| Neoclassical art and theory in relation to antiquity |
Neoclassicism arosed with the new and more scientific interest in classical antiquity in the 18th century. It was given great impetus by new archaeological discoveries; particularly the exploration and excavation of the buried Roman cities of Herculaneum and Pompeii began in 1738 and 1748 respectively. Theorists, like Winckelmann, Mengs and Reynolds, produced writings that were influential in encouraging an interest in Greek antiquities. The art from this period reflected the ideas as expressed by these theorists. Winckelmann saw in Greek sculpture "a noble simplicity and calm grandeur" and called for artists to imitate Greek art. He claimed that in doing so such artists would obtain idealized depictions of natural forms and their images would then attain a universal significance. "For us," he declared, "the only way to become great is by imitation of the ancients". An early important Neoclassical work, "Parnassus" (1761) by Mengs owes much of its inspiration to classical sculpture and to Raphael for both poses of its figures and its general composition. Meng's close association with Winckelmann led to his being influenced by the ideal beauty, that the latter so ardently expounded. |
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