Lena Rivera
Heroes in paintings from the late 1700s were depicted in a variety of ways, depending on the artistic movement and the subject matter. History paintings, which were regarded as the highest form of art, often depicted heroes from Greek and Roman mythology, Bible stories, and national histories. These paintings showcased narrative works on a grand scale and were used to encourage intellectual and didactic comprehension. Neoclassical paintings, which were popular in the late 18th century, looked to antiquity for inspiration, with artists like Jacques-Louis David emphasizing the use of the profile view and classical subject matter. Romantic artists, on the other hand, focused on expressing the intense emotions aroused by the brutality of war, depicting heroes in a more emotive and expressive light. Portraiture was also a popular form of draftsmanship during this time, with artists like John Singleton Copley and James Sharples creating profile portraits that offered pre-photographic accuracy.
| Characteristics | Values |
|---|---|
| Subject matter | Greek and Roman mythology, Bible stories, national histories, contemporary history |
| Style | Neoclassical, proto-Romantic |
| Number of figures | Multiple figures, often a large number |
| Narrative | Showed typical states in a moment in a narrative |
| Heroes | Martyrs of the French Revolution, Greek heroes, biblical heroes |
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What You'll Learn
Heroes in history paintings
During the late 18th century, history painting expanded its subject matter to include contemporary events, celebrating heroes that fought in various wars. Classical history remained popular, but scenes from national histories were often the best-received. The French state supported the heroic treatment of contemporary history in a frankly propagandistic fashion by artists such as Antoine-Jean, Baron Gros, Jacques-Louis David, Carle Vernet and others. David's painting of the death of Jean-Paul Marat, a close friend and supporter of the French Revolution, is an example of this.
The neoclassical style, with its foundation in increased knowledge of classical literature and art, was used to portray idealised and well-delineated scenes from history, providing ethical examples for humanity. David's Oath of Horatii illustrates these prevalent artistic concerns of neoclassicism, as well as providing a window into ancient history and the ideals that would be employed in the upcoming French Revolution.
Romantic artists such as Théodore Géricault and Eugène Delacroix continued to regard history painting as the ideal for their most ambitious works. Their paintings, such as Géricault's The Raft of the Medusa and Delacroix's The Massacre at Chios, depicted heroic suffering by ordinary civilians.
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Neoclassical style
The Neoclassical art movement emerged in the late 1700s as a reaction to the preceding Baroque and Rococo styles, which were seen as overly ornate and frivolous. Neoclassical artists sought to emulate the simplicity, symmetry, harmony, and idealism found in ancient Greek and Roman art and architecture. This movement was influenced by the writings of German scholar Johann Joachim Winckelmann, who admired the "noble simplicity and quiet grandeur" of Greek sculpture and encouraged artists to imitate these ancient works.
Neoclassical painters aimed for historical accuracy in their depictions of Classical themes, paying close attention to costumes, settings, and details. They often drew inspiration from Classical literature, mythology, and history, creating works that reflected the heroism and fantasy of mythical tales. One of the most influential Neoclassical painters was Jacques-Louis David, whose works combined idealism with drama and forcefulness. His painting "The Oath of the Horatii" is considered a masterpiece of the Neoclassical style, depicting a scene from Roman legend with heroic figures arranged as in a frieze.
The issue of how to dress modern heroes or famous people was a challenge for Neoclassical artists. Some artists opted to portray their subjects in antique garb, such as David's "Portrait of Madame Récamier" (1800). Others avoided contemporary dress by depicting their subjects nude or in toga-like robes, as seen in Gavin Hamilton's "James Dawkins and Robert Wood Discovering the Ruins of Palmyra" (1758).
Neoclassical sculpture also played a significant role in the movement. Italian sculptor Antonio Canova created colossal standing figures of Napoleon (1808-1811) in the nude, idealizing the modern hero. Another famous work by Canova is "Paolina Borghese Bonaparte as Venus Victrix" (1805-1808), which depicts Napoleon's sister as a sensuous, antique Venus.
Neoclassical art extended beyond fine art to include decorative arts, interior design, and architecture. Furniture, ceramics, and metalwork incorporated Classical motifs such as laurel wreaths, mythological creatures, and medallions. Neoclassical architecture favoured simplicity and symmetry, drawing inspiration from Greek and Roman structures.
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Greek and Roman subject matter
In the late 1700s, with religious and mythological painting in decline, there was an increased demand for paintings of scenes from history, including contemporary history. Classical history remained popular, and Greek and Roman subject matter was chosen to promote the values of republicanism. Jacques-Louis David, a neoclassical painter, was influenced by the profiles of Greek vases and emphasised the use of the profile in his paintings. His subject matter often involved classical history, including the death of Socrates and Brutus. David's painting, 'The Death of Marat', depicted the lifeless body of his murdered revolutionary friend, a hero of the French Revolution.
Greek mythical characters were the most commonly depicted in paintings, but biblical heroes like David also made frequent appearances. One example of a painting depicting a Greek hero is Titian's 'Perseus and Andromeda', which portrays the hero diving into the water to save Andromeda from a sea monster. Perseus is distinguished by his half-mortal status, making his feats even more impressive.
