And its artistic development in England

In the visual arts the European movement called “Neoclassicism" began after A.D. 1765, as a reaction against both the surviving Baroque and Rococo styles, and as a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts, and, to a lesser extent, 16th century Renaissance Classicism. The origins

Contrasting with the Baroque and the Rococo, Neo-classical paintings are devoid of pastel colors and haziness; instead, they have sharp colors with Chiaroscuro. In the case of Neo-classicism in France, a prime example is Jacques Louis David whose paintings often use Greek elements to extol the French Revolution's virtues (state before family).

Neoclassicism first gained influence in England and France, through a generation of French art students trained in Rome and influenced by the writings of Johann Joachim Winckelmann, and it was quickly adopted by progressive circles in Sweden. But in this first part of Neoclassicism, artists especially architects were still too attached to the old Rococo Italian models. A second neoclassic wave, more severe, more studied and more consciously archaeological, is associated with the height of the Napoleonic Empire. A gradual evolution

Neoclassical painters attached great importance to depicting the costumes, settings, and details of their classical subject matter with as much historical accuracy as possible. These illustrations are notable for their drastic and powerful simplification of the human body, their denial of pictorial space, and their minimal stage setting. This austere linearity when depicting the human form was adopted by many other British figural artists, including the Swiss-born Henry Fuseli and William Blake, among others.

However, British patrons in the 18th century sometimes collected paintings on religious or mythical themes by foreign artists, but at home they rarely commissioned anything other than portraits, landscapes, and marine paintings, although there was in the early 18th century a vogue for grand allegorical decorations in aristocratic houses. The Protestant church, however, did little to encourage painting. But with this new current the whole situation changes, in fact with the foundation of the Royal Academy of Arts in 1768 new prestige is given to English painters.

The most important were: Sir Joshua Reynolds Thomas Gainsborough William Hogarth William Blake

Sir Joshua Reynolds was first president of the Royal Academy of Arts and strenuous supporter of the classical style. He believed in formal perfection and important subjects.

Thomas Gainsborough, who painted more from his observations of nature (and human nature) than from any application of formal academic rules. He regarded landscape paintings as his real vocation but concentrated on portraits: he was the royal family’s favourite portraitist.

William Hogarth, who rejected European models and wanted to establish an independent English style. He is remembered as a satirical painter because he used to condemn and make fun of the evils of the time in his realistic paintings. His satirical vein is well represented by the series of paintings under the name of “Marriage à la Mode”.

William Blake, who dedicated great part of his great work to painting illustra- tion for lots of books and poems such as Milton’s Paradise Lost, Dante’ Divine Comedy and the Bible. William Blake, who dedicated great part of his great work to painting illustration for lots of books and poems such as Milton ’ s Paradise Lost, Dante ’ Divine Comedy and the Bible.