1000 Scupltures of Genius. Patrick Bade
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all of which increased mankind’s sense of its own potential. The expansive and new investigative mentality was echoed by an underlying naturalism in sculpture and a rejection of the artificialities of Mannerism, which were swept away by dramatic baroque figures in action, sometimes realistically “staged” in grand palatial, urban, or ecclesiastical settings. Gian Lorenzo Bernini dominated the sculptural scene in baroque Rome with his sculptures of swooning saints, complex fountains, and army of saints at the piazza of St Peter’s, a project carried out by Bernini and his large workshop. Throughout Europe, Mannerist niceties and clever details were replaced by the broader and more emotional new style.
As in politics, Louis XIV of France had a major impact on the arts. The Sun King, who effectively ascended to power in 1661, fancied himself the paragon or spiritual heir of Apollo and Alexander the Great, and he favoured Classicism in the arts; this was reflected in his sculptural commissions as well as those for architecture and painting. Louis favoured a rather bombastic and heavy version of Classicism, as evinced by the extant architecture, interior decoration, and garden design at Versailles, a glorified hunting lodge that he turned into a centre of power. When Louis died, a certain relief set in among the aristocrats of France. Courtiers moved from Versailles to newly-constructed hôtels particuliers in Paris. A smaller-scale taste took over, and decorations became lighter and airier, the style of the so-called rococo. This word, which was coined later by, it seems, pupils in the circle of the neoclassicist Jacques-Louis David, indicates that the art was a cross between barocco, the baroque, and rocaille, or pebble (or shell) work, and was a light version of the baroque. Practised by Clodion (Claude Michel) and an army of craftsmen who formed the interiors of the period, the rococo flourished particularly in noble country houses, city dwellings, and – perhaps most memorably – in church interiors. Born in France, the style flourished across Europe, and achieved its zenith in the Catholic church interiors of Austria and southern Germany.
The eighteenth century was an age of scientific advancement and discovery, and it turned out that the frilly rococo was not suited to every locale and patron. It never took root in England or America, where the taste in sculpture was leaning heavily towards copies of the antique, a taste gained from Englishmen’s exposure to antiquity while on the Grand Tour. Copies after the Italian Renaissance sculptors were also quite in vogue in England, and when the native genius expressed itself it was, not surprisingly, in forms reminiscent of antiquity, as in the art of John Flaxman. The English made a specialty of forming natural and apparently spontaneous gardens, and sculptures after the antique often found their place in these landscape gardens.
The Modern Age: From Neoclassicism to the Twentieth Century
The emphasis on virtue in the eighteenth century was hardly compatible with the delights of the rococo, and eventually something had to change. As it turned out, Classicism was once again seen as the salvation of Western art. Neoclassicism became widespread, inspired in part by the rediscovery of Herculaneum and Pompeii, and fostered by the thirst for Virtue, which was deemed to be embodied in the calm and moderate sculpture of antiquity. The neoclassical movement was ripe for success, and it swept across Europe and America and beyond. It was fed and fostered by a number of events and movements: the Grand Tour, the rediscovery of buried Roman cities, an education system that put an emphasis on the study of the antique, the sheer exhaustion with the late baroque and rococo… all of this nurtured a movement that dominated in architecture, sculpture, and the decorative arts, and had a major impact on painting.
A number of political regimes utilised the classical style to garner public support. This was hardly a new practice, as a number of Italian Renaissance rulers had done the same. Such a practice linked the new regimes to a long-standing tradition that was enlightened, virtuous, steeped in democratic values, favourable to education, and stood at the apex of secular culture among world civilisations. The French revolutionaries immediately embraced the developing neoclassical style, and Napoléon continued to do so, linking himself to Roman imperial iconography. The American Revolution and its aftermath led to an adoption of classical reference to the Greek and Roman form of government, but the English themselves provided the background for this and had already incorporated the new classical ideas into their sculptural traditions and other art forms. Every country or regime, in somewhat nuanced versions, shared in this Neoclassical style. The international character of it was the product of the exchange of artistic ideas and the mining of the same ancient sources.
Another international style, Romanticism, unfolded during the nineteenth century against a backdrop of growing industrialism, democracy, and disillusionment by some with the results of those economic and political developments. The romantics explored the world of the irrational, the distant, and the bizarre, and their art often appealed to those disenfranchised by the societal progress and change being experienced in Western culture. Some of this thinking continued later in the century and beyond, and one can argue that romanticism continued – and continues – to inform modern thinking and artistic solutions.
The late nineteenth-century world of thought put forth a number of attempts to explain the world, and the recognition of the power of irrational or hidden forces, whether in Freud, Nietzsche, Jung, or Marx, gave rise to artistic manifestations. Paul Gauguin, who explored (and exploited) the stylistic and iconographic world of the South Pacific islands, is an example of this anti-bourgeois trend. Even before Darwin, the world of animals had great appeal among the romantics. Darwin, in his On the Origin of Species (1859), linked homo sapiens to the animal world genealogically, and during his time and earlier one could read of the importance of animals and animals’ spirits in the works of Romantic poets and prose writers; animals were recognised as knowing and passionate, and their emotions linked to those of humans, a theme already explored by Leonardo da Vinci, Charles Le Brun, and other artists. The sculpture of Antoine-Louis Barye express this interest in the passions of the animal world, in a vivid trend also explored by painters such as George Stubbs, Eugène Delacroix, and Henri Rousseau.
The late nineteenth century was a time of great cultural and societal change, and some artists seemed to respond to this and produce an art as revolutionary as the new ideas in science, philosophy, and psychology.
Auguste Rodin, for example, moved in the direction of modernism in the later nineteenth century, but many sculptors in different countries favoured a more studied, academic, and traditional approach. Throughout Europe and America, traditional, academic sculpture found an admiring public, and many of these works still dominate their public sites, from the so-called Eros by Alfred Gilbert in London’s Piccadilly Circus, via Edvard Eriksen’s Little Mermaid in the harbour of Copenhagen, to New York’s Statue of Liberty by Frédéric-Auguste Bartholdi. This last colossal work is a remarkable specimen of academic Classicism, produced at a time when even the less avant-garde American school was ready to explore a variety of manifestations of early modernism.
The twentieth century was marked by a new subjectivity of thought, and old paradigms gave way to new. Einstein’s theory of relativity overthrew more static beliefs in physics. The atonalist musical composers overthrew the old common system alive for four hundred years and shifted aural attention away from the keynote and musical scale. Psychoanalytical thinkers continued to undermine confidence in conscious thought and reason.
Even economists introduced new ideas of subjectivity into economic thinking, and saw prices as the result of shifting sentiment of supply and demand rather than based in firm factors such as the costs of production.
All of this was part of a new mentality that saw a dynamic universe, and artists shared in this new vision. Cubism is the most obvious participant of this novel thinking, and the focus on fragmentation, changing view point, and the re-assessment and re-evaluation of traditional artistic ideals continued to be widespread in the twentieth century.
From the abstractions of Umberto Boccioni and Jacques Lipschitz to the work of David Smith and Donald Judd, there was a nearly unbroken line of shared modernist taste. Yet such modernism was not without opposition in the twentieth century.
Indeed, even early in the century, in the midst of paradigm shift away from academic art and towards modernist solutions, the tragedy of World War I occurred, with tremendous loss of life bringing little change in advantage for either side. The war left a generation disillusioned, and the artistic movements of Dada and even Surrealism