Dr.

Schiller: AP History of Art

Neoclassical Art
The Enlightenment and its Legacy

[some of the slides and/or were taken from

PowerPoints created by Matt Curliss and
William V. Ganis, PhD and/or from Art
History by Marilyn Stokstad ]

NEOCLASSICAL ART
1750-1815

N E O C L A S S I C A L PAINTERS
ENGLISH

Joseph Wright of Derby

William Hogarth
Thomas Gainsborough
Sir Joshua Reynolds

FRENCH

Jean Simon Chardin

lisabeth Louise Vige-Lebrun
Jacques Louis David
Jean-Auguste Dominique Ingres

AMERICAN
John Singleton Copley

Factors that sparked the

Neoclassical movement:
Excavations of Pompeii and
Herculaneum in 1738 & Lord
Elgin Marbles of 1801
The Age of Enlightenment and its
emphasis on Reason
Rococo was too frilly and shallow

Differences between Baroque/Rococo and

Neoclassical Art

NEOCLASSICAL

Difference #1

Emphasized drawing of line (which

appealed to the intellect), rather
than color (which appeals to the
senses)

NEOCLASSICAL

Difference #2

Brushwork was smooth and

compositions were simple to avoid
Rococo melodrama

NEOCLASSICA
L

Difference #3

Neoclassical figures more solid

looking than French Classical
Baroque

SEE THE DIFFERENCE?

Baroque:
Poussin, The Rape of the Sabine
Women, 1640s.

Neoclassical:
David, The Death of Socrates,
1787.

Neoclassical
Painting:

Gardner plate 28-3

ENGLISH

Joseph Wright of Derby, A Philosopher

Giving
a Lecture at the Orrery , 1763-1765

Wright specialized in the drama of candlelit and moonlight scene

Advances in science and technology in the 1700s, which started with the
Scientific Revolution in the 1600s, fascinated people
Here, a scholar uses an orrery (a special mechanical model of the solar system
showing planetary movement) to demonstrate theory that universe operates like a giant
clockwork mechanism
the light comes from a candle
representing the sun
everyone in painting is caught up
in the wonders of scientific
knowledge; an ordinary lecture
take son the qualities of a grand
history painting
Wright renders everything with
careful accuracy of every detail
His realism appealed to the
accuracy industrialists of the day, such
such as Josiah Wedgwood

Jean
Simon
Chardin
(French,
1699
1779)
Soap
Bubbles,
ca.1734,
oilon
canvas,24
x25in

FRENCH

TheidleplayofchildrenwasafavoritethemeofChardin's,partofthetasteforthenatural
narrativesespeciallyiftheytaughtorallessons,dismissingthefrivolitiesandindecenciesofth
Rococo

Inthispaintingofabout1734,hedrewinspirationfromtheseventeenthcenturyDutchgenre
tradition,forbothformatandsubject.
Whileitisnotcertainthatheintendedthepicturetocarryamessageotherthanthesimple
goodnessofordinarypeople,soap
bubblesusuallyalludetothe
transienceoflife.
Chardinpaintedtwootherversions
ofthispicture,includingonein
LACMA

William Hogarth
(1697 1764)

English

a major English painter, printmaker,

pictorial satirist, social critic and
editorial cartoonist
he has been credited with pioneering
western sequential art.
His work ranged from excellent
realistic portraiture to comic striplike series of pictures called modern
moral subjects.
Much of his work, though at times
vicious, poked fun at contemporary
politics and customs.

Self-Portrait with Pug-Dog. 1745.

Illustrations in such style are often

referred to as Hogarthian.

William Hogarth, Breakfast Scene from Marriage a la Mode, 1745,

oil on canvas, ~2/4 x 3

Gardner plate 28-9

*the tail end of the arranged marriage of a young noble, after a long night spent in
different pursuits
*wife stayed home--evening of cards and music making/sleepy and flirtatious
the husband away carousing
*in his empty pocket, his wifes dog sniffs a lacy womans cap
*a steward holds unpaid bills and rolls his eyes
*rich home but filled with witty
clues about bad taste of its
owners--e.g., religious paintings
on wall in far room, but
curtained painting probably
erotic!
*This picture is one of 6 that
satirize the immorality the
moneyed English classes
practiced within marriage.

