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Neoclassicism to Expressionism
16 questions · Art
When Jacques-Louis David exhibited his “Oath of the Horatii” in Paris in 1785, crowds pressed in front of it: three brothers stretching out their hands to their father to swear an oath, clear, severe and antique. Neoclassicism wanted to paint virtue. Soon Romanticism answered with feeling and longing, and Caspar David Friedrich set a tiny monk before an empty sea. German painters mockingly called the Nazarenes moved to Rome in 1810 and lived in a monastery almost like monks, while the landscape painters of the Barbizon school set up their easels in the middle of the forest of Fontainebleau.
Around 1850 Gustave Courbet wanted to paint only what he saw: two stone breakers by the roadside. That was Realism, and many Parisians were outraged. In London young painters founded the Pre-Raphaelite Brotherhood in 1848. In 1874 the critic Louis Leroy mocked Monet’s picture “Impression, soleil levant” and so unwittingly gave Impressionism its name. Georges Seurat and Paul Signac then built their pictures from thousands of dabs of colour, and Pointillism was born. In 1910 Roger Fry grouped Cézanne, Gauguin and van Gogh together as Post-Impressionism.
Around the turn of the century things grew mysterious: Symbolism painted dreams and myths, Arnold Böcklin his “Isle of the Dead”, and the Nabis around Bonnard named themselves after the Hebrew word for prophets. Alphonse Mucha swept the lines of Art Nouveau across his posters. In 1905 a critic called Matisse and Derain “wild beasts”, and Fauvism was born. That same year Kirchner, Heckel and Schmidt-Rottluff founded Die Brücke in Dresden, and in Munich Kandinsky and Franz Marc gathered Der Blaue Reiter. Expressionism no longer wanted to show what the world looks like, but how it feels.
Sixteen questions guide you through this thrilling century of painting.
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