Compare/Contrast David & Gericault

Daniel Contreras
Professor James Entz
ART P112 CRN 322842
2 March 2011
Sur l'étalon
Art is constantly changing. However, artists continue to construct compositions that are preservers of their time. Every new era brings along with it a change in style that reflects the evolving factors of the world. In addition to the shifting styles, forms and values replace previous ones in accordance to the role of art. The artworks' tones revolve around the technique used by an artist. Artists sought inspiration from ideas such as courage and honor (neoclassicism) to eras such as Baroque and Medieval (romanticism). Neoclassicism and romanticism were just two of the many prominent movements in Europe.
The movement that occurred first was Neoclassicism, which began in the 1780’s. The neoclassical movement did not just affect art. In fact architecture, literature, and music, among others, also transformed in the neoclassical era. Impressiveness and order were two of the main values within neoclassicism. A great inspiration of many works was Classical Rome and many subjects were based on Greek and Roman history. In neoclassical art, most figures were placed in the foreground of the image since their role was to morally lift and inspire the masses. The tone was rational and the artist’s brush strokes were removed, leaving a calm attitude within the painting. The most recognizable neoclassical painter was Jacques-Louis David who was born on 1748. David’s most famous paintings are the Oath of the Horatii and The Death of Marat. Both are true to the neoclassical era, as both contain emphasized lines, patriotism and a moral propaganda.
Jacques-Louis David was the creator of a commissioned painting drawn in 1800 titled Napoleon at Saint Bernard Pass. Napoleon Bonaparte relied on artists to spread his folklore and myth so he could appeal to all of Europe. He soon becomes the most powerful man in Europe. In the painting, Napoleon is given a heroic and God-like appearance, not because Napoleon was the emperor, but because he was the respective commissioner. As French Emperor, Napoleon was in control. In reality Napoleon rode a mule and not a horse across the Alps. Napoleon was not impressive in physical stature. David's painting is considered to be neoclassical because its style is the traditional Roman equestrian portrait (Adams 695). The light in the image heavily illuminates Napoleon and his stallion in the center of the piece. The light seems to come from one single direction up above, because it is strong in a single spot between the horse's legs. Napoleon's cloak blows simultaneously with the horse's mane towards their destination, showing us that he is in control. However, the cape is painted with a strong red while waving in the air, unrestrained like Romantic art which followed neoclassicism.
Romanticism began in the 1800's, overlapping the neoclassical period, and ended sometime in the 1840's. Like neoclassicism, romanticism set its foundation on antiquity and the nostalgic past. Romantics were inspired by exotic worlds such as the Far and Middle East. The Baroque and Medieval eras also inspired romantics. The role of art during this movement was to carry the viewer away by its dramatic depictions. Romantic artists did not hide the brush strokes, while neoclassical artists did. Romantics also used unrestrained and rich color in their paintings. However, romanticism brought new ideas that challenged neoclassical beliefs. Instead of monarch power of a select few, ideas such as individual power and rule by the people started to come forth. Romanticism was their return to nature and dive into the supernatural realm. Romantics were fascinated by the sublime, the unknown and unknowable. They expressed individual imagination in their art works. The pieces also exuded subjectivity, dramatic depictions and wild emotion. One of romanticism's well known painters was Theodore Gericault.
Theodore Gericault was a young painter who left a big mark in art history. He was responsible for the art piece titled Mounted Officer of the Imperial Guard which was painted in 1812, twelve years after David's Napoleon at Saint Bernard Pass. In Gericault's painting, the horse appears to be untamed, whereas David's the horse is idealistically posed and contained. The background is unclear yet the presence of battle is apparent with its dramatic scenery. The officer is confronted with by violent nature of battle. This emotion is conveyed through the use of energetic textures. By closely examining the details of the horse, the "artist's hand" is much more visible in this painting than in David's painting. In this piece, the subject makes no eye contact with the viewer, making it more subjective. The use of diagonal lines is also present within the rearing horse; the line begins at the lower left of the image. It then shoots diagonally across the spontaneous stallion (Adams 714).
In comparison, Gericault's Mounted Officer of the Imperial Guard is much more dramatic than David's Napoleon at Saint Bernard Pass. However, both paintings do share a taste for classical antiquity. David's image is much more clear and idealized than Gericault's. David leaves no sign of brush strokes. Contrastingly, Gericault has visible brush strokes in his painting. In addition, the lighting is significantly different in both drawings. A source of light seems to hit the subject from behind in Gericault's painting, while David's painting has a light hitting the subject directly from above. Both paintings also had different purposes. The role of David's image was to inspire and morally uplift the masses. On the other hand, Gericault's painting was made to carry the viewer into a mysterious reality. Romanticism valued imagination and emotion while neoclassicism valued order and rationality. Exotica, nature and violence were common subjects in romantic art. The romantic paintings were non-conformist and filled with subjectivity. David's painting was neither crowded nor violent, but it was more calm and honorable than Gericault's.
All in all, Jacques-Louis David and Theodore Gericault were both mavens in their own respective fields. David's Napoleon at Saint Bernard Pass will forever continue to preserve the antiquity of the past. This painting is a highlight of the neoclassical era that stands proud alongside other great neoclassical creations. In comparison, Gericault's Mounted Officer of the Imperial Guard allowed us to explore the majesty and unknown quantity of the human imagination. To this day, surviving hundreds of years, the artworks are available for the entire world to observe.
 
 
Works Cited
Adams, Laurie. "Chapter 19 & 20." Art across Time. 4th ed. Boston: McGraw Hill College, 2010. 690-731. Print.

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