William Hogarth, The Marriage Contract from Marriage a la Mode, 1743

Stokstad plate 26-32.

William Hogarth, The Suicide Countess from Marriage a la Mode,

1745.

William Hogarth, A Rakes Progress (etching), 1735.

*etching: a kind of
engraving in which the
design is incised in a
layer of wax or varnish
on a meal plate. The
parts of the plate left
expose are then etched
(slightly eaten away) by
the acid in which the
plate is immersed after
incising

Hogarth, A Harlot's Progress, plate 4 of 6

Like many of contemporaries,

Vigee-Lebrun lived a life of
extraordinary personal and
economic independence,
working for the nobility
throughout Europe.
She was successful during the
age of the late monarchy in
France
She was one of the few women
admitted to the Academy. But
after the French Revolution her
membership was rescinded,
because they no longer allowed
women
lisabeth Louise Vige-Lebrun
Self Portrait
Uffizi, Florence, 1790
oil on canvas, 84 x 69

Gardner plate 28-8

French

Although her mood is

lighthearted and the costumes
details echo the serpentine
curve beloved by Rococo artists
and wealthy patrons, nothing
about Vigee-Lebrun pose or her
mood speaks of Rococo frivolity.
Hers is the self-confident stance
of a woman whose art has won
her an independent role in her
society.
She was famous for the force
and grace of her portraits,
especially those of highborn
ladies and royalty
Here, she painted herself in a
close-up, intimate view at work
on one of the portraits hat won
her fame, that of Queen Marie
Antoinette

Vigee-Lebrun
Portrait of Marie Antoinette
and Her Children,
1787.
oil on canvas, ~9 x ~7 1/2
Stokstad plate 26-46
FRENCH NEOCLASSICAL

lisabeth Louise Vige-Lebrun

Self Portrait with Daughter
1789

Other Female Neoclassical Painters

Adlade Labille-Guiard
Self-Portrait with
Two Pupils,
1785,
oil on canvas, 69 x 6
Stokstad plate 26-47

French

Angelica Kauffmann, Mother of the Gracchi,

Other Female Neoclassical Painters
1785
Angelic Kauffmann
oikl on canvas, 40 x 50
SWISS
Stokstad plate 26-36.

The subject of this

piece is an informative
exemplum virtutis
(example or model of
virtue) drawn from
Greek and Roman
history and literature.
The moralizing pictures
of Hogarth and Grueze
already had marked
change in taste, but
Kauffmann replaced
the modern setting and
characters of their
works. The actors are
clothed in Roman garb
and posed in classical
Roman attitudes within

The theme is the virtue

of Cornelia, mother of
the future political
leaders Tiberius and
Gaius Gracchus, who
attempted to reform
the Roman republic in
the second century
B.C. Cornelias
character is revealed in
this scene, which takes
place after a lady
visitor had shown off
her fine jewelry and
then haughtily
requested that Cornelia
show hers. Instead of
rushing to get them,
Cornelia brings her
sons forward,
presenting them as her
jewels.

Angelica Kauffmann, Mother of the Gracchi,

1785.

Thomas Gainsborough (1727-1788)

Thomas Gainsborough was an English painter who is considered

one of the great masters of portraiture and landscape.

Thomas Gainsborough, The Blue Boy,

c. 1770,
oil on canvas, ~71 x 49

ENGLISH

Perhaps Gainsborough's most famous

work, it might be a portrait of Jonathan
Buttall, the son of a wealthy hardware
merchant, although this was never
proved.
The portrait now resides in the
Huntingdon Library
It was often rumored that
Gainsborough painted the portrait in
response to rival Joshua Reynolds
It is a historical costume study as well
as a portrait: the youth in his 17thcentury apparel is regarded as
Gainsborough's homage to Anthony
Van Dyck, and in particular is very
close to Van Dyck's portrait of Charles
II as a boy

Thomas Gainsborough,
Mrs. Richard Brinsley, 1787
oil on canvas, ~7 x5 1/2
Stokstad plate 26-34

Sir Joshua Reynolds (1723-1792)

Sir Joshua Reynolds, an English painter in the Grand
Manner, who was the foremost portraitist of his day.

