Of Oath Of The Horatii By Jacques-Louis David And Henry Fuseli

Neo-Classicism and Romanticism were both periods of artistic, literary and intellectual movements that happened during the 18th and 19th centuries. While both movements flourished in Western Europe and the United States, they were very different from each other. Where

Neo-Classicism draws upon Ancient Greek and Roman history and classical art, Romanticism explores themes of emotion, supernatural elements, social injustices, and nature. Jacques-Louis David and Henry Fuseli were artists from both movements and the characteristics from each movement can be seen in their work. Following the Baroque and Rococo, Neo-Classicism began during the 18th century and continued into the beginning of the 19th century, and was predominant in France. During

His painting “Oath of the Horatii” is one of the best known from that time. The painting depicts three brothers saluting towards three swords held up by their father as the women behind him grieve. The Horatii are pledging their oath to defend Rome from the Albans. In the background, David painted a Roman atrium, with three arches that help keep the attention focused on the main figures in the foreground. The brothers are framed by the first arch, standing together with their muscled arms raised in a salute toward their father, who is framed by the central arch. He holds three swords in his left hand and raises his right hand signifying a promise or sacrifice. The male figures are tense, geometric forms whereas the women on the ground are more soft and flowy. David uses a composition that carries a large sense of depth, and the use of color helps convey the mood and highlight the figures against the dark background. Smooth continuous brushstrokes are used like most Neo-Classical art. Solid lines are placed throughout the painting as well, in the structural components and in men’s muscular

Fuseli chose to depict darker, irrational forces in his painting “The Nightmare.” A woman is bathed in light and stretches across a bed. The top half of her torso hangs off of the end and an apelike figure sits upon her chest while a horse with glowing eyes peeks out from the shadowy background. Fuseli chose to depict an idea rather than an event, story or person. The painting is merely a product of his imagination and draws upon folklore and popular culture, medicine, and classical art to create a new kind of horror image. In fact, it was one of the first paintings to depict an idea rather than an event, story or person. The figure on the woman’s chest is often thought of as either an imp or an incubus, a spirit that lies atop people as they sleep or has sex with them. Fuseli’s painting is suggestive but not explicit, suggesting she is asleep and dreaming, much like the title of the piece indicates. Her dreams take terrifying physical forms, and the piece as a whole is quite erotic in a frightening way. Through his use of composition and chiaroscuro, Fuseli heightened the drama and uncertainty of the scene. It’s quite similar to heaven and hell, as the woman is clothed in a white dress and the figures are dark and eerie. The small, cramped room emphasizes the intrusion of the nightmare. Unlike David’s piece, Fuseli uses looser brush strokes, and leaves out the harsh lines, making the figures look more feathery