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The Neoclassical late-Enlightenment Commissioned Connection

John Singleton Copley - Watson and the Shark

    John Singleton Copley was an English American painter born in Boston in 1738; he lived in the American colonies until 1774, when he left America to compare his work to that of Europe (“John Singleton Copley”). Copley specialized in portraits, though his mediums expanded from oil canvas to copper and ivory. His work was inspired by English mezzotint portraits and the work of local itinerant artists. Copley worked and studied initially in Italy before returning to London in 1775, where his career sprung to life following successful works exhibited at the Royal Academy in 1776 and 1777. He sought to create large historical paintings of contemporary events, though he continued doing large-scale portraits. Copley died in London in 1815 following a largely successful career in classical paintings. 

    Watson and the Shark is one of the paintings that sparked John Singleton Copley's career between 1776 and 1778 - Watson and the Shark was exhibited at London's Royal Academy in 1778 (“John Singleton Copley, Watson and the Shark, 1778”). The painting is of an actual event that took place 30 years prior, around 1748; Watson was attacked twice by a shark and lost a leg & foot during the attack in Havana Harbor. This painting is meant to dramatically display the heroic rescue effort of crews attempting to save the 14-year-old Brook Watson. Brook Watson went on to have a very successful business and political career, leading to a high likelihood that Watson himself commissioned this painting. Watson interpreted/referenced the painting as the embodiment of his triumph over adversity and used it as a talking point in inspirational speeches following the completion of the painting (“John Singleton Copley, Watson and the Shark, 1778”). 

    John Singleton Copley uses dramatic colors to express the hopelessness of a real-life survival experience. Copley depicts Watson in a pail coloration to represent the peril of the situation and how close Watson was to death. Similarly, the coloration of the water creates a sense of depth and fear for the situation, while lines complement the sea's movement and efforts of the rescue taking place at sea. One of the interesting aspects of the elements being used in this painting is that the dramatic use of elements to depict unavoidable doom works to create a sense of wonder due to the survival of the subject; if the subject (Watson) had not survived the attack, this piece would create a much different feeling (fear/loss/sadness rather than wonder/surreal/triumph of fear), and therefore history is a fundamental element of the art itself. 

Jean-Antoine Houdon - George Washington

    Jean-Antoine Houdon was a French late Enlightenment sculptor who lived from 1741 until 1828 (“Jean-Antoine Houdon (Getty Exhibitions)”). He sought to capture realistic 3D representations by sculpting influential late Enlightenment world figures. Jean-Antoine