Sir Joshua
Reynolds
Sir Joshua Reynolds was the
most important and influential
of 18th century English
painters, specializing in
portraits and promoting the
"Grand Style" in painting
which depended on
idealization of the imperfect.

ENGLISH

Sir Joshua Reynolds

Miss Elizabeth Ingram.
1757.

Sir Joshua Reynolds,

Portrait of Mrs. Siddons
as the Tragic Muse,
exhibited 1784

Sir Joshua Reynolds

The Painters
Daughters Chasing a
Butterfly
c1756
ENGLISH
NEOCLASSICAL

Joshua Reynolds George

Augustus Eliott, Lord
Heathfield, 1787,
oil on canvas, 48 x 39

Gardner plate 28-11

English
Just weeks before he sat for this
portrait, General Eliott had been
made Lord Heathfield, a reward for
his remarkable achievements as
governor of Gibraltar. Eliott became
a national hero after successfully
defending the peninsula against a
three-year siege by the Spanish
and French. The key signifies both
his and his nation's loyalty to its
colony.
Significantly, the portrait was
commissioned by a print publisher
who wanted to exploit Lord
Heathfield's celebrity through the
sale of prints after this painting.

Sir Joshua Reynolds

Joshua Reynolds,
George Augustus Eliott, Lord Heathfield,
1787,

Thomas Gainsborough

Thomas Gainsborough,
Mrs. Richard Brinsley, 1787.

John Singleton Copley,

Portrait of Paul Revere, 1770,
oil on canvas, ~3 x 24

Gardner plate 28-13

American

More Natural
Neoclassical Style

This work shows a sense of directness

and faithfulness to visual fact that
marked the taste for downrightness
and plainness many visitors to America
noticed during the 18th and 19th
centuries.
The painting doesnt show him yet as
the familiar hero of the American
Revolution, but working his everyday
profession as a silversmith.
Revere is seated in a plain, revealingly
lit setting, bent over the teapot in
progress yet taking a quick pause to
turn his head and look the viewer in the
eye.
The informality and sense of moment
link the painting to contemporaneous
English and European portraits, but the
spare style and emphasis on the sitters
down-to-earth style differentiate the
American work from British and
continental counterparts.

John Singleton Copley

Samuel Adams, 1772.
oil on canvas, 50 x 40
Stokstad plate 26-1

Other American Neoclassical

WEST,
AMERICAN
The
combination
of traditional
heroic
painting with
modern
realism won
viewers
hearts during
that time and
influenced
many other
historical
paintings into
the
nineteenth
century.

Benjamin West, The Death of General Wolfe,

1771, oil on canvas, ~5 x 7 Stokstad plate 26Painters:
37

Other American Neoclassical Painters

Gilbert Stuart
Portrait of George Washington,
1797.

AMERICAN

Other American Neoclassical Painters

AMERICAN

Charles Wilson Peale

George Washington
ca. 1779-81
oil on canvas
95 x 61 3/4 in.

David was pro-French Revolution

and even signed some death orders
during the Reign of Terror
Later, he admired and painted
Napoleon

Jacques-Louis David
Self-Portrait
1794.

