The Influences of Science in the Classical Era
 |
| La Lecture de Molière by Jean François de Troy (1728) |
Background and Influences
Jean François de Troy (1679-1752) was a French Rococo painter known for his invention of tableaux de modes, a more accurate depiction of the French aristocrat’s lives in comparison to fête galantes. (“The Alarm”)
Salons have existed for quite some time but gained popularity in France during the 17th century. They developed to become a social gathering to discuss ideas, the arts, and politics. They were often hosted by aristocratic women, who gained popularity through their salons. Through these events, ideas of the Enlightenment and sciences were spread and connections were made among scientists, philosophers, and artists of the 18th century. Salons also offered an opportunity for women to engage and influence the intellectual movement. (Cartwright)
Description and Art Elements
La Lecture de Molière, 1728, Oil on canvas, 74 x 93 cm
Painted in Paris, France
Currently located in a private collection
La Lecture de Molière depicts an 18th-century French salon. The group of seven people is elaborately dressed and positioned around a man reading a work by Molière. Two women are focused on the man holding Molière’s work. Another man and a woman are engaged in discussion. Two of the women look towards the viewer. Rococo characteristics are found in the use of pastels, the asymmetrical, curving nature of the candlestick holder, details on the clothing, and wallpaper in the background.
Color: The Rococo Era was known for its light pastels and gold, creating a dream-like scene. De Troy uses the contrasts of the powerful blues and reds against the pastel yellows and gold to draw the viewer in and add to the elegance of the French aristocrats' social activities. The scene is peaceful.
Line and Pattern: The natural, curving lines in La Lecture de Molière are used to depict the details among the clothing, room, and people creating an elegance that was captured in Rococo art. The painting shows the relaxed nature of the elites’ lives, where struggle does not exist. The fine detail found on every inch of this painting captures the Rococo era’s need for extravagance.
Placement and Presentation
During my sleuthing into whose private collection this painting currently belongs to, I found an interview of David Cholmondeley, covering a 1994 auction of items in his possession, among them being La Lecture de Molière. He said that the painting was placed in his grandmother’s drawing room (Richardson). Which I feel is possibly the best place for it.
Personal Relation
While I will never live in grand palaces and be adorned with the physical riches of the world (I prefer a “simple” life), I love the lightheartedness of the Rococo Era. One can’t help but admit that it is beautiful. La Lecture de Molière is a bit more on the fancier side than most works I’m drawn to, but I would still own a print of it.
Science in Action
 |
| A Philosopher Lecturing on the Orrery by Joseph Wright of Derby (1766) |
Background and Influence
Joseph Wright of Derby (1734-1797) was an English Neoclassical landscape and portrait artist, known for his use of tenebrism. He was involved with the Lunar Society of Birmingham, an informal group of philosophers and scientists during the mid 18th to the early 19th century.
During the Enlightenment, science lectures gained popularity, attended by a variety of people. They shared Enlightenment ideas and recent discoveries in the sciences. A Philosopher Lecturing on the Orrery depicts one of these lectures, focusing on an orrery. The device displays the orbit of planets, a discovery made by Sir Isaac Newton’s theory of gravity. This painting displays more than just a science lecture, it represents the effects of the Enlightenment and its importance. The Enlightenment captures the minds of all, regardless of who they are or their background. It encourages curiosity about life itself. (“Joseph Wright of Derby”)
Description and Art Elements
A Philosopher Lecturing on the Orrery, 1766, Oil on canvas, 147 x 203 cm
Painted in Derbyshire, England
Currently located at the Derby Museum and Art Gallery in Derby, England
A Philosopher Lecturing on the Orrery depicts a lecture of an orrery. It showcased the intricacies of the solar system and the relationships of solar bodies. The painting is dark, using a center light source to illuminate its subjects. An older man is seen standing over an orrery. One middle-aged man is taking notes of the lecture and another focusing on the lecturer. A man and a woman sit across from each other, focusing on the center of the orrery. Framed by the orrery’s large, metal rings are three younger figures. Two young boys are entranced in the display and a teenage girl is leaning in towards the orrery with her back to the viewer.
Tone: Wright uses tone to contrast the features of the painting and dramatize the subjects. It highlights the significance of the orrery and its influence on the crowd around it. The light emitted draws the viewer’s focus to the orrery, just like the people in the painting are. It creates a sense of tranquility among the intense advancement in science.
Placement and Presentation
The painting is displayed alongside other works by Wright and a replica of an orrery in the Derby Museum. This allows the viewer to place themselves in the painting and experience for themself something similar to what the painting’s subjects are seeing.
