon Valley in the early 1950s. Engineers, scientists and educated professionals provided the initial groundwork for change to into the globalization era. Yet, it was the work of college dropouts who fueled the capitalization with imaginary innovation though IPO’s, computers, gadgets and the Internet. They, too , are considered modern geniuses with inspired intellect in the same hamper with the academicians.


The fact that many Renaissance artists dominated as learned men of academia and extended apprenticeships does not make them more intelligent than those who create today’s modern art. Although works produced then were important from a social, secular, and political aspect, they were of that era and time....still important today. In fact, modern artists face more scrutiny because of the global aspect of art and the production of that art to a larger audience. Today’s artists have a range of subject matter from historical moments to transitional art to cutting-edge abstracts built on ideas and dreams that are just as important in intellectual context and world perspective. This lends for a larger critical audience but it also introduces a new level of competitiveness. The freedom to dare to think about the next new thing becomes an achievable goal but with a higher cost for acceptance. Early Renaissance artists, limited to the worldview of that period, were expected to deal with the dominant subject matter of that time piece. But ask any modern artist about required archivalness expectations of today's art and you spark a serious debate about the then and now of Renaissance art and modern art techniques.

Given the thought on intellect and craft during a different historical era, then it would be my favorite period...the Impressionist era. This was a time where the unacceptable, a stray from the original masters of that era's format, could mean the difference between life and death. Painters like Monet were geniuses certaintly not craftsmen. The restrictions are found in the Salon management of what was considered a 'masterpiece". The intellect of those who would play the greatest role was in achieving a different type of “masterpiece” and change the way others thought about art. Art was the beauty contained within...for art sake... although credibility and being true to thine self was just as important. Impressionists intellect can be measured and praised today…both in sales and stylish perspectives. These were the first starving artists....dedicated to their profession. Were they geniuses...yes! The love of art and achieving recognition for that work during their lifetime was the difference between acceptance and an agonizing punishment of defeat. Today, the starving artist has a day job and at any time would want to achieve recognition, if not wages for their work in their lifetime.

Today, modern artists are often educated, has business savvy and uses administrative experience to prepare portfolios, CDs and use Internet resources as aids to selling and showing their art. Whether there is the genius of old masters will be for time to tell. A range of processes allow artist to practice their profession in painting, sculpting and printing. The fact that the number of artists is large, an individual artist has to be "special" to stand alone and gain the type of recognition the inspired geniuses acclaimed in their lifetimes. This does not mean that the inspired genius does not exist in today's art world. He simple has to die for recognition!


Whether the genius of Pollock, Rothko, Rodin, Basquiat, Picasso, Warhol or Jasper Johns....among many and more to come.. will stand the test of time such as the great masters of the Renaissance..... is yet to be determined. In the artistic scheme, these are geniuses of our time that will reign as creative and innovative people....different but the same.


Art is inspired eternal.

Mary Magdalene: Saint, Sinner, Goddess, Legend, Apocryphal

When Donatello sculptured "The Penitent Magdalene" in 1454-1455, he appeared to have created an extreme, scraggly, simple but emotional, provocative yet expressive, mystical decaying controversial wretch. Yet, beauty is in the eye of the beholder and the work itself is masterful, compelling, influential.....powerful.

In a world deeply affected by religious standards of its time, the Mary Magdalene of the Bible was represented as a repentant prostitute. This idea, no doubt, is where Donatello borrowed his title for his piece. It is also where he might have received the inspiration to create the pitiful and downward vacant stare that becomes her fragile face and perpetuated body. If this was a modern piece, it would be what we think of as a homeless victim or a rural tragedy.

Yet, I see a strong woman. Aware of the timeline, it symbolizes a woman full of spiritual wisdom, downtrodden put pious because she expressed repentance, an act strongly advocated by the Christian faith as redemption in order to be able to go to heaven. This, alone is an ageless religious and social commentary, enough for some to accept her as an apocryphal inspiration.


Take the self portraits of Frida Kahlo such as "The Broken Column" 1944 and try to visualize them as works of beauty. They, too, can leave the viewer awe struck. She once stated that she paints self portraits because "I am the person I know best." From first glance, they evoke stern emotions because they are brutal and not our standard of beauty. They ooze pain much like the penitent Magdalena. Yet, there are logical reasons why Frida chose to cloak herself as a tortured soul, a strong and independent person with an inner beauty.


Another painting, "Big Sue" 1994 is painted by a modern artist, Lucien Freud. What I found disturbing but interesting about the piece is that it recently sold for $36 million. I think that the monetary value made it more appealing and interesting, a piece worthy of discussion....worthy of a second look. Had I seen it in an exhibit, I would have passed it up because there is nothing flattering about it. Yet, I have empathy for the model and the painter who chose to put it to canvas. I can find a positive relief that it symbolizes a realistic portrait of something that is often not seen as beautiful...anxious curves! The subject of an "obese" nude without the flattering curves often does not encourage the imagination to look beyond...only what is obvious. I can find hope in this pieces much like the Magdalene because redemption is left for interpretation by the viewer.

