Academic Classicism Artists Index
Amerling, Friedrich von 1803-1887
Blaas, Eugen de 1843-1931
Bonnat, Leon 1833-1922
Bonnaud, Pierre 1865-1930
Boucherville, Adrien de 1829-1912
Bouguereau, Adolphe-William 1825-1905
Brandt, Jozef 1841-1915
Carolus-Duran, Charles Emile August 1837-1917
Catala, Luis Alvarez 1836-1901
Charlemont, Eduard 1848-1906
Chelminski, Jan van 1851-1925
Comerre, Leon Francois 1850-1916
Corrodi, Hermann David Salomon 1844-1905
Cot, Pierre-Auguste 1837-1883
Delaroche, Paul 1797-1856
Deutsch, Ludwig 1855-1935
Ernst, Rudolph 1854-1932
Flameng, Francois 1856-1923
Frere, Charles-Theodore 1814-1888
Fromentin, Eugene 1820-1876
Gerome, Jean Leon 1824-1904
Gervex, Henri 1852-1929
Gilbert, Victor Gabriel 1847-1933
Hansen, Heinrich 1821-1890
Hublin, Emile Auguste 1830-1891
Kaemmerer, Frederick Hendrik 1839-1902
Kaufmann, Isidor 1854-1921
Knight, Daniel Ridgway 1839-1924
Ladell, Edward 1821-1886
Laurens, Jean-Paul 1838-1921
Lefebvre, Jules Joseph 1836-1911
Lesrel, Adolphe Alexandre 1839-1929
Martin-Kavel, Francois 1861-1931
Meissonier, Jean-Louis-Ernest 1815-1891
Merle, Hugues 1823-1881
Merson, Luc Olivier 1846-1920
Munier, Emile 1810-1895
Perrault, Leon-Jean-Bazille 1832-1908
Pukirev, Vasily 1832-1890
Quadrone, Giovanni-Battista 1844-1898
Ralli, Theodore Jacques 1852-1909
Reggianini, Vittorio 1858-1938
Reichert, Carl 1836-1918
Ricci, Arturo 1854-1919
Robie, Jean-Baptiste 1821-1910
Rosati, Giulio 1858-1917
Roybet, Ferdinand Victor Leon 1840-1920
Salanson, Eugene-Marie 1864-1892
Schryver, Louis Marie de 1863-1942
Soulacroix, Frederick Charles 1825-1879
Vernet, Horace 1789-1863
Vibert, Jehan Georges 1840-1902
Wierusz-Kowalski, Alfred von 1849-1915
Winterhalter, Hermann 1808-1891
Winterhalter, Franz Xavier 1805-1873
Wontner, William Clarke 1857-1930
Yvon, Adolphe 1817-1893
Zabala, Eduardo Zamacois y 1842-1871
Zuber-Buhler, Fritz 1822-1896
Academic Classicism - Art History Information
Academic art is a style of painting and sculpture produced under the influence of European academies or universities.
Specifically, academic art is the art and artists influenced by the standards of the French Academie des beaux-arts, which practiced under the movements of Neoclassicism and Romanticism, and the art that followed these two movements in the attempt to synthesize both of their styles, and which is best reflected by the paintings of William-Adolphe Bouguereau, Suzor-Cote, Thomas Couture, and Hans Makart. In this context it is often called "academism", "academicism", "L'art pompier", and "eclecticism", and sometimes linked with "historicism" and "syncretism".
The art influenced by academies and universities in general is also called "academic art". In this context as new styles are embraced by academics, the new styles come to be considered academic, thus what was at one time a rebellion against academic art becomes academic art.
The academies in history
The first academy of art was founded in Florence in Italy in 1562 by Giorgio Vasari who called it the Accademia dell'Arte del Disegno. There students learned the "arti del disegno" (a term coined by Vasari) and included lectures on anatomy and geometry. Another academy, the Accademia di San Luca (named after the patron saint of painters, St. Luke), was founded about a decade later in Rome. The Accademia di San Luca served an educational function and was more concerned with art theory than the Florentine one. In 1582 Annibale Carracci opened his very influential Academy of Desiderosi in Bologna without official support; in some ways this was more like a traditional artist's workshop, but that he felt the need to label it as an "academy" demonstrates the attraction of the idea at the time.
Accademia di San Luca later served as the model for the Academie royale de peinture et de sculpture founded in France in 1648, and which later became the Academie des beaux-arts. The French Academie very probably adopted the term "arti del disegno" which it translated into "beaux arts", from which is derived the English term "fine arts". The Academie royale de peinture et de sculpture was founded in an effort to distinguish artists "who were gentlemen practicing a liberal art" from craftsmen, who were engaged in manual labor. This emphasis on the intellectual component of artmaking had a considerable impact on the subjects and styles of academic art.
