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Part I · Art movements · Chapter 5 of 31

Neoclassicism

c. 1760–1830. Neoclassicism rejected Rococo frivolity for the order, clarity and moral seriousness of ancient Greece and Rome — crisp outlines, smooth surfaces and heroic subjects.

The Death of Marat by Jacques-Louis David
The Death of Marat, Jacques-Louis David (1793). Oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels. Source: Wikimedia Commons · Public domain
Grande Odalisque by Jean-Auguste-Dominique Ingres
Grande Odalisque, Jean-Auguste-Dominique Ingres (1814). Oil on canvas. Musée du Louvre, Paris. Source: Wikimedia Commons · Public domain

Context

Excavations at Pompeii and Herculaneum (from the 1740s) made ancient art newly fashionable.

The Enlightenment and the French Revolution wanted art about virtue, duty and sacrifice. Jacques-Louis David became the painter of the Revolution and later of Napoleon.

The academies (official art schools) made Neoclassical drawing — careful study of the figure and of antique sculpture — the foundation of art training for a century.

Key artists

ArtistLifeKnown for
Jacques-Louis David1748–1825Severe, heroic compositions: The Death of Marat.
Jean-Auguste-Dominique Ingres1780–1867Pure line and smooth finish: Grande Odalisque; masterly pencil portraits.
Angelica Kauffman1741–1807Classical history paintings and portraits.
Antonio Canova1757–1822Sculptor whose marble ideals influenced painters.

Key works

Tap any image to zoom; works marked ◎ have notes on key details.

Techniques

  • Drawing first: firm, continuous contours.
  • Smooth 'licked' surface with brushstrokes blended away.
  • Shallow, stage-like space with figures arranged like a relief sculpture.
  • Restrained colour and clear, even lighting.
  • Academic training: drawing from casts, then from the live model.

How to paint in this style

  1. Start with an exact contour drawing; refine it until every curve is deliberate.
  2. Arrange the figures parallel to the picture plane, like a frieze.
  3. Underpaint in grisaille (greys) to model the forms like sculpture.
  4. Apply colour in smooth, blended layers with soft brushes; hide brushmarks.
  5. Keep backgrounds plain or architectural so the figure group reads clearly.
Typical palette

Lead white, ochres, vermilion, Prussian blue, ultramarine, earth reds and bone black — used with restraint.

Drawings and studies

Madame Guillaume Guillon Lethière, née Marie-Joseph-Honorée Vanzenne, and her son Lucien Lethière by Jean Auguste Dominique Ingres
Madame Guillaume Guillon Lethière, née Marie-Joseph-Honorée Vanzenne, and her son Lucien Lethière, Jean Auguste Dominique Ingres (1808). Graphite. The Metropolitan Museum of Art, New York. Source: The Metropolitan Museum of Art · CC0 (Met Open Access)
Armand Bertin by Jean Auguste Dominique Ingres
Armand Bertin, Jean Auguste Dominique Ingres (1842). Graphite. The Metropolitan Museum of Art, New York. Source: The Metropolitan Museum of Art · CC0 (Met Open Access)
Niccolò Paganini (1782–1840) by Jean Auguste Dominique Ingres
Niccolò Paganini (1782–1840), Jean Auguste Dominique Ingres (ca. 1830). Counterproof or tracing strengthened with graphite and gouache on translucent paper. The Metropolitan Museum of Art, New York. Source: The Metropolitan Museum of Art · CC0 (Met Open Access)

Watch

Jacques-Louis David, The Death of Marat · Smarthistory

Ingres, La Grande Odalisque · Smarthistory

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See all Neoclassicism works in the gallery →