French

Stokstad plate 26-48

JacquesLouis
David,
The Oath
of the
Horatii,
1787, oil
on
canvas,
~11 x
14

ThispaintingoccupiesanextremelyimportantplaceinthebodyofDavid'sworkandinthehistory
ofFrenchpainting.
ItwascommissionedbytheAdministratorofRoyalResidencesin1784andexhibitedatthe1785
SalonunderthetitleTheOathoftheHoratii,betweentheirFather'sHands.
ThestorywastakenfromTitusLivy.WeareintheperiodofthewarsbetweenRomeandAlba,in
669BCE.Ithasbeendecidedthatthedisputebetweenthetwocitiesmustbesettledbyanunusual
formofcombattobefoughtbytwogroupsofthreechampionseach.
Davidsucceededinennoblingthese
passionsandtransformingthese
virtuesintosomethingsublime.He
chosetheideaoftheoath(itisnot
mentionedinthehistoricalaccounts),
transformingtheeventintoasolemn
actthatboundthewillsofdifferent
individualsinasingle,creative
gesture.
Theviewer'seyespontaneously
graspstwosuperimposedordersthat
ofthefiguresandthatofthedecor.

ThroughDavid'srigorousandefficientarrangement,thesuperiorharmonyofthecolors,andthe
spiritualdensityofthefigures,thissacrifice,transfiguredbytheoath,becomesthefoundingactof
anewaestheticandmoralorder.
Heconsciouslyintendedittobeaproclamationofthenewneoclassicalstyleinwhichdramatic
lighting,idealforms,andgesturalclarityareemphasized.
Presentingaloftymoralistic(andbyimplicationpatriotic)theme,theworkbecametheprincipal
modelfornobleandheroichistoricalpaintingofthenexttwodecades.ItalsolaunchedDavid's
personalpopularityandawardedhimtherighttotakeonhisownstudents.

Jacques-Louis David, The Death of Socrates, 1787.

This is Marat, one of the head group

that sent thousands to the guillotine
during the Reign of Terror
He was in the bath to relieve the pain
and itching of a disgusting skin disease
He was stabbed to death by a French
woman
Clearly, David, an admirer and
revolutionary colleague, cleaned him
up to make this heroic-looking painting.

Jacques-Louis David,
Death of Marat, 1793, oil
on canvas, 53 x 41
Stokstad plate 26-49

Jacques-Louis David
Coronation of Napoleon & Josephine of 2 Dec 1804, 1806-7.

NEOCLASSICA
L

Jacques-Louis David
Napoleon Crossing
St. Bernard
1800-01.

Napoleon used paintings as

propaganda of his success and
heroism
David painted many of these paintings

Jacques-Louis David
Napoleon in His Study
1812.

J. A. D. Ingres (1780-1867)
Ingres was greatly influenced by the work of the Italian Renaissance painter
Raphael, and his style has been described as doubly inspired by Raphael
and David.
While in Italy, Ingres made many pencil portraits that are distinguished for purity and
economy of style.
On his return to Paris, he became the recognized leader of the neoclassical school
that opposed the new romantic movement led by Eugene Delacroix and Theodore
Gericault.
His position both as a painter and as the official academic spokesman against the
romanticists was established, and he was given the rank of commander of the Legion
of Honor in 1845. In the Universal Exhibition of Paris in 1855 both he and Delacroix, his
chief rival in art, were awarded gold medals. Ingres died in Paris on January 14, 1867.
Ingres's strengthssuperb draftsmanship, keen sensitivity for personality, and precise
neoclassical linear stylewere perfectly suited to portraiture.
Ingres's influence on art to the present day has been immense; among important later
painters who acknowledged deriving inspiration from his style are Edgar Degas, Pierre
Auguste Renoir, Henri Matisse, and Pablo Picasso.

Jean-Auguste Dominique Ingres

La Grande Odalisque, 1814, oil on canvas, ~3 x 54

Stokstad plate 27-4/French

NOTE that in this painting and the one on the next slide, he had tampered with anatomy
to achieve the effect he wantedin the next painting, the womans arm is way too long,
and here the Odalisque would have needed extra vertebrae to get such a long back!

Jean-Auguste Dominique Ingres

Princesse de Broglie, 185153

Oil on canvas; 47 3/4 x 35 3/4 in

Jean-Auguste-Dominique Ingres,

Apotheosis of Homer, 1827.

presents in a single statement the doctrine of ideal form and Neoclassical taste

Jean-Auguste-Dominique Ingres,

Apotheosis of Homer, 1827.

