NEO-CLASSICAL

PERIOD
GROUP 3
Learning the art of the movement era
1805-1808
SCULPTURES
Sculptures
V E N US V I C T R I X

BY ANTONIO
CANOVA
This is a sculpture of Pauline Bonaparte as Venus Victrix. The
sculpture is a half-nude body size neoclassical portrait sculpture
by Antonio Canova. It was ordered by Pauline's Husband Camillo
Borghese. It was built from 1805 to 1808 in Rome after Pauline
marries Camillo Borghese. The sculpture was moved to Camillo's
house in Turin, then to Genoa, and only arrives in Borghese in
1838. The princess dress resembles the dress of the Mythological
God Venus. Paolina is Lying on a wood dormeuse beautified with
gilded insets. She is holding an apple on her left arm credited to
the goddess symbolizing her supremacy among the female
divinities. Her old fashioned beauty and creative work lead to a
naturalistic post.
1796–1799
 PAINTING
L ’ I NTERV E N TI O N D E S
S A B INE S , T H E L O U V R E ,

BY JACQUES- Painting
LOUIS DAVID
The portrayal of these points to the level of the
involvement of women in neoclassical art and the
society at the time in general. This painting was
full of emotions from Jacques-Louis David, this
was about the political happenings of his time.
The Sabine women had interceded to call for
peace between the Sabine king and the Romans.
The story of this painting, the Romans captured
the daughters of the Sabines and for the revenge,
the Sabines invaded Rome. Hersilia was married
to Romulus, the Roman king, who was the
daughter of the leader of the Sabines, and thus
had close links to both sides. In the center of a
battle scene is Hersilia, who is the most
prominent figure in the painting, with her arms
outstretched, and holding no weapons.

L ’ I NTERV E N TI O N D E S
S A B INE S , T H E L O U V R E ,
BY JACQUES-
LOUIS DAVID
PAINTING
Painting
The two warriors, her father and her husband, with shields and axes
on either side, are half-clad and seem to be paying attention to her
appeal for peace. Along with helpless little infants, the other women
in this scene seem to have thrown themselves to the ground,
appealing to the men to stop the fighting. The women on the ground
are half clad and seem to be making their plea for peace using their
representation of vulnerability. In the center of the field is another
Sabine woman on her feet, holding a baby high in the air. She tells us
that she is a child bearer, thus keeping high her justification for being
heard. Of all these people, Hersilia is the only one who seems to be
holding the warriors' attention. With outstretched arms, she is in the
foreground and the warriors have their heads turned towards her. In
this piece, Hersilia appears to shine more than any other figure,
referring to her royalty and her role as an advocate for reconciliation
in the scene. The royality of Hersilia, her outstretched arms, and the
motif of redemption are reminiscent of the scene of the Crucifixion.
ARCHITECTURE
Architecture
Ar
P A N THÉ O N

BY APOLLODORUS
OF DAMASCUS
The pantheon is a former roman temple, now a Catholic
church in Rome, Italy, on the site of an earlier temple
commissioned by marcus agrippa during the reign of
augustus. Rebuilt by the emperor Hadrian and probably
dedicated about 126 AD. The date of its construction is
uncertain because Hadrian chose not to inscribe the new
temple but rather to retain the inscription of agrippa's older
temple.
It is one of the best preserved of all ancient roman buildings,
in large part because it has been in continuous use
throughout the history and, since the 7th century, the
pantheon has been in use as a church dedicated to Mary
and the martyrs.
 ARCHITECTURE
Structure
P A N THÉ O N
S
BY APOLLODORUS
OF DAMASCUS
The building is cylindrical with a portico of
large granite corinthian columns under a
pediment. A rectangular vestibule links the
porch to the rotunda, which is under a
coffered concrete dome, with a central
opening to the sky or also called the oculus.
Almost two thousand years after it was built,
the pantheon's dome is still the world's
largest unreinforced concrete dome. The
height to the oculus and the diameter of the
interior circle are the same, 43 metres.
 ART OF
TH E
NEO-
CLASSICAL
How did you identify the artwork?