History paintings were regarded as the highest genre in the hierarchy of arts, showcasing narrative works on a monumental scale. They were often used to celebrate heroes that fought in various wars and to portray heroic exploits, battles, and significant events.
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Heroes of the French Revolution
The French Revolution, one of the most influential events in social history, inspired a wave of art that depicted the heroes and villains of the time. Artists used their work to report and comment on the Revolution, with heroes immortalised in paintings that celebrated their exploits and efforts.
Jacques-Louis David, a devoted supporter of the French Revolution, created some of the most iconic paintings of the era. David's work, 'The Death of Marat', depicts the revolutionary Jean-Paul Marat, a close friend of the artist, who was murdered in his bath. David's painting immortalises Marat as a hero, and it is considered one of the most famous paintings of the French Revolution. Another of David's works, 'The Tennis Court Oath', depicts a founding event of the Revolution and, although unfinished, is a powerful reminder of the Revolution's beginnings. David also painted 'The National Assembly taking the Tennis Court Oath' in 1791, and later changed sides to support Napoleon, painting his coronation in 1807.
Pierre-Antoine Demachy's painting, 'Une exécution capitale, la place de la Révolution', depicts the execution of a counter-revolutionary, with a jubilant crowd surrounding the guillotine. This work captures the Reign of Terror that engulfed France, with the royal couple, Louis XVI and Antoinette, meeting their fate in the same square.
English painter, William Hamilton, also depicted the Revolution in his work, 'Marie Antoinette being taken to her Execution'. This painting, produced late in his career, is strikingly neutral and hesitant towards any grandeur.
Eugène Delacroix's painting, 'Liberty Leading the People', is another iconic work from the French Revolution. It depicts Lady Liberty leading a charge into battle, surrounded by injured revolutionaries. This painting is widely regarded as one of the most inspiring romanticism paintings of the era.
These artists and their works played a significant role in shaping the narrative and legacy of the French Revolution, immortalising the heroes and events that changed the course of history.
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Portraiture
In England, portraiture had been dominant since the Renaissance, and this continued into the late 1700s. Portraits and caricatures were reproduced in prints, book illustrations, ceramics, silhouettes, coins, medals, and waxes. Portraits were arranged in interiors to convey domestic, political, and dynastic messages. Portrait miniatures, which had become popular during the Renaissance, remained in fashion during this period.
In the American colonies, portraiture was also a prominent art form. Pastel portraiture, in particular, was introduced to the colonies as early as the first decade of the 1700s by artists such as Henrietta Johnston (ca. 1674–1729). John Singleton Copley also contributed to the development of pastel portraiture in Boston from 1758. Copley was influenced by the Swiss artist Jean Étienne Liotard, with whom he corresponded, and he created bust-length portraits of affluent New Englanders that captured their fashion sense and revealed their characters. Profile portraits, produced with a drawing machine known as the physiognotrace, were also popular in the late 18th century. These portraits offered pre-photographic accuracy, evoked classical virtue, and were affordable for citizens of the new nation.
During this period, neoclassical artists continued the tradition of depicting subjects in the latest fashions, which for women included diaphanous gowns derived from ancient Greek and Roman clothing styles. Artists used directed light to define texture and the simple roundness of faces and limbs. French painters Jacques-Louis David and his student, Jean-Auguste-Dominique Ingres, were known for their virtuosity in this technique. Ingres often included a mirror behind the subject to simulate a rear view, as seen in his portrait of Napoleon on his imperial throne.
In terms of subject matter, portraits could depict a range of individuals, from historical figures to members of the elite or affluent classes. For example, John Smybert's painting, "Colonel James Otaway," depicts a man in a black suit of armour with a setting sun in the background. William Berczy created family portraits that were staged and organized in a hierarchical fashion, with the father in a standing patriarchal pose. Benjamin West, an expatriate American artist, painted "Benjamin Franklin Drawing Electricity from the Sky," which depicted Benjamin Franklin as an older gentleman. West also served as a court painter to King George III and executed many images of biblical and moral subjects.
Overall, portraiture in the late 1700s continued to be a significant art form, especially in England and the American colonies. Artists used various techniques, such as pastel and oil paints, to capture the likeness, social status, and inner essence of their subjects.
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Frequently asked questions
History paintings usually contained several figures and depicted a moment in a narrative story, most often from Greek and Roman mythology, Bible stories, or national histories.
Some examples of history paintings from the late 1700s include Benjamin West's "The Death of General Wolfe" (1770), and Francisco Goya's "The Third of May 1808" (1814).
History paintings depicted heroes through their participation in battles, wars, and significant events. Heroes were also portrayed through paintings of martyrs and historical icons, such as Jean-Paul Marat, a friend of the painter Jacques-Louis David, who was assassinated during the French Revolution.
History paintings were regarded as the highest genre in the hierarchy of arts and often employed the neoclassical style, which drew on Greek and Roman forms and iconography. Romantic artists such as Théodore Géricault and Eugène Delacroix also contributed to history paintings, focusing on the emotive and expressive aspects of war rather than glorifying it.
Portraiture and figure painting were also popular in the late 1700s, with profile portraits gaining popularity due to their accuracy, classical virtue, and affordability. Landscape painting was also practiced, often derived from medieval traditions of manuscript illumination.
