Long Live the Revolution! Art Analysis: Classical (Neoclassical) Art

War and the Birth of Neoclassical Art

The Age of Revolution, a tumultuous period for absolute monarchies, ushered in a new era of freedom for the common man. Beginning in 1789, greatly influenced by the ongoing American Revolution, the French would ignite their own revolution and throw much of Europe into the struggle for independence. As poor citizens fought for the ideas of sovereignty and individual liberty, artists felt a great sense of inspiration and patriotism – drawing connections t o ancient battles for the same ideals. Thus, artists returned to the techniques of the past to capture their intense patriotism and conceived the Neoclassical Art Style. Along with these conflicts, painters included many principles from the period of Enlightenment in their work, which itself encouraged anti-monarchy sentiment. Some of the principles featured in the artwork were: emphasis on reason and intellect, t he demand for freedom from tyranny and superstition, resistance to corruption and hypocrisy, and the ideas supporting the common man.

Each artist mentioned in my analysis used similar techniques when crafting the pieces features below. I wanted to focus on the some of the same elements for each painting, allowing viewers to see some of the same similarities and differences I saw when interpreting their work.

He was Gave His Final Breath for Freedom

Volley fire peppered the orchard, American fighters positioned behind a small fence, ready to tackle the British infantry assembled before them. Though horribly outnumbered and outgunned, the American troops fire their rifles, hoping to cut down enough British regulars and degrade their moral. However, this is no ordinary detachment, as they are commanded by Lieutenant Colonel Mawhood - a man determine to destroy General George Washington and end this “silly” rebellion. Soon a panic breaks out amongst the American ranks, as they realize they cannot maintain the adequate rate of fire needed to suppress the British force. The men decide to flee from their positions, after witnessing Mawhood order the final blow to their rebel element, a bayonet charge. Through the chaos, an American officer stands with his saber drawn, prepared to fight to his final breath. This was General Hugh Mercer and quickly the British would surround him, demanding for him to surrender. Choosing to resist, the enemy charges, believing him to be the infamous General Washington, and inflicts a fatal bayonet wound. Washington would lead the Continental Army to victory that day, capturing Princeton, forcing Mawhood’s own retreat. The death of General Mercer soon came to represent American spirit and sacrifice.

The Death of General Mercer at Princeton, c.1789-c.1831, by John Trumbull. Painted in the United States.

Colors : Much of the color used in this painting accurately represents the armies engaged in combat. I do not believe that Trumbull intended for more symbolism in the colors of each nation’s respective uniforms, I do however, believe there is symbolism in the hues used for the background. There is a massive column of smoke that bellows over the scenery, while a ominous storm blows in from the east. The death of General Mercer is a somber moment, the nation has lost a hero and the very air around him weeps. Additionally, one could interpret that the warhorse Mercer is laying against, is the pale horse of Death - signally the end of the General’s life and maybe even the Revolution.

Tone: The tone of this artwork contributes to the somber atmosphere; the left and right borders, where the wealth of British are gathered, have a shadow cast over them. This represents the oppression of the British Empire that these men serve, insinuating that they are just as guilty of the Crown’s crimes against the colonies. At the center of the painting, near the foreground is General Mercer, who is seen fighting to the bitter end. Even as a British regular deals the killing blow, he holds his saber high; this entire moment is illuminated by a bright light, as Mercer represents the goodness in the nation’s struggle for freedom. The father of the United States, General George Washington, is mounted on his warhorse, seems to have his own angelic glow. These men are heroes of this battle, and the entire American Revolution, and through their guidance the Continental Army can obtain victory.

Texture: Another way Trumbull captures the somber tone of this battle is the with the texture of the nearby landscape. The ground at his feet is remarkably barren, completely void of any life; unlike in real life, where you may still find grass and foliage littering paths and battlefields. The very earth at his feet has died with him and this death can be seen spreading to the trees in the background. Historically, the battle occurs in January, and I have lived in Virginia during this time of year. Trees and brush become dormant, but there is still some evidence of life within them. In this piece, those trees look hollowed and twisted, as if they have be wrought with disease, the miasma of death.