Michelangelo

Nike

Plato

Raphael

Aristotle
Socrates

Homer

Alex. The Great

Aesop
Aristotle

Mozart

Iliad

Poussin
Shakespeare

Odyssey

Neoclassical Architecture

Abraham Darby III and Thomas Pritchard, iron bridge at Coakbrookdale, England, 17761779, 100 span

Stokstad page 935/English

The Iron Bridge crosses the River Severn at Coalbrookdale in England.

It was the first arch bridge in the world to be made out of cast iron, a material which wa
s previously far too expensive to use for large structures.
However, a new blast furnace nearby lowered the cost and so encouraged local engineers
and architects to solve a long-standing problem of a crossing over the river.

Pierre Vignon, La Madeleine

Paris, France, 1807-1842

Gardner plate 28-20

French

La Madeleine is known as
the Temple of Glory.
It was briefly intended as
a temple of glory for
Napoleons armies and a
monument to the newly
won glories of France.
Begun as a church in
1807, at the height of
Napoleons power and
reverted back to a church
after his defeat and long
before its completion.
It was designed by Pierre Vignon in 1763-1828. Vignon clothed this Christian
church in the costume of pagan Rome. La Medeleine is a symbolic link between
the Napoleonic and Roman empires.
The temple includes a high podium and a broad flight of stairs leading to a
deep porch in the front. These architectural features, along with Corinthian
columns mimic Roman imperial temples.
The building has a classical shell; however, the interior is covered by a
sequence of 3 domes, a feature found in Byzantine and Aquitanian

Roman
Maison Carree, Nimes. France,
20 BCE
Gardner plate 10-30

French Neoclassical
Pierre Vignon, La Madeleine
Paris, France, 1807-1842

The building has a classical shell; however, the interior is covered by a

sequence of 3 domes, a feature found in Byzantine and Aquitanian
Romanesque churches.

In English architecture, the preference for a simple and commonsensical style

led straight from the authority of the classical Roman architect, Vitruvius, to
Palladios work and on to Chiswick house. This style was called NeoPalladian

Andrea Palladio
Villa Rotonda, c1566.
HIGH ITALIAN
RENAISSANCE/MANNERISM

Richard Boyle (Lord Burlington)and

Kent, Chiswick House, c1729.
ENGLISH NEOCLASSICAL

Gardner plate 28-22

English
Boyle and Kent,
The Chiswick House,
c.1729
Stokstad plate 26-22

The Chiswick House is one of the most glorious examples of 18th

century British Neo-Palladian architecture. Lord Burlington, who
designed this elegant Classical villa as an extension to his existing
house, drew inspiration from his 'grand tours' of Italy. It was
finished in 1729.
It has no bedrooms or kitchen,
and was probably intended as a
purely social space in which to
display collections acquired on
the grand tour.

Villa Rotunda

Chiswick House

Lord Burlington drew

inspiration from the
Villa Rotonda:
a portico with six columns
fronts a square building
surmounted by a dome.
Both buildings cover 68
feet square, although
Chiswick House is slightly
smaller because of the
difference in Italian and
British units.
Burlington followed
Palladios desire for
harmony, proportion and
symmetry

Villa Rotunda

Chiswick House

But Burlington deviated in plan

from the Villa Rotonda:
His rooms are more varied in
terms of shapes, perhaps
reflecting an interest in
Palladios reconstruction of
Roman baths.
At the rear of the principal
floor a central rectangular
room with niched apses at
either end leads to a circular
room on one side and an
octagonal room on the other.
Chiswick House differs
further from the Villa Rotonda
in terms of its dome, as well
as the positioning of the
portico and windows.

John Wood the Younger, The Royal Crescent

Bath, England, 1769-1775

Gardner plate 28-23

English

The Royal Crescent is a street of 30 terraced houses laid out in a sweeping crescent in the
city of Bath, England.
It is among the greatest examples of Georgian architecture to be found in the United
Kingdom. Although some changes have been made to the various interiors over the years,
the Georgian stone faade remains much as it was when it was first built.
John Wood designed the great curved faade with Ionic columns on a rusticated ground
floor.
The 114 columns are 30 inches in diameter reaching 47 feet, each with an entablature 5 feet
deep. The central house (now the Royal Crescent Hotel) boasts two sets of coupled

Each original purchaser bought a length of the faade, and then employed their own archite
to build a house behind the faade to their own specifications; hence what can appear to be
two houses is occasionally just one.

