canon-clasicista_compress

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Arte
El canon clasicista: arte clásico 
como modelo del renacimiento y 
el neoclasicismo.
 
Arte
• Canon clasicista
• Arte grecorromano
• Arte renacentista y neoclasicista
• Discrepancias entre los dos artes
• Conclusiones
• Bibliografía
 
EL CANON CLÁSICO
 
Arte grecorromano
• Arquitectura y Escultura 
• Relación con la mitología.
 
Arquitectura y escultura
http://thales.cica.es/rd/Recursos/rd98/HisArtLit/01/partenon2.jpg
 
Arte renacentista
A lo largo del siglo XV las manifestaciones 
artísticas tenían como modelo el arte de 
Grecia y Roma.
• El Renacimiento se entendió como una 
recuperación del arte clásico.
• Gran impulso de mutación constante.
 
Renacimiento
 
Renacimiento.
• Movimiento sobre todo Italiano.
• Humanismo racional substituido por el 
humanismo emotivo del s. XIII
• Ausencia de secuencias cinematográficas
• Análisis racional del arte. (Degli ordini, 
Vignola)
 
Renacimiento
http://images.google.es/imgres?imgurl=http://biblioteca.ing.unipi.it/mostraschede/LVignola.jpg&imgrefurl=http://biblioteca.ing.unipi.it/mostraschede/architetturaBarozzidaVignola.htm&h=506&w=360&sz=23&hl=es&start=2&um=1&tbnid=igjqrvSqoHs3dM:&tbnh=131&tbnw=93&prev=/images%3Fq%3DDegli%2Bordini,%2Bil%2Bvignola%26svnum%3D10%26um%3D1%26hl%3Des%26lr%3Dlang_es%26sa%3DN
 
Neoclasicismo
• “La antigüedad ha continuado siendo la 
gran escuela de los pintores modernos y 
su fuente de inspiración. Queremos imitar 
a los antiguos en el genio de las 
concepciones, la pureza del dibujo, la 
expresión de los rostros y las gracias de 
las formas” Jacques Louis David
 
Neoclasicismo
http://www.fortunecity.es/imaginapoder/artes/154/roma/ROA2501Amfiteatre_Pompeia.jpg
http://farm1.static.flickr.com/176/455088187_5cbf3e49ba.jpg
 
Neoclasicismo
• Supone como en el Renacimiento un retorno a los 
clásicos.
• Los descubrimientos arqueológicos como Herculano en 
el 1719 y Pompeya en el 1748, junto a la bibliografía 
arqueológica: Historia del arte de la antigüedad, de 
Winckelmann y Antiquities of athens de Stuart 
intensifican esta retomada tendencia.
• Las academias subrayan el valor normativo del 
clasicismo, es decir, en busca del buen gusto.
• Arte para expresar el imperio universal al que aspiraba 
el emperador, como en el imperio napoleónico.
 
Discrepancias entre los dos artes
• Aún teniendo en cuenta que ambas 
corrientes comparten diversas 
características, no hay que olvidar que 
tanto el Renacimiento como el 
Neoclasicismo se ven inevitablemente 
influenciados por una tradición medieval y 
cristiana que obviamente el arte clásico no 
comparte. A partir de ésta premisa, se 
pueden ir encontrando las diferentes 
discrepancias entre una corriente y otra.
 
Discrepancias
ARTE GRECORROMANO.
• Pinturas poco conservadas, 
mayoritariamente frescos. 
Temática más cotidiana y 
función estrictamente 
decorativa.
• Edificios religiosos parecidos a 
los administrativos. Plantas 
excesivamente semejantes.
• Las medidas de los edificios 
están proporcionadas al ser 
humano.
• Escultura en continuo 
desarrollo, poca expresión de 
sentimientos. No se consigue 
dar una verdadera sensación 
de movimiento.
ARTE NEOCLÁSICO
• Pinturas conservadas en 
lienzos, frescos y diversos 
materiales. La pintura adquiere 
más protagonismo.
• Edificios influenciados por el 
arte medieval. Forma de cruz 
en las iglesias, utilización de 
muchas imágenes, temática 
cristiana, etc.
• Templos de gran tamaño.
• Escultura a un nivel de 
desarrollo importante. Gran 
realismo en la plasmación de 
las sensaciones y emociones. 
Mucho movimiento.
 
Pintura 
romana
Pintura 
neoclásica
Templo griego
Iglesia 
renacentista
 
Conclusiones
• Reflejo del equilibrio y belleza griegos –con 
pluses- en el Renacimiento.
• Sobriedad romana como base para obras 
faraonicas modernas.
• Innovaciones sí; duros cimientos clásicos 
también.
• Aplausos.
“Mentre el Colosseu resistirà, Roma resistirà; quan el 
Colosseu s'ensorrarà, Roma s'ensorrarà; quan Roma 
desapareixerà, el món sencer desapareixerà” (Beda el 
Venerable, s. VIII)
 
Bibliografía 
 
• LLACAY, Toni, Montse Viladevall, Alicia Misrahi, Xavier Gómez, Josep Serres, Visualart, Barcelona, ed. 
Vicens Vives, 2004
• Páginas web:
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