A Classical Tale
The Classical Era was a period of major development and change. Monarch Authority was no longer recognized, and revolutions were in fashion. Access to education and readable material became widespread, and logic of the mind, intellect, and reason became predominant disciplines of study within Philosophy. Secularity and (Rational) Humanism were invigorated through social practices, literature, philosophical debate and theory, and Classical art. There are heavy notes of Greco-Roman influence within the artistic styles of the time.
There were two notable art styles in the Classical Era: the Rococo Art style (1740-1770) and the Neoclassical Art style (1750-1820). The Rococo style is relatable to the Rubenistes in nature. The Neoclassical style is relatable to the Poussinistes in nature. (The Rubenistes and Poussinistes were the two divisions within the French Academy of Art). Rococo Art is colorful, spacious, graceful, elegant, and perhaps even mystical. Neoclassical Art focused more on boldness, order, symmetry, and classical styles of painting.
Love and Psyche (1817)
Jacques-Louis David (1748-1825)
Love and Psyche is a Neoclassical Oil on Canvas work of art depicting the divine figure, Cupid, and his mortal love, Psyche. Cupid is the Roman god of desire, sensuality, and love. This painting illustrates part of their love story. Cupid would visit Psyche every night provided she never learned his identity.
This painting renders figures and objects in a realistic and symmetrical style that beautifully incorporates flavors from the Poussinistes style of art. Keeping true to Neoclassicism, the French painter (David) represents Cupid and Psyche as idealistic but orderly, and the painting takes on a more serious tone. The use of line and shape denotes a physical realness to the characters, and the colors are rich and deep, framing the subjects in a dark halo to bring emphasis to their physiques. The subjects differ in form from nonchalant to alert which balances the emotion of the painting. There are flavors from other eras of art creation notable within this work, such as tenebrism.
The Temptation of Eros (1750-1775)
Angelica Kauffmann (1741-1807)
The Temptation of Eros is a Rococo Oil on Canvas painting depicting the divine figure, Eros, tempting the beautiful, mortal maiden (Psyche) with attention and affection. Eros is the Greek god of love, passion, and physical desire. This painting illustrates part of their love story. Awestruck by her beauty, Eros could not sustain from attempting to woo the lovely maiden.
The Victory of Eros (1750-1775)
Angelica Kauffmann (1741-1807)
The Victory of Eros is a Rococo Oil on Canvas painting depicting the divine figure, Eros, having successfully won the interests of the beautiful, mortal maiden (Psyche). This painting illustrates part of their love story. Psyche could not help but fall for the mysterious and alluring presence of the figure who fancied her.
Although the Swiss painter was more commonly recognized for her Neoclassical works, Kauffmann was adept in the Rococo style. These two paintings render their subjects in a highly idealized and elegant fashion. Unnaturally perfect and almost feminine, both paintings use line and shape to portray the characters in an ethereal grace, nearly dancing across the canvas. The colors and shades used are pastel and soft, eliciting light and almost whimsical emotions from the audience. The addition of pleasant pastures and natural scenery in the background was popular for painters of this style and era.
Amor and Psyche (1767)
Louis-Jean-François Lagrenée (1724-1805)
Amor and Psyche is a Rococo Oil on Canvas work of art depicting the divine figure, Cupid, and his mortal love, Psyche. This painting illustrates the idealism of the love and chemistry between the god of love and desire and the most beautiful mortal woman on Earth.
This might be my favorite painting of the four shown. Amor and Psyche is a breathtaking visual of the love shared between Cupid and Psyche. Lagrenée used line and shape to develop two adoring figures in a "heavenly" space, and he accentuated the youthful "glow" and aesthetic appearances of the characters with light hues and tonal variations. The fair and rosy couple are partly clad in fine satins or silks enriched with color and brought to life with textures formed in the brushstrokes and paint layers. The "sweet hereafter" or "died and gone to heaven" atmosphere of the painting is perfectly expressed in the lovers' locked gaze.
I am going to relate these works to "The Growing Economic Power of the Middle Class in the 1700’s". David and Kauffmann both come from poor families. David's father was an iron merchant and Kauffmann's father was noted to be an "unwealthy man". Not much is known or public about the early life of Lagrenée, but it is said that his skill was recognized at a young age. All three artists went on to become some of the most influential people in history.
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