Morality in Neoclassical art

Robert Fulton (1765–1815), Jean Antoine Houdon (French, Versailles 1741–1828 Paris), Painted plaster, French, Paris  A man with pale white skin sits and a man with light brown skin stands in front of a cave-like, rocky outcropping in this vertical portrait painting. The light-skinned man closer to us has dark brown hair, and the light falls more strongly on him. He sits propped on or against a rock with his body angled to our left, and he looks off into the distance in that direction. He wears a scarlet-red overcoat, a white waistcoat, and moccasins. What appears to be an animal skin painted on the underside with red, tan, and black geometric patterns is tied around his chest and falls over his left arm, on our right. With that hand, he holds a musket like a walking stick. He also holds a black cap ornamented with beads and feathers on his other knee. The man with brown skin stands in shadow behind the other man, to our left. His body faces us, and he looks at the seated man. A dark cloak encircles his shoulders and is gathered around his waist. A strap crosses his bare chest and the strap, bracelets, and a feathered headdress seem to be beaded. Large gold rings curve from his earlobes up over his ears. A puff of smoke emerges from the top of the long, painted stick he holds, suggesting it is a pipe. He holds his left hand, on our right, at his chest, and points subtly to our left, perhaps to the landscape seen through a break in the rocky outcropping. There, in front of a waterfall in the distance, a small group of people with light brown skin gather around a camp fire in front of a tent-like structure.



Clockwise from the top left; Robert Fulton by Jean-Antoine Houdon, Colonel Guy Johnson and Karonghyontye by Benjamin West, and The Oath Of Horatii by Jacques-Louis David.

Morality in Neoclassical art


    With these three pieces, you can develop an idea of the return to morality in art prominent during this time. Themes of sacrifices, leadership, and power are all at work in these pieces. These elements together inspire the viewer to take part in the moral ideals of the time. Especially seen in The Oath Of Horatii painted by Jacques-Louis David in Rome during the year 1786 where three men are agreeing to a battle to the death to settle a debate between two cities. This sacrifice was meant to stop greater bloodshed if the cities went to war and was seen as a very noble sacrifice. This narrative promotes the morals of sacrificing the individual for the good of the state, a theme that became prominent in art during this time.
    In the painting Colonel Guy Johnson and Karonghyontye by Benjamin West painted in London in 1776 we see more of the neoclassical motifs such as good deeds. The painting shows the relationship between the  Mohawk chief Karonghyontye and diplomat Guy Johnson. This relationship was crucial in aiding the British and disallowing the rebel colonists a chance of winning. The painting has Karonghyontye pointing at a 'piece pipe' highlighting the importance of the maintained relationship. While outside you can see an Indian family gathering peacefully in front of a British tent. All these elements together promote the morality of the British through their healthy relationship with the Mohawk people. 
    Finally, in the bust of Robert Fulton by Jean-Antoine Houdon done in Paris 1804, the viewer sees the Vigor of the man and his informal dress of flared overcoat lapels. This informality promotes the individualism of the time, but the Vigor instills a sense of patriotism and nationalism also key to the neoclassicalist movement. Making the bust so lively with these traits inspired viewers to see the patriotic morality of the time.

Aesthetic Preference


    Of these three pieces, The Oath of Horatii uses art elements to inspire the most awe in the viewer. It utilizes simple composition, strong hierarchy, and rich contrast. On top of this, the scale of this painting is immense, it measures 51.25 by 65.5 inches, making it even more inspiring to look at. I love the intensity of emotion evoked by the sollem figures on the right of the painting, and the determined stances of the figures on the right, mediated by the worship-like posed figure in the center. I would certainly own a copy of this painting for my hangout room, where it could inspire viewers to contemplate the moral message imposed. The back story of this painting is not crucial as the emotional quality is what sets it apart, but knowing who the three brothers are makes the impact even more substantial. 


Sources;

Toledo Museum of Art. "The Oath of the Horatii – Works – Toledo Museum of Art." emuseum.toledomuseum.org, http://emuseum.toledomuseum.org/objects/55069/the-oath-of-the-horatii?ctx=739d11b7-2f63-4ad0-9596-69dcd5791a3e&idx=0. Accessed 18 Mar. 2024

The Metropolitan Museum of Art. "Robert Fulton (1765–1815)". The Metropolitan Museum of Art, https://www.metmuseum.org/. Accessed 18 Mar. 2024.





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