After the Academie royale de peinture et de sculpture was reorganized in 1661 by Louis XIV whose aim was to control all the artistic activity in France, a controversy occurred among the members that dominated artistic attitudes for the rest of the century. This "battle of styles" was a conflict over whether Peter Paul Rubens or Nicolas Poussin was a suitable model to follow. Followers of Poussin, called "poussinistes", argued that line (disegno) should dominate art, because of its appeal to the intellect, while followers or Rubens, called "rubenistes", argued that color (colore) should dominate art, because of its appeal to emotion.
The debate was revived in the early 19th century, under the movements of Neoclassicism typified by the artwork of Jean Auguste Dominique Ingres, and Romanticism typified by the artwork of Eugene Delacroix. Debates also occurred over whether it was better to learn art by looking at nature, or to learn by looking at the artistic masters of the past.
Academies using the French model formed throughout Europe, and imitated the teachings and styles of the French Academie. In England, this was the Royal Academy. One effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies until the last half of the nineteenth century (1861 for the Royal Academy). This was partly because of concerns over the propriety of life classes with nude models' special arrangements were often made for female students until the 20th century.
Development of the academic style
Since the onset of the poussiniste-rubiniste debate many artists worked between the two styles. In the 19th century, in the revived form of the debate, the attention and the aims of the art world became to synthesize the line of Neoclassicism with the color of Romanticism. One artist after another was claimed by critics to have achieved the synthesis, among them Theodore Chasseriau, Ary Scheffer, Francesco Hayez, Alexandre-Gabriel Decamps and Thomas Couture. William-Adolphe Bouguereau, a later academic artist, commented that the trick to being a good painter is seeing "color and line as the same thing." Thomas Couture promoted the same idea in a book he authored on art method arguing that whenever one said a painting had better color or better line it was nonsense, because whenever color appeared brilliant it depended on line to convey it, and vice versa; and that color was really a way to talk about the "value" of form.
Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism. This is best seen in the work of Baron Henri Leys, a later influence on James Tissot. It's also seen in the development of the Neo-Grec style. Historicism is also meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past.
The art world also grew to give increasing focus on allegory in art. Both theories of the importance of line and color asserted that through these elements an artist exerted control over the medium to create psychological effects, in which themes, emotions, and ideas can be represented. As artists attempted to synthesize these theories in practice, the attention on the artwork as an allegorical or figurative vehicle was emphasized. It was held that the representations in paintings and sculpture should evoke Platonic forms, or ideals, where behind ordinary depictions one would glimpse something abstract, some eternal truth. Hence, Keats' famous musing "Beauty is truth, truth beauty". The paintings were desired to be an "idee", a full and complete idea. Bouguereau is known to have said that he wouldn't paint "a war", but would paint "War". Many paintings by academic artists are simple nature-allegories with titles like Dawn, Dusk, Seeing, and Tasting, where these ideas are personified by a single nude figure, composed in such a way as to bring out the essence of the idea.
The trend in art was also towards greater idealism, which is contrary to realism, in that the figures depicted were made simpler and more abstract - idealized - in order to be able to represent the ideals they stood in for. This would involve both generalizing forms seen in nature, and subordinating them to the unity and theme of the artwork.
Because history and mythology were considered as plays or dialectics of ideas, a fertile ground for important allegory, using themes from these subjects was considered the most serious form of painting. A hierarchy of genres, originally created in the 17th century, was valued, where history painting - classical, religious, mythological, literary, and allegorical subjects - was placed at the top, next genre painting, then portraiture, still-life, and landscape. History painting was also known as the "grande genre". Paintings of Hans Makart are often larger than life historical dramas, and he combined this with a historicism in decoration to dominate the style of 19th century Vienna culture. Paul Delaroche is a typifying example of French history painting.
All of these trends were influenced by the theories of the philosopher Hegel, who held that history was a dialectic of competing ideas, which eventually resolved in synthesis.
Towards the end of the 19th century, academic art had saturated European society. Exhibitions were held often, and the most popular exhibition was the Paris Salon and beginning in 1903, the Salon d'Automne. These salons were sensational events that attracted crowds of visitors, both native and foreign. As much a social affair as an artistic one, 50,000 people might visit on a single Sunday, and as many as 500,000 could see the exhibition during its two-month run. Thousands of pictures were displayed, hung from just below eye level all the way up to the ceiling in a manner now known as "Salon style." A successful showing at the salon was a seal of approval for an artist, making his work saleable to the growing ranks of private collectors. Bouguereau, Alexandre Cabanel and Jean-Leon Gerome were leading figures of this art world.
During the reign of academic art, the paintings of the Rococo era, previously held in low favor, were revived to popularity, and themes often used in Rococo art such as Eros and Psyche were popular again. The academic art world also idolized Raphael, for the ideality of his work, in fact preferring him over Michelangelo.
Academic art not only held influence in Europe and the United States, but also extended its influence to non-Western countries. This was especially true for Latin American nations, which, because their revolutions were modeled on the French Revolution, sought to emulate French culture. An example of a Latin American academic artist is Angel Zarraga of Mexico.