This system of town planning is betrayed at the rear and can be seen from the road behind
the Crescent: while the front is uniform and symmetrical, the rear is a mixture of differing roo
heights, juxtapositions and
fenestration. This
architecture, described as
"Queen Anne fronts and
Mary-Anne backs", occurs
repeatedly in Bath.

In front of the Royal Crescent is a Ha-ha, a ditch

on which the inner side is vertical and faced with
stone, with the outer face sloped and turfed, mak
ing an effective but invisible partition between the
lower and upper lawns.
The ha-ha is designed so as not to interrupt the
view from Royal Victoria Park, and to be invisible
until seen from close by. It is not known whether it
was contemporary with the building of the Royal
Crescent, however it is known that when it was
first created it was deeper than it is now.

Thomas Jefferson, Monticello

Charlottesville, VA, 1770-1806

Stokstad plate 26-54

AMERICAN

Thomas Jefferson, the owner and designer of Monticello was attracted to classical
architecture.
Jefferson admired Palladio immensely and read the Italians Four Books of Architecture.
Later, while the minister to France, Jefferson studied the century classical architecture
and city planning and visited the Maison Caree.
Due to this new knowledge Jefferson completely remodeled Monticello, which he had first
designed in an English Georgian style.
In his
remodeling, he
emulated
Palladios
manner
The final version
of Monticello is
somewhat
reminiscent of
the Villa Rotonda
and of Chiswick
House, but its
materials are
local wood and
brick used in
Virginia.

Andrea Palladio, Sketch

Elevation of plan of the
Pantheon

Thomas Jefferson, Elevation of plan

for Univ. of Virginias Rotonda

Thomas Jefferson, Rotunda at the University of Virginia

White House, begun in Washington D.C. in 1792

Neoclassical Sculpture

Jean-Antoine Houdon
Neoclassical Sculptor

Houdon was a French

neoclassical sculptor. Houdon is
famous for his portrait busts and
statues of philosophers,
inventors and political figures of
the Enlightenment.
Houdons biggest influence was
of the Roman bust, often used to
revere political figures and
statesmen in Ancient Rome.

Houdons daughter, Sabine Houdon.

Houdon, Voltaire, 1778, marble, life-size,

Gardner plate 28-1

ctually, the one in Gardner was done 3 years later]

French

Jean-Antoine Houdon
Neoclassical Sculptor

Houdon, Ben Franklin, 1789.

Houdon, Thomas Jefferson, 1789.

Jean-Antoine Houdon
George Washington
1788-92
marble
6 ft. 2 in. high
Stokstad plate 26-51

Antonio Canova, Pauline Borghese as Venus, 1808,lifesize

Gardner plate 28-21

Italian

Napoleons favorite sculptor was Antonio Canova, who somewhat reluctantly

left a successful art career in Italy to settle in Paris and serve the emperor.
Napoleon liked classical models, in paintings as well as sculpture.
This is a sculpture of Napoleons sister. She insisted on being portrayed as the
goddess of love, or Venus.
She appears reclining on a divan and gracefully holding the golden apple, a
symbol of the goddesss triumph in the judgment of Paris.
Canova derived the figure
from greek art, however the
artwork is not a sensuous
and idealized as might be
expected.
Drapery suggests a
commitment to naturalism.

Antonio Canova, Cupid and Psyche, 1786-93.

marble, 61 x 68
NEOCLASSICAL
Stokstad plate
26-21

Antonio Canova
Perseus with Head
of Medusa
1804.

Antonio Canova
Venus and Mars
1816-1822.

Horatio Greenough,
George Washington, 1832-1841,
marble,~114 high

Gardner plate 28-28

American

Wedgwood and Co.

