Introduction
Thesis: The French Revolution transformed not only the French society, but also had a huge influence and marked impact on what the purposes of the arts and their expression were now, making profound changes in what they would supposed to be used for, in the form of the Neoclassic works of art that made their appearance prior to the French Revolution, in which very special emphasis is given to the patriotic, the nationalist feeling, together with a strong sense of self-sacrifice that should be present in every person’s heart.
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that () and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as well; while the works of the previous Rococo period generally has captured some trivial and also unrealistic scenes, both the Neoclassical and Romantic styles would attempt to mirror society.
At the same time that the French Revolution has transformed society, it also had a huge influence on the purpose of art and its expression, as Neoclassicism shows. The Neoclassical art has, as its characteristic features, the patriotic, nationalist feeling, together with a strong sense of self-sacrifice. Together with the promotion of these kinds of feelings in the hearts of the people, this style also intended to give an education about the new goals of the ruling government, who advocated a strong sense of discipline and morality.
The Neoclassic - the French Revolution’s style
Having lead to and followed the French Revolution, Neoclassic style was the most predominant one in France (and also, from about the years 1750 to 1830, in Europe and the USA, as well). This was a sort of classical revival of the 18th century and, besides this, was also very distinctive for the emphasis it gave to archaeological exactitude, which was the result of this period's level of knowledge (a unprecedented one) of the art and the architecture of the ancient world – Greek and Roman.
This passion depended on factors, such as the broad scientific study of artefacts that survived from those times, begun by the Grand Tour’s scholars, the excavation (in a systematic way) of the Herculaneum and Pompeii Roman cities, and also the exploration and recording that were made of the great monuments on both the Greek islands and the mainland, all accompanied by publications of good illustrated books in large-format , which “considerably expanded the repertoire of artistic models available to artists” (Oxford Art Online) of the time to get inspired by and, based on them, produce their masterpieces.
One notable artist of this time was seen as the remarkable leader of the Neoclassic style: Jacques Louis David, who lived from 1748 and 1825. The French Revolution being a success as it was, soon made of David's Neoclassicism in his works the established standard for the arts, having its influence not only in art, but also in terms of fashion. His works of art were not elitist; on the contrary, “his artwork was displayed to the average man in France to gain popular opinion for the Revolution.” (O’Donnell 2013)
This recognized heroic phase that characterized so well the Neoclassic painting has resulted in some of Jacques-Louis David’s most celebrated works, such as Death of Marat, and also the Oath of the Horatii. These works were the embodiment of the Enlightenment thought of masters like Diderot, Voltaire, and Rousseau; namely, one can refer the ideas of the basic human rights, the modern and scientific investigation, the use of rationalism’s ideology, and the sense of moral rectitude.
The Oath of the Horatii – analyzing the patriotic call
One of these mentioned works of art of this master, and one of the most well known, which is entitled The Oath of the Horatii, (painted in 1784), is a depiction of three brothers, who are vowing to fight bravely for the Roman Republic, “in the period of the wars between Rome and Alba, in 669 B.C.” (Boston College)
When looking towards the painting’s right side, one can see that the brothers' family appears to be sad because of their oath and their decision; nonetheless, the painting is there to glorify the moment and its meaning is to inspire people for the referred self-sacrifice for the country and, this way, according to Boston College, “ennobling these passions and transforming these virtues into something sublime”.
Its story does not date from the later Imperial Rome; it dates from early republican Rome, where the Horatii, who were three brothers, are the chosen ones, as Rome’s champions, so that they fight against others, the Curatii, who in their turn, are the champions of Alba; this has, as a purpose, to determine the supremacy that one city has over the other. In it, and looking into the details of it, one can see women, who are slumped in profound grief; in this group, their sister is present, and her husband is the eldest one of the Curatii.
The lesson to be learned from this painting and of what it depicts is the following, and it is very clear: country is chosen over family; the sense of duty is absolute and should be followed with bravery.
This painting, the "Oath", was actually the King who commissioned it, and it had as intention to remind the Frenchmen about the duty they all had to the Crown. Ultimately, it worked as a powerful mobilize for the French Revolution cause. In the end, the subjects depicted in classical history, and also mythology, are always portrayed and used as an example, shown to others for the purposes of a moral message to be passed to the viewers – consensual with the Neoclassic objective of the strong moral sense.
In The Oath of the Horatii, David – this revolutionary leader of the Neoclassicism – has created a painting that was seen and read by his fellow countrymen as a true call to act in the name of France, in a strong and intense patriotic gesture against the crown. At that time, this painting had such a strong impact that it was described as having even more impact than all calls and revolutionary tracts put together in one event. This was its true force in favor of the French Revolution.
Indeed, the depiction of these brothers that took their vow as being servants of the nation, vowing to fight bravely in an intense and patriotic painting, choosing it over family for perceiving it as their highest duty, truly works as an emphasis for these values and feelings on the people and, no doubt, served as a way of mobilizing the people to the Revolution, by inflaming their hearts.
The Death of Marat – the dramatic nationalist legacy
David's style also keeps evolving and developing new and interesting details as the revolution continues taking its course. Along with this development, the Neoclassic art form seems to continuously grow its strength on motivating and mobilizing people to the quest of the French Revolution.