“Given that I am unhappy, I have a right to your help...”

Death is synonymous with Revolution; it can be the spark that ignites a movement, or it can spell the end of a rebellion. During the French Revolution, death was weaponized, used to strike fear in the aristocracy, but also in the citizens who opposed the radical ideals of factions like the Montanagards. Jean-Paul Marat, the symbolic leader of this faction, was once a man of science and medicine. He pushed himself, believing he could shape these worlds of study; only to find himself rejected from entry into the prestigious French Academy of Sciences. With his dreams shattered, and sympathy towards radical ideals inflamed, Marat pursued politics and began to stoke the flames of Revolution. His writings were fierce, calling for death of all aristocrats if there were to be any hope for French freedom. Famously he wrote:

Five or six hundred heads cut off would have assured your repose, freedom, and happiness. A false humanity has heldyour arms and suspended your blows; because of this millions of your brothers will lose their lives. (Britannica).

However, some would denounce his writings, callling for his disposition from the National Convention, and even his arrest for political crimes. His enemy would be the conservative Girondin faction, whose opposition would only secure Marat’s place as a “hero of the people.” His elevation to martyrdom occurred on July 13, 1793, when Charlotte Corday gained admittance to speak to Marat and plea for her protection during the ‘Reign of Terror.’ She delivered a handwritten note, claiming her entitlement to his help, and while he was distracted, stabbed the radical speaker. Charlotte would stay by the body, complying with her arrest and accepting her subsequent execution. The image of a deceased Marat laying in his medicinal tub would become the image of sacrifice for the French.

The Death of Marat, c.1793, by Jacques-Louis David. Painted in Paris, France.

Color: Immediately upon viewing this work, we see the paleness of Marat’s lifeless body. Yes, this is used extensively throughout art to simply depict who is deceased, however I believe David wanted this drained appearance to represent more. Marat inspired the citizens of France to support the revolution through media, fine art, and politics; to David, his friend was the very essence of the movement. Thus, the ghastly hue of Marat’s skin shows that he is void of any spirit, symbolizing that the promise of liberty has died with him. The green of Marat’s blanket could be interpreted as a representation of how his death helped to grow and develop Revolutionary ideals, or it could be an accurate depiction of his possessions at death.

Tone: Like Trumbull, David used tone to emphasize the emotion he wanted his audience to feel when viewing this artwork. Many members of radical factions, including David himself, came to view Marat a “Jesus-figure,” someone whose sacrifice allowed for others to prosper. With him, France would be saved from the clutches of the evil nobility and given individual liberty that had never been seen. Thus, David gave Marat a “glow” - a light that emanates from him and could represent not only his religious view of Marat, but the very ideals of Enlightenment he supported. There could also be an argument for subtle use of chiaroscuro, as there are much darker tones used in the background, around the bathtub, and in the folds of the bedding. All of this would help to place the viewer’s focus directly on Marat.

Shape: Perhaps the most important element of this painting is how David positioned Marat, and the dramatic elongation of his arm. It would be difficult to accurately describe the shape as “normal,” as we all have very different body types and proportions; however, for Marat, the long and slender nature of his slumped arm is another parallel to Christ-like representation. In Michelanego’s, Pieta, Christ is carried by his mother, Mary, after his crucifixion. In this sculpture, Christ’s right arm is elongated, his body awkwardly proportioned - due to the difficulty in depicting a fully grown man cradled in a woman’s lap. (Wikipedia). This work had a profound impact on the arts and the representation of Jesus; it is obvious why David would include a similar element within this painting of Marat.

