The Embracement of Ancient Virtues: Rococo to Neoclassical

The Embracement of Ancient Virtues: Rococo to Neoclassical

  • Submitted By: gorg88
  • Date Submitted: 12/14/2008 1:03 PM
  • Category: History Other
  • Words: 2187
  • Page: 9
  • Views: 1

The thirst for something better in harsh or mundane times has been the driving force in humans to better themselves and their environment since our ability to reason and question. In the quest of greatness and personal satisfaction against the forces of suppression and injustice, rises remarkable people. Products of their environment, these people are determined and destined to break free and discover their cause and gift to the world. The world of art, mankind’s eternal means of expression, for its wars, its joys, angers, fears and hopes, has given the world many extraordinary heroes. Artists whom have assisted in shaping the world and changing the way in which we view it. Death of Socrates, a landmark oil painting done by the revolutionary extremist Jacques-Louis David (1748 – 1825) in 1787 in France is an example of an achievement that echoes through eternity both politically and artistically.
The 4ft. 3in. by 6ft. 5/4in. painting, in its technique and subject matter stirred inspiration and strength, fueling the French commoners and anti-monarch revolutionaries to ignite and unite, blazing the road ahead leading to the French Revolution. The events during this time, both the American and French Revolutions as well as the Industrial Revolution thrusts us into the Age of Enlightenment shuttling into the Modern Age.
The Representational, secular piece, Death of Socrates consists of the philosopher Socrates, his friends and disciples in a historical scene set in ancient Greece. The technique, emphasizes on accurate portrayals of human form and its reflections of light. The lighting, in a distinct Caravaggio style, sharply focused and casting precise shadows. The room is illuminated by a single source (window) and casts a gentle morning light. Socrates wears a stark white toga and is settled upon a bed centered and surrounded by the colorful robes of the other men in the room. The bed he sits on is parallel to picture plane. Set in a moment of time, the men are...

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