Humanities Essay Europe 2022

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HUMANITIES

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Essay
Neoclassical paintings stress harsh reality and liner designs to depict a classical event,
theme, and characteristic using historical elements, costumes, and correct settings. Their
emergence in the form of paintings stimulated the new scientific interest among viewers and
classical antiques which arose during the 18th century. Romantic-era artist's voices, on the
other hand can be found across all genres such as music, art, and literature. The Romantic
practitioners reacted against the sober neoclassicism style which was preferred by academies
and countries (Brett and McKay). The modernist era was an era of fine arts which broke the
past views to portray new artistic expressions. The modernism started with the
experimentation of arts in late 19th till 20th century, especially following World War I. In this
light, this essay will reveal how the three masterpieces, The Intervention of Sabine women,
Massacre at Chios and Guernica reveals neoclassical, romantic and modernist era.
Jacques Louis David was a French painter and one of the most significant and
revolutionary painters of the Neoclassical movement in France. His compositional paintings
affected a disagreement towards Rococo fantasy and therefore, is considered as an influential
figure within European art between Rococo and Romantic period (History of Art). Painted
during the early revolution era, The Intervention of Sabine Women reflects an up-surging
desire for peace and the nation's exhaustion. While the theme was taken from Roman history,
a narrative message was highlighted in the form of Sabine women to bring peace amongst
Romans and the countrymen.
The Roman abduction following several years of conflict is represented in the
complicated scene besides depicting several loyalties within the play. The neoclassicism and
analogies of the post-revolutionary era are henceforth made clear. From a technical

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perspective, the painting features a more complex that a narrative art. It focuses on the white
and bare-chested women; however, several emotional monographs compete for the viewer's
perceptions at a time to gain attention. Such representation by Jacques contributed to a
significant change through singular plots which demanded a new look towards paintings. In
the exhibition of the painting, Jacques broke the tradition with a mirror and placed it on the
wall which was positioned opposite to the painting. Every onlooker could turn around and
look at their reflection in the mirror which enhanced the experience. The viewers felt that
they belonged to the revolutionary movement and were part of ongoing actions. This
participation approach became a key concern for 20th-century artists (The Art Story
Foundation).
The artwork, Massacre at Chios by Delacroix reveals a group of hysterical Greek
children, men, and women who lay huddled, some barely alive and few dead on the ground.
While a man on the left dies due to a wound in the stomach, his wife leans on his shoulder.
The mother leans against other women and children trying to suckle her bare breasts. Behind
all, an Ottoman Turk charges the group and drags a naked prisoner who seems to be fleeing.
The lesser defined figure in the background is engaged in the battle showcasing a devastated
area and the ocean meeting the golden sky horizons. The canvas as large as sixteen feet wide
encompasses the Greek's suffering and adds visual impacts to the drama (The Art History).
The painting made by Delacroix was greatly inspired by the Greek War of
independence in 1822 when the Island of Chios was invaded by Turkish Ottoman soldiers
who slaughtered several Greek rebellions. Diverging from classical narrative paintings and
entering into Romantic era, Delacroix's work established a new concept in art history which
was based on real circumstances instead of joining pieces of ancient mythology and history.
He brought the viewers closer to the reality and actions performed, particularly how the
victims suffered and making viewers feel that they belong to same plane as the figures in the