Personal Relation
I enjoy this painting because it captures the fascination of science, regardless of age. I have always loved science and its explanation of the world around me. Wright’s paintings capture the emotions and curiosities of discovery. My favorite thing about Wright’s paintings is his use of tenebrism. I would own a print of this painting.
Science and Discovery
Architectural Fantasy with Roman Ruins by Charles-Louis Clérisseau (no date)
Background and Influence
Charles-Louis Clérisseau (1721-1820) was an French Neoclassical architect and artist, known for his knowledge in ancient Roman architecture. His influence is found across countless Neoclassical buildings around the Western world. (“Charles-Louis Clérisseau”)
The Neoclassical era is known for drawing inspiration from ancient Greece and Rome. I think that this painting captures the era’s obsession with ancient art and culture. The discovery of Pompeii and Herculaneum added fuel to the fire of the 18th century's fascination with classical antiquities, which is seen through the era’s art, fashion, and architecture. (“Neoclassicism Movement Overview”)
Description and Art Elements
Architectural Fantasy with Roman Ruins, no date, Pen and brown ink and brush and brown and green wash, 25.3 x 35.6 cm
Creation location unknown
Currently located at the Metropolitan Museum of Art in New York City, USA
Architectural Fantasy with Roman Ruins captures the wonder and beauty of ancient Roman antiquities. The drawing is not of any specific ancient Rome architecture, but a combination of what Clérisseau observed. A gentle light is seen pouring into the ruins.
Line: Clérisseau shows off his skill of linear perspective to display the intricacies of architecture from ancient Rome. Bold, strong lines give the air of power in the drawing. They encourage the reader to look around the ruins.
Color: By using a wash, Clérisseau gave the stone a marble-like and aged effect. I love how it shows the wear of time on the architecture, enhancing that wonder and awe.
Placement and Presentation
This work is currently not on display. However, if I were to display it, I would place it among other works by Clérisseau and his architectural plans. It would have a simple, monochrome frame to not draw attention away from the piece.
Personal Relation
I completely understand the Neoclassical era’s obsession. I love reading about ancient Rome and seeing the impacts of its influence today. My mom thoroughly enjoyed teaching about it and I am extremely fortunate to have visited Italy in my lifetime. This work is simple and not overpowering unlike other artist’s depiction of ancient Rome. I would enjoy having this drawing in my collection.
Works Cited
Cartwright, Mark. “Parisian Salons & The Enlightenment.” World History Encyclopedia, 26 Feb. 2024, www.worldhistory.org/article/2374/parisian-salons--the-enlightenment/.
“Charles-Louis Clérisseau.” Wikipedia, Wikimedia Foundation, 26 July 2024, en.wikipedia.org/wiki/Charles-Louis_Cl%C3%A9risseau.
“Joseph Wright of Derby.” Derby Museums, derbymuseums.org/collection/joseph-wright-of-derby/. Accessed 17 Mar. 2025.
“Charles Louis Clérisseau: Architectural Fantasy with Roman Ruins.” The Metropolitan Museum of Art, www.metmuseum.org/art/collection/search/336493. Accessed 17 Mar. 2025.
“Neoclassicism Movement Overview.” The Art Story, www.theartstory.org/movement/neoclassicism/. Accessed 17 Mar. 2025.
Richardson, John. “Houghton Revisited.” Vanity Fair, 1 Nov. 1999, www.vanityfair.com/culture/1994/10/houghton-revisited-199410?srsltid=AfmBOoqCgMqipC6O2Xr5R5-XRc2VSw8TXCMwvQ6UAXuucpYlwNJslvbc.
“The Alarm: Troy, Jean-François De.” Victoria and Albert Museum: Explore the Collections, collections.vam.ac.uk/item/O17801/the-alarm-oil-painting-troy-jean-francois/the-alarm-oil-painting-troy-jean-fran%C3%A7ois/. Accessed 17 Mar. 2025.
I also chose a piece by Joseph Wright of Derby and think that his work, along with the others you chose connected with the theme for this week. In that particular painting his work clearly illustrates how science became central to intellectual thought through the strong lighting and dark contrasts as well highlights the importance of that specific science discovery. Another thing I found interesting is how the salons provided a space for women to engage in intellectual discussions and how their role was important even though their social roles were often restricted, but presented very nicely in this painting that you chose. Your blog post made me think how historical events and discoveries continue to shape artistic movement. I saw recently that discoveries of ancient pigments and sculptures have reshaped understanding of Greek and Roman aesthetics as many statues were painted in night colors and not all the white marble that is associated with those times.
ReplyDelete