Young artists spent years in rigorous training. In France, only students who passed an exam and carried a letter of reference from a noted professor of art were accepted at the academy's school, the Ecole des Beaux-Arts. Drawings and paintings of the nude, called "academies", were the basic building blocks of academic art and the procedure for learning to make them was clearly defined. First, students copied prints after classical sculptures, becoming familiar with the principles of contour, light, and shade. The copy was believed crucial to the academic education; from copying works of past artists one would assimilate their methods of art making. To advance to the next step, and every successive one, students presented drawings for evaluation.
If approved, they would then draw from plaster casts of famous classical sculptures. Only after acquiring these skills were artists permitted entrance to classes in which a live model posed. Interestingly, painting was not actually taught at the Ecole des Beaux-Arts until after 1863. To learn to paint with a brush, the student first had to demonstrate proficiency in drawing, which was considered the foundation of academic painting. Only then could the pupil join the studio of an academician and learn how to paint. Throughout the entire process, competitions with a predetermined subject and a specific allotted period of time measured each students' progress.
The most famous art competition for students was the Prix de Rome. The winner of the Prix de Rome was awarded a fellowship to study at the Academie francaise's school at the Villa Medici in Rome for up to five years. To compete, an artist had to be of French nationality, male, under 30 years of age, and single. He had to have met the entrance requirements of the Ecole and have the support of a well-known art teacher. The competition was grueling, involving several stages before the final one, in which 10 competitors were sequestered in studios for 72 days to paint their final history paintings. The winner was essentially assured a successful professional career.
As noted, a successful showing at the Salon was a seal of approval for an artist. The ultimate achievement for the professional artist was election to membership in the Academie francaise and the right to be known as an academician. Artists petitioned the hanging committee for optimal placement "on the line," or at eye level. After the exhibition opened, artists complained if their works were "skyed," or hung too high.
Criticism and legacy
Academic art was first criticised for its use of idealism, by Realist artists such as Gustave Courbet, as being based on idealistic cliches and representing mythical and legendary motives while contemporary social concerns were being ignored. Another criticism by Realists was the "false surface" of paintings - the objects depicted looked smooth, slick, and idealized - showing no real texture. The Realist Theodule Augustin Ribot worked against this by experimenting with rough, unfinished textures in his paintings.
Stylistically, the Impressionists, who advocated quickly painting outdoors exactly what the eye sees and the hand puts down, criticized the finished and idealized painting style. Although academic painters began a painting by first making drawings and then painting oil sketches of their subject, they would polish the drawings so much Impressionists alleged that the practice was tantamount to lying. After the oil sketch, the artist would produce the final painting with the academic "fini," changing the painting to meet stylistic standards and attempting to idealize the images and add perfect detail. Similarly, perspective is constructed geometrically on a flat surface and is not really the product of sight, Impressionists disavowed the devotion to mechanical techniques.
Realists and Impressionists also defied the placement of still-life and landscape at the bottom of the hierarchy of genres. It is important to note that most Realists and Impressionists and others among the early avant-garde who rebelled against academism were originally students in academic ateliers. Claude Monet, Gustave Courbet, Edouard Manet and even Henri Matisse were students under academic artists.
As modern art and its avant-garde gained more power, academic art was further denigrated, and seen as sentimental, cliched, conservative, non-innovative, bourgeois, and "styleless". The French referred derisively to the style of academic art as L'art Pompier (pompier means "fireman") alluding to the paintings of Jacques-Louis David (who was held in esteem by the academy) which often depicted soldiers wearing fireman-like helmets. The paintings were called "grande machines" which were said to have manufactured false emotion through contrivances and tricks.
This denigration of academic art reached its peak through the writings of art critic Clement Greenberg who stated that all academic art is "kitsch". References to academic art were gradually removed from histories of art and textbooks by modernists, who justified doing this in the name of cultural revolution. For most of the 20th century, academic art was completely obscured, only brought up rarely, and when brought up, done so for the purpose of ridiculing it and the bourgeois society which supported it, laying a groundwork for the importance of modernism.
Other artists, such as the Symbolist painters and some of the Surrealists, were kinder to the tradition. As painters who sought to bring imaginary vistas to life, these artists were more willing to learn from a strongly representational tradition. Once the tradition had come to be looked on as old-fashioned, the allegorical nudes and theatrically posed figures struck some viewers as bizarre and dreamlike.
With the goals of Postmodernism in giving a fuller, more sociological and pluralistic account of history, academic art has been brought back into history books and discussion, though many postmodern art historians hold a bias against the "bourgeois" nature of the art. Nevertheless, since the early 1990's, academic art has experienced a limited resurgence through the Classical Realist atelier movement. Still, the art is gaining a broader appreciation by the public at large, and whereas academic paintings once would only fetch a few hundreds of dollars in auctions, they now command millions.