Gentlemen, the Situation Appears Hopeless

As cannon fire rocked the city of Yorktown, Lord Cornwallis and his staff gathered to determine if they had the ability to break the allied siege, or if it was time to lay down their arms and surrender to the Americans. They came to the agreement that their situation was hopeless and it was time for the British crown to accept that the colonies were victorious- that they earned their sovereignty. Before this pivotal moment, General Washington, along with his staff and foreign commanders, moved silently through the Virginian forest and gathered the reconnaissance needed to defeat Lord Cornwallis. Washington’s staff, the Marquis de Lafayette, and the Comte de Rochambeau, position their men to wait patiently for the General’s orders. This combined force understands the importance of this battle, they know the British crown is on its heels, and now with General Washington’s leadership, they can deliver the killing blow and secure American freedom and French superiority. In the closing hours of the day, Washington commands engineers to complete the defensive trenches and construct the bridges necessary to cross the marsh that separated the Allied and British forces. Soon night falls and the world slumbers, unaware of the momentous battle about to unfold; that the end of this revolution will cast Europe into the chaos of liberation. 

Washington Before Yorktown, c.1824-c.1825, by Rembrandt Peale. Painted in the United States.

Color: As with my discussion of color in Trumbull’s painting of General Mercer, I doubt there was much symbolism placed in the color of Washington, or his staff’s, uniforms. However, I believe Washington’s warhorse may have symbolism like Mercer’s; here we see his horse lively and restless, as if it senses the coming battle and is ready to carry the famed General into war. It’s brilliant white hide may represent liberty and honor, leading the forces of freedom against those to the tyrannical King George. We see red saddle mats, unlike the black-leather mats seen in Trumbull’s work; I believe this was a deliberate way to represent the passion and heart of Washington and his men. He is determined to win and best Lord Cornwallis, cast out the British army, and secure the colonies for the American people - or die trying.

Tone: The symbolism is very obvious here, just like David’s Death of Marat, as West is portraying Washington as a godly figure. He is beyond corruption, cowardice, or arrogance; rather, he stands only for the liberation of his people from the clutches of Britain. I would also say that like David’s depiction of Marat, this “heavenly glow” also represents Washington’s Enlightenment - for he was a man who wanted to advance his knowledge, support his fellow man, and secure peace for the future United States. (Mount Vernon).

Space: West’s use of space has obvious symbolism as well; he places Washington is the foreground to capture the attention of the audience. He is the hero in West’s artwork, and though the artist includes the members of staff (and the Marquis de Lafayette, who shares some of the foreground), the painting is meant to truly tell Washington’s tale during the events leading to Yorktown. With the attention focused on the General, we can see him directing others to finish constructing defensive positions and calling the men into formation. Also, we see the staff’s submission to him, as they patiently stand by, waiting for additional orders from their commander; they respect him, value his intellect, and trust he can lead them to victory.

References

Unknown , Unknown. “George Washington Wired.” George Washington's Mount Vernon, Mount Vernon Ladies Association , 2022, https://www.mountvernon.org/george-washington/take-note/george-washington-wired/. 

Unknown , Unknown. “Pietà (Michelangelo).” Wikipedia, Wikimedia Foundation, 8 June 2022, https://en.m.wikipedia.org/wiki/Piet%C3%A0_%28Michelangelo%29. 

Unknown , Unknown. “The Death of Marat.” Wikipedia, Wikimedia Foundation, 22 May 2022, https://en.m.wikipedia.org/wiki/The_Death_of_Marat. 

Unknown, Unknown. “Battle of Princeton.” Wikipedia, Wikimedia Foundation, 24 Mar. 2022, https://en.m.wikipedia.org/wiki/Battle_of_Princeton. 

Unknown, Unknown. “Siege of Yorktown.” Wikipedia, Wikimedia Foundation, 10 June 2022, https://en.m.wikipedia.org/wiki/Siege_of_Yorktown. 

Unknown, Unknown. “The Death of General Mercer at the Battle of Princeton, January 3, 1777.” The Death of General Mercer at the Battle of Princeton, January 3, 1777 | Yale University Art Gallery, Yale , 2022, https://artgallery.yale.edu/collections/objects/101.

Unknown, Unknown. “Washington before Yorktown.” Art Object Page, National Gallery of Art, 2022, https://www.nga.gov/collection/art-object-page.178141.html. 

Vidalenc, Jean. “Jean-Paul Marat” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 20 May 2022, https://www.britannica.com/biography/Jean-Paul-Marat.