In the painting The "Death of Marat", for example, one can observe another revolutionary and, without a doubt, call to arms, to fight in the people’s revolution that was the French Revolution; now, the painting was shed out of the clothing of the usual classical references, but the artist is still using the same characteristic theatrical lighting, so that it is seen as illuminating a real scene.
The painting depicts the revolutionary Marat – for some “an intransigent patriot; for others he was merely a hateful demagogue” (Boston College) – lying in his bath (because he had a skin disease without any cure possible, and very debilitating), with a blanket covering him, and murdered by Charlotte Corday, at the time he was writing his last testament, directed to all the people of France, willing to them both his courage and also his known resolve.
On the other hand, it was also “an attempt by the artist to replace portraits of the Saints with those of revolutionaries” (O’Donnell 2013), according to the French Revolution’s objective to pull the attentions away from the Church and the elitism and praise the people as the most important links of the French nation.
The depicted desk and pen are present so that they can show the scene that one supposes David may possibly have seen the time he made him a visit, often finding Marat spending quite some time in his bathtub to seek some relief from his incurable and debilitating skin condition. The knife and also Cordeille’s petition that can be observed have, as significance, the treachery of Cordeille. And also, when looking at Marat’s drooping eyelids and head tilted to one side, this often is compared to the worldly known image of Jesus Christ when depicted on the cross.
These features of the painting clearly form a clear picture that revolves around the idea of self-sacrifice, of strong moral sense, and of feelings of bravery and commitment to the French nation.
The Tennis Court Oath – inflaming the pride on the Nation and its courage
The link between the French Revolution and Neoclassicism continues, along with other paintings of this notable artist who, indeed, was the image of such artistic movement in France. Another work of art were such link can be observed is The Tennis Court Oath, which can also be titled as Le Serment du Jeu de Paume. This particular painting was an essential turning point of the French Revolution.
In it there is an intrinsic sense of patriotism, depicted by the pledge that was signed by some of the members of the Third Estate and also members of the First Estate, vowing to never separate; not until a constitution was written. David cleverly captured this exciting moment and intensified the dramatic moment by showing in the painting the people with their arms raised throwing hats in a deep and intense praise of this oath that was being signed.
There are also other interesting details about the way this painting was designed and the color scheme that makes it even more appealing to the eyes of the observers, captures their attention and inflames their senses and emotions to the whole topic that is portrayed. Taking into consideration the colors, the artist cleverly uses a very unique golden color-scheme, which is used to portray the happiness emotion that is being experienced; and, one another hand, considering another important detail, the depiction of the draperies blowing off with the wind are meant to signify, or symbolize, the winds that carry change.
David also performed here another clear attempt of attacking “the ‘political-religious system on which absolute monarchy was founded” (Western Civilization II Guides); he achieved such attack by a bolt of lightning that he painted, that appears as striking across the royal chapel. David also included, for this purpose, the clergyman, called Dom Gerle, in order to show the tolerance of these three estates, although this was not what, in reality, happened.
In addition to these details, this artist added some other more, like a man standing in the right lower corner, being pictured with his arms performing a close clutch on his chest and, at the same time, giving the appearance of not having taken this depicted oath. This man that was portrayed may have been Joseph Martin D’auch, who was, at the time, one of the political leaders and a member of this Third Estate.
and the movement of the French Revolution keeps being portrayed
There are many other masterpieces where these connections with the French Revolution and the values it wanted to bring out in the heart of the French nation can be seen, having had also their weight on mobilizing the people and making popular the ideologies.
These paintings that were chosen to describe the relation between arts and the French Revolution are only a few, from the large group of the famous and renowned paintings that were inspired by the whole French Revolution movement and David is only one of the many authors that devoted their art to it.
Other famous art that are included are, for example, the sketch entitled Women’s March on Versailles, or even the known painting, The Storming of the Bastille; there is also the cartoon The Third Estate Awakens, the Liberty Leading the People painting, and , also in the painting group, the Reading of the Bulletin of the Grand Army.
Conclusion
Thus, regarding such a vast list of masterpieces that were devoted to this subject, and to the link with such History as the French Revolution is, one can conclude that this worldly recognized time was intimately close with the arts of the time.
Truly, these arts have proved to be the mobile for that time’s propaganda on the ideology that the French Revolution wanted to head to as a radical change of the state of things. By using the art forms, these artists, where David stands as a member, were also strong and highly engaged activists of the cause of the Revolution; because of such fact, their works were used to compel the French people to join them into this radical movement of change.
References
Art In European History. “Neo-Classicism and French Revolution – Jacques-Louis David”. Boston College. Web. 5th May 2013.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
Cullen, Alison. “From the Trivial to the True: The French Revolution and Painting”. Kirsch Computing ECFS. Web. 5th May 2013.
Dowd, David L.. “Art as National Propaganda in the French Revolution”. Public Opinion Quarterly, 1951. Web. 5th May 2013.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
Oxford Art Online. “Neo-classicism & The French Revolution”. Oxford University Press. Web. 5th May 2013.
Western Civilization II Guides. “Art Inspired by The French Revolution”. Wordpress, 2007. Web. 5th May 2013.