Vase with Bridal Preparation
Scene
black basalt stoneware
1769-1775
18 in. high

a frieze depicts the toilet of a

bride

She looks around at Eros,

who flies toward her but is

restrained at the knee by a
seated woman.

copy of an ancient Greek

vase

The vase is decorated with borders of

acanthus and vine leaves and with laurel
leaves. The golden lettering 'To
Commemorate The Silver Jubilee of Pope
John Paul II, 16 October 2003' is printed on
the foot of the vase.
The vase is decorated with white on blue
jasper reliefs. Jasper is a kind of hard fine
porcelain invented by Josiah Wedgwood and
used for Wedgwood cameos and other delica
work.
The front of the vase features John Paul's
coat of arms. Every pope has his own coat o
arms and this one shows a cross and the larg
Wedgwood and Co.
capital 'M'. The letter 'M' beneath the cross
Papal Jasper Vase and coverrepresents the Virgin Mary under the cross, t
whom he held strong devotion. He even
unglazed jasper ceramic
2003
attributed the fact that he survived the
12 1/2 inches high

The coat of arms is surrounded by the

papal tiara and two keys. The keys - in
the coloured version they are silver and
golden - are representing the power to
bind and loose on earth (silver) and in
heaven (golden). They are referring to
the Apostolic Succession
The rear of the vase shows the Virgin
as a mother cradling the Christ child.
Both are depicted with halos around
their heads.
Wedgwood and Co.
Papal Jasper Vase and cover
unglazed jasper ceramic
2003
12 1/2 inches high

KEY TERMS
1.divan: a long low sofa without a back or arms, typically placed against a wall.
2.Enlightenment: a European intellectual movement of the late 17th and 18th centuries
emphasizing reason and individualism rather than tradition. It was heavily influenced by 17thcentury philosophers such as Descartes, Locke, and Newton, and its prominent exponents include
Kant, Goethe, Voltaire, Rousseau, and Adam Smith.
3.exemplum virtutis: example or model of virtue.
4.Grand Manner or Grand Style: an idealized aesthetic style derived from classical
art, and the modern "classic art" of the High Renaissance. In the eighteenth century, British
artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in
order to suggest noble qualities. It was Sir Joshua Reynolds who gave currency to the term
through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to
1790, in which he contended that painters should perceive their subjects through generalization
and idealization, rather than by the careful copy of nature. Originally applied to history painting,
regarded as the highest in the hierarchy of genres, the Grand Manner came thereafter also to be
applied to portrait painting, with sitters depicted life size and full-length, in surroundings that con
veyed the nobility and elite status of the subjects. Common metaphors included the introduction
of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds,
which implied unpretentious sincerity (and large estates).
5.Hogarthian: in the style of Hogarth
6.incubus: a male demon believed to have sexual intercourse with sleeping women.

KEY TERMS
7. Marat: French politician and a leader of the radical Montagnard faction in the French Rev
olution. Cordays motive was to save her country from civil war. She believed Marats influence
in the massive violence would lead to the demise of her country, and it was her duty to sacrifice
her life to save France
8. modernity: of or relating to the present or recent times as opposed to the remote past
9. moralizing picture: picture that makes a moral pronouncement.
10. Neo-Palladian: Neo-Palladianism is the term used to describe the style of architecture
developed in Britain in the early eighteenth century, led by Lord Burlington and his cir
cle of architects. On the whole, it drew on Palladio's villas and palaces, rather than his church
architecture. It also consciously sought to revive the work. It gave rise to the quintessential
eighteenth-century British country house, plus the ordered streetscapes that form the heart of
numerous British cities, punctuated by grandiose civic buildings.
11. odalisque: a female slave or concubine in a harem, esp. one in the seraglio of the sultan of
Turkey.
12. orrery: a mechanical model of the solar system, or of just the sun, earth, and moon, used to
represent their relative positions and motions.
13. sublime: of such excellence, grandeur, or beauty as to inspire great admiration or awe
14. undraped construction: not covering up the construction element of a building, i.e.
not draping it in a style. For example, a greenhouse or the Crystal Palace.