Romantic and Neoclassical Paintings Jean-Auguste-Dominique Ingres and Eugene Delacroix were contemporaries -- but they practiced two very different styles: the former was a Neoclassical painter and the latter a Romantic painter. Neoclassicalism emphasized symmetry and simplicity and found its inspiration in the ancient art of Greece and Rome: its practitioners celebrated the artistic styles of the Greco-Roman world, rejecting the drama of the Baroque and adopting a more intellectualized approached to the visual arts. The subjects of these paintings were often political, social historical and classical -- a portrait of the Horatii, for example, or of a scene in Homer's Iliad. The visual style was decorous, concise, restrained, balanced, rational, and sometimes witty: it appealed to the Enlightenment thinkers of the late 18th and early 19th centuries. Romanticism on the other hand was more emotional: its subjects were more often focused on nature, the individual, the common man, the spirit of the times ("Comparison"). Attention to fine detail was less important than the capturing of a certain feeling. In each of these genres, the role of woman is featured differently -- as Ingres's Joan of Arc at the Coronation of Charles VII and Delacroix's Liberty Leading the People show respectively.

Ingres's Joan and Delacroix's Liberty are two distinct representations of woman. While both are idealized, each is presenting a unique ideal that is also exceedingly rich and complex. Joan is presented by the Neoclassicalist as full of dignity, calm, strength, heroic leadership (her battle armor), and femininity (her legs are mostly covered by a long skirt worn over her battle armor). A halo encircles her head signifying her saintliness: her eyes are directed upwards towards Heaven, whose decrees she has followed in liberating France. She is depicted as still, stable, strong yet humble: she has not taken on this mission as a result of her own will but rather has subjected her will to God's will -- it was His desire that she lead the French, not hers. This is why her eyes are directed upwards: she is like the icons of the early Church, whose fingers are fixed in a pointed manner towards Heaven, alerting the viewer to the reality of that which is above, to the end goal that all humans should be thinking about and moving toward in their everyday lives. Ingres's Joan is remarkable because she is so self-possessed, so modest even in her battle garb, which her maidenly virtue covers up so as not to appear dressed like a man. She celebrates her sex in a way that is conventional, orthodox yet attractive: she does not bare all in the same manner that Delacroix's Liberty does. In the Romantic painting, Liberty's chest is exposed, symbolically illustrating to her followers that she will feed them in the New Age: the people will drink of the milk of Liberty. There is no sense of such revolutionary doctrine in Ingres's portrait of Joan. Joan is humble whereas Liberty is proud; Joan is self-possessing whereas Liberty is flaunting; Joan is restrained and ordered whereas Liberty is depicted in the midst of a chaos and war, bodies rising and falling, hair tossed, skirts waving, flags flying, guns pitched and smoke blowing. Joan is not portrayed in the midst of battle because for the Neoclassicalist, the battle is an occasion of violence that is best left off stage: violence is brutish, offensive, perhaps necessary, but better left to those who must engage in it: the ordered and rational mind takes more pleasure in viewing the subtleties and nuances of a hero in a posture like that of Michelangelo's David -- mission accomplished, the long night over, the day arrived and the sun shining.

In this sense, Ingres's Joan is somewhat anachronistic to modern times: strict Feminists may be attracted to Joan's strength of character and ability to lead into battle,...

Joan represents a kind contradiction for the modern mind, which is more likely to see in Liberty the type of womanhood that it is accustomed to celebrating: a woman taking the lead, a woman in action, rallying the men behind her, using her sexuality to attract attention, adopting a political stance, engaging in revolutionary ideas, acting vociferously in public: leading the children in ways of the revolution (the child behind her raises a pistol in a salute to her passionate leadership. The bodies of Liberty's foes lie at her feet as the people march forward emerging of the smoke and din of battle. She looks over her shoulder at those who follow her: her eyes are not directed upwards like those of Joan's, whose ultimate destination is Heaven. Liberty's eyes are directed downwards at the earth: her ultimate goal is earthly, worldly, social and political -- not spiritual or religious. She is the anti-Mary, the anti-Virgin. There is nothing submissive about her. She does not submit to a higher power but rather acts as the higher power -- the force of guiding light and intelligence. She is the spirit that will move and intervene. She is Joan without Joan's modesty, without Joan's grace, without Joan's sense of hierarchy, proportion, balance, and reason.
Liberty eschews reason for will, logic for passion, discourse for force. Liberty demonstrates quite vividly that there will be blood when she arises to power -- for Liberty does not spring full-grown out of the head of Zeus like Athena but rather comes to life like one of Goya's monsters dreamt of while Reason sleeps. She is beautiful -- but deadly. She is sure of herself, but her conviction will only lead to a type of authoritarianism and totalitarianism that is unrelenting, unyielding, inflexible and unforgiving: in her posture is the new age of political correctness -- if one objects, he or she will pay the price. The old Joan must be put away and the new Lady Liberty put on. She is the embodiment of revolutionary Romanticism -- the anti-thesis of measured, constrained, ordered Neoclassical thought. She dares one and all to confront her. Joan, on the other hand, appears mild and lovely by comparison -- in spite of her battle garb -- garb which Liberty does not even don in the face of battle: Liberty needs no such protection since, being a spirit -- an ideal -- she possesses none of the humanity that she seems to inspire in others. If a bullet penetrates her, it penetrates nothing -- for she is a symbol: if an arrow pierces Joan's heart, she dies. This is the difference: Joan is corporal -- real; Liberty is an illusion, a phantom -- an idealistic enterprise that will lead men to war but that will never truly ever be embraced -- because she is part of a Utopian fantasy. Joan at least looks for her paradise in the next world; Liberty dares men to make their paradise here. Joan puts God and his interests first; Liberty puts man and his desires first. Joan sees Heaven as the All; Liberty sees men's desire and will as the most important point. Joan is saintly; Liberty is Nietzschean.

In conclusion, the Neoclassical and the Romantic styles of painting were different because they emanated out of different philosophical orientations. The former looked backwards towards the Greeks while embracing a rationalistic tone; the latter looked forward to the possibilities of a future in which…