PERIOD WE WERE ABLE TO TELL IF OUR RESEARCH IS FROM

NEOCLASSICISM BY CHECKING WHEN THE ART IS
CREATED. WE ALSO CHECKED THE ARTIST WHO MADE
THE ART TO GIVE THEM CREDITS FOR THEIR CREATIVE

1.
WORK AND HARD WORK. WE ALSO IDENTIFY THE
BACKGROUND HISTORY AND THE MEANING OF THE
ART TO GIVE INFORMATION. ALL OF OUR MEMBERS
READ AND UNDERSTAND THE HISTORY OF THE ART SO
WE CAN REPHRASE IT AND BE ABLE TO TELL YOU IN A
WAY THAT YOU CAN UNDERSTAND IT EASILY. AS YOU
READ OUR PRESENTATION I THINK THAT YOU WILL BE
ABLE TO LEARN FROM THE PAST. YOU WILL KNOW
HOW PEOPLE BACK THEN ARE SO CREATIVE.

Neoclassical/Romantic
Architecture | Essential
Humanities (essential-
humanities.net)
 ART OF
TH E
NEO-
What are the characteristics of the

CLASSICAL
artwork that make it a part of such

an art movement?

PERIOD THE CHARACTERISTICS OF THE ARTWORKS THAT WE

CHOOSE IS FULL OF CRITICS AND HISTORIES STORIES THAT
MAKE IT A PART OF AN ART MOVEMENT. EVERY ART WAS

2.
ALSO CONVEY OF EMOTIONS AND MEANINGS RATHER THAN
THE REALITY. IT WAS ALSO VERY FASCINATING THAT IN
THE FIRST GLANCE YOU WILL WONDER WHAT IS THE REAL
STORY BEHIND IN THIS ARTWORKS. BUT WE THINK THAT
EVERY ARTIST HAS THEIR OWN IDEA, HOW WILL THEY
EXPRESS THE STORY AND EMOTION IN A ARTWORK. THE
CHARACTERISTICS OF THOSE ARTWORKS WE CHOSE ARE BY
THEIR ART STYLE WHICH IS MORE ON REALISTIC ART AND
COLOR SCHEME DESIGNS AND DETAILS, IT CAN ALSO
SHOW REALISM AND IMPRESSIONISM BY THE ART STYLE
AND MOVEMENT. THE CHARACTERISTICS OF
NEOCLASSICAL ART IS THAT IT HAS SIMPLE GEOMETRY
INVOLVED IN IT, IT HAS A NEW ANCIENT STYLE INTO ITS
Neoclassical/Romantic TITLE. IT SHOWS SIMPLICITY AND LITERAL MEANINGS THAT
Architecture | Essential
Humanities (essential- MAY BE RELIGIOUS OR SECULAR.
humanities.net)
 ART OF
TH E
NEO-
Why do you think that there is a

CLASSICAL
need to value the artwork and art

movements from the past eras?

PERIOD IN OUR OPINIONS, WE SHOULD LEARN THE VALUE OF

THESE ARTWORKS BECAUSE BEHIND EVERY
MASTERPIECE OF EVERY ERA, SPECIFICALLY, THE

3.
PAST, WOULD ALWAYS HAVE THAT MEANING BEHIND
IT. BEHIND EVERY PAINTING, ARCHITECTURE AND
SCULPTURES LIES A STORY OR A DEEPER MEANING
THAT MOST PEOPLE DON'T SEE OR ACKNOWLEDGE
VERY MUCH. WE SHOULD ALSO APPRECIATE THE TIME
AND EFFORT THAT WAS PUT INTO THESE ARTWORKS,
IT TAKES A LONG TIME, SOME ARE EVEN INDECISIVE
JUST TO MAKE IT LOOK APPEALING AND PERFECT
TOWARDS THEPEOPLE'S EYES

Neoclassical/Romantic
Architecture | Essential
Humanities (essential-
humanities.net)
 ART OF
TH E
NEO-
CLASSICAL
ERA
PERIOD
VILLACORTA CIRERA BARLAAN

Neoclassical/Romantic
Architecture | Essential
Humanities (essential-
humanities.net)