Beauty IS in the eye of the beholder whether the subject is suffering, saintly or sassy.

Class Introduction

My name is Ally.

I am taking this class because I want to know about art history. I like ancient art, significant graffiti, modern and old masters. Overall, I am partial to all art forms...ceramics, sculpture, printmaking...oil, acrylic, wax, etc. I am a painter and it is not a hobby, it is a natural part of my being. I paint to breathe. As a child it was almost forbidden for me to think of studying art as a subject matter simply because it would not offer a viable means of support. I have been fortunate to have survive a successful career and now I am pursuing my heart strings.

My learning process began with the first class lecture. I have seen many of Jasper Johns works but knew little of their personal history. I was more interested in his materials use because he is given credit as a 20th century revivalist of an ancient art form. Now, whenever I see one of his pieces I will study it more sincerely as the personal history is quite influential of what might have been this painter's intent.



I love history...but I pursued science and math because I knew I would be employable. The technical side of me love the research, exploration and the amusing stories that follow art. My first piece of art that I chose to describe myself is a petroglyph, an ancient or old rock art carving. In my spare time, I am an avid photographer. I have taken photographs most of my life. My family take trips in search of petroglyphs where I photograph them. We have seen both domestic and foreign rock art similarly to shown painting. No, the one here is not one of my photographs but an ancient Khoisan/San/Bushman cave art from Namibia, Africa that is estimated to be 25,000 to 27,000 years old. It is called "The White Lady" although the dominant figure in white is a male. I chose it because it is an example of someone unfamiliar with the culture who named the piece based on what they thought they saw. The figure is a male warrior. Since I paint abstract, it is very important that the viewer at least has their own interpretation of my pieces even if it is not what it seems or my intent!




My second piece is Jean-Michel Basquiat "Self Portrait", 1982. I am drawn to most of his work because of the numerous interpretive factions his art presents, his primitive style reminiscence of cave art and his graffiti style exploitation of cultural traditions. This reminds me of my black art series that many seem to like. Some find it Americana, ethnic, cultural. Although I am not as expressive as Basquiat, I draw from his inspiration. I consider his work an influential factor, an exercise in freedom. Here is my self portrait with my two sisters whom I paint often in my cultural art series.


Every day I have an affair with color and texture. Claude Monet created exaggerated pigmented pieces that were easy to look at. This piece entitled " Mme et Mlle Monet" is personal. His eye for detail is remarkable....look at the child's toy. Monet captures realistic vibrancy at its best. l study this piece as if I want to reproduce it. As a wife and mother, I selected this to describe myself although I come from a strong legion of tough women. I like the simplicity as it is painted. This painting sends out to the audience a softer nurturing murmur cooing motherhood. Although I worked out of the home, this piece evokes memories of my maternal grandmother who was constantly knitting or sewing as we played nearby in her flower garden when I grew up.

Any artist who want to perfect color and light loves Rothko. He is the master of color in my world. His pieces require that you visit them over and over. Each time they tell a different story. I dare say that I have a mentor who actually compared one of my color series to this great artist. I laughed....I don't sell like Rothko! Yet, the compliment was endearing. This piece entitled "Orange and Yellow" 1956 is marked by the brilliance of exploding emotions yelling loudly but beautifully. It screams Cosmos, fun, confidence, cause.....transporting into fantasy. I am quiet but will speak out when it necessary and often find myself violating silence whenever there is a cause for justice. When that time comes, I am known to a big voice. I am service oriented in that I believe in responsibility to community. My aura color is probably bright orange and yellow!

My final piece belongs to a contemporary artist that I admire. Joanne Mattera paints with beeswax and resin. I look at her as a colleague, friend and mentor. This piece is part of a series based on findings she saw in Indian culture. It is "Uttar +250" 2004. Joanne also loves colors, but she works in a grid unlike my abstract musings. Here pieces represent translucent time pieces with their clean smooth surface. Sometimes wax drips are frozen in place hinting that this IS wax. This paint process is called encaustic, an ancient Egyptian and Greek manner of painting. It is considered one of the "lost" arts. Not only is it a timely process, encaustic is "green" meaning that the ingredients are non toxic. The process is in the height of of rebirth much like the Renaissance. Painters like jasper Johns who mixed wax in his oil paints have caused modern painters who want to use the encaustic process to redefine themselves. Today, a combination of pigments, resins and beeswax is the base ingredients but colored beeswax can be purchased. I just returned from visiting with Mattera at the Second National Encaustic Conference where the discourse, workshops and exhibits were exquisite. Artists like myself are eager to forge ahead. I am by learning about art history.

So this is where I will end this introduction as my painting medium starts its ascension from ancient and lost to modern, idealistic and exciting.