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This essay will attempt to define the term ‘classicism’ as applied to seventeenth-century art, underlining stylistic qualities, influence and the main artists of this movement. ... In the 18th century, it was known as Neo-Classicism when artists sought to return to simplicity of style and form.
In the 17th century, classicism arose out of a resistance to the dramatic and emotional flair of the Baroque style, which was the major movement of this time period. From 1630s-1660/70, classicism opposed the stylistic features of baroque, in that it was rational, not emotional; calm rather than frenetic and depicted a narrative that was clear and focused when the artists of the Baroque were cluttering their paintings with lots of figures and much ambiguity as to meaning. ... Finding popularity mainly in France and Italy, 17th century classicism differed in subject matter according to location, but rarely strayed from the style and approach that defined the movement. In Italy, Domenichino, a pupil of Annibale Carracci, began to move away from traditional Baroque and towards classicism in his work while in France, painter Nicolas Poussin, a pupil of Domenichino, later did the same thing.
Seventeenth century classicism was less an attempt to bring the great gods and goddesses of ancient Greece and Rome to contemporary society, as Titian, Botticelli et al had done, than a return to the artistic ideals of pre-Christian art, with classical style and meaning often taking precedence over classical subject matter. ... His work on the Farnese Ceiling recreated the traditions of the Roman High Renaissance fresco art and also set the example for the classical trends of the 17th century. ... Also a native of Bologna, he was a leading figure in seventeenth century classicism, heavily influenced by Carracci and Raphael, specifically the latter’s Tapestries.
Approximate Word count = 1375
Approximate Pages = 5.5
(250 words per page double spaced)
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