Alison Cullen

From The Trivial to The True: The French Revolution and Painting

    As early as the 1750's, the philosophes had begun to challenge the art

and society of France, in that the particular artistic style of the time

"seemed to have no objective other than to pander to the luxurious habits of

a society whose mores were increasingly being called into question."

Indeed, the Rococo style that the philosophes despised generally reflected

the preferences of the aristocracy, and ignored the lower classes.  During

the late eighteenth century, this type of sentiment was common throughout

France and the world, resulting in many revolutions around the globe.  The

French Revolution began in June 1789, but its causes had been accumulating

for some time.  Major themes of the Revolution were the economic and

political inequities of the ancien regime, accompanied by a general

opposition to the status quo; objection to the absolute power of the French

monarchy, acerbated by the shortcomings of Louis XV and XVI, and the

government's possible danger of bankruptcy.

The French Revolution dissolved the economic and social structure of the old

regime, as well as the standard ideology which had made possible the unity of

the Baroque and Rococo styles.  In the years following the Revolution, this

increased sense of freedom and individuality became evident in French society

and in art; more specifically, in painting.  These changes are apparent in

many different aspects of French painting.  For example, following the

Revolution, the academies or schools of French art became less hierarchical.

In addition, the artistic styles changed from Rococo, representing the power

of the aristocracy, to Neoclassicism, which emphasized virtues of Roman

civilization, and Romanticism, which celebrated the individual and freedom.

The subject matter of paintings changed as well; while works of the Rococo

period generally captured trivial and unrealistic scenes, those of the

Neoclassical and Romantic styles occasionally attempted to mirror society.

As the French Revolution transformed society, it also influenced the purpose

of art and expression.

    In the late 1700's, painting in France was a highly centralized,

hierarchical, and aristocratic profession.  This inequality was a reflection

of French society at the time.  In the ancien regime, the aristocracy was

based on inheritance; in addition, only the aristocracy was eligible for high

positions in the military or the Church.  Consequently, the aristocracy held

all of the political power and authority.  Moreover, the nobility was exempt

from all taxes.  At this time, the Academie Royale de Peinture et de

Sculpture, known as the "Academy," was the authoritative art body.  This

organization basically had a monopoly on the selection and training of

painters.  There was an analogous institution known as the Academie de

Saint-Luc, but the Academy was the only body that could guarantee its members

a secure reputation and a sufficient commission.   Therefore, the

hierarchical nature of the artistic society in the late 1700s mirrored the

rigid class structure of the French ancien regime.

The process by which an apprentice painter was trained was very particular

and restrictive.  An apprentice would begin by studying under a well-known

painter, often a member of the Academy.  He would then become a student of

the Academy, and take courses in drawing as well as other subjects.  The

training school taught the students history, perspective, and anatomy.

However, there was not much room for creativity or imagination, as students

would often spend much of their time making copies of paintings.

The Academy was a model in itself of the hierarchical nature of French

society.  Painters within the organization were categorized according to the

subject matter that they focused on, and these categories were arranged in

what was deemed the order of importance.  Historic painting was awarded with

the most significance, followed by genre painting; then came landscape

painting, and lastly, still life.  Historic painting was perhaps judged as to

be so important because of the necessity for religious painting, and it is

likely that the members of this aristocratic organization were also

high-ranking members of the Church.  Out of the four groups, only the

"historic" painters could be what were called "officers": members of the

Academy who determined its aesthetic orientation.  From this information, it

is possible to infer that only the aristocrats possessed the possibility of

becoming artists, and that within the artistic community, only certain types

of artists, who were most likely those loyal to the Church and the French

regime, had control over the nature of art at the time.  This rigid and

aristocratic structure caustically reflects the reality of French society

before the Revolution.

    The French Revolution also transformed the pervasive artistic style from

the Rococo to the Neoclassical and Romantic.  The Rococo style was similar to

the baroque, although on a smaller scale.  It was largely characterized by

elaborate ornamentation, and aristocrats were often depicted in paintings.

In general, the themes of Rococo paintings were light-hearted and often

imaginary, such as characters from classical mythology.  For example, Antoine

Watteau's The Embarkation for Cythera depicts French aristocrats as they

leave the island of Cythera, which was, according to Greek mythology, the

first home of Aphrodite (the goddess of love).   Jean Honore Fragonard's

painting, The Swing, depicts a young girl being pushed on a swing by her much

older husband.  She carelessly and childishly tosses her shoe to her young

lover, who is resting on the forest floor beneath her.  In both of these

paintings, the particular tastes of the aristocracy are reflected.  In

addition, the two playful scenes seem to be so detached from the reality of

the world around them.  This separation reflects the obliviousness of the

French aristocracy to the reality outside their close circle of wealth, as

well as the dramatic distance between the rich and the poor.

Prior to the French Revolution, Neoclassicism became popular.  Neoclassical

art is characterized by self-sacrifice, nationalism and patriotism.  This art

was also intended to educate the people about the new goals of the

government, such as a strong emphasis on discipline and morality.  Jacques

Louis David had emerged as the leader of neoclassical painting.  One of his

most well known works, entitled The Oath of the Horatii, (1784), depicts

three brothers vowing to fight for the Roman Republic.  Toward the right side

of the painting, the brothers' family appears saddened by their decision, but

the painting nonetheless glorifies and is meant to inspire self-sacrifice for

one's country.

    In the decades following the French Revolution, art and painting changed

profoundly once again.  By the 1830's, Romanticism had replaced

Neoclassicism, and popular subject matter of paintings was becoming

dramatically different.  Romanticism was characterized by freedom,

imagination, sincerity, spontaneity, individuality, and inner truth, as

opposed to collective morals.   A prominent painter of the period, Theodore

Gericault, brought new depths of emotion into his art.  For example, in his

painting The Raft of Medusa, he depicts the suffering of the victims of a

shipwreck that took place in the early 1800's.

A few decades later, in the mid-1800's, realism began to emerge as the

prominent artistic style.  Gustave Courbet became the leader of realistic

painting.  In fact, many of his paintings were so critical and dynamic that

much of his work was considered a form of social protest.  For example, his

painting The Artist's Studio appears to be a critique of the French economic

system.  It depicts a nude model glancing over Courbet's shoulder as he

paints.  The left side of the painting shows beggars and working class

people, who are contrasted to the artist's friends on the right.  This

painting seems to criticize the widening gap between the richer and poorer

classes, which continues to increase as the upper classes literally sit

around.  This type of painting had a purpose, one profoundly different from

that of the paintings of the 1700's.  This conversion of the nature and

purpose of art was possibly encouraged by the French Revolution.

    The French Revolution dramatically changed many aspects of French art.

By altering the makeup of French society, it became impossible for the

nobility to retain a monopoly on the artistic scene.  In addition, the

aesthetic styles changed from the ornate Rococo to the patriotic

Neoclassicism, to the emphasized individuality of Romanticism, finally to the

genuine Realism.  These styles, along with the changes in subject matter,

reflected the transformation of the purpose of art.  Before the French

Revolution, paintings were meant to be beautiful, merely pleasing to the

weary aristocratic eye, or serving as a tribute to religious figures, further

strengthening the control of the nobility over all aspects of society.

However, following the French Revolution, artists such as Courbet became

interested in the depiction of contemporary events and concerns.  French

artists began to base their work on direct experiences.  In this way, artists

began to attempt to mirror the society around them as honestly as they could,

and paintings started to have more evident political statements.  Art became

more receptive to all parts of society, as the political system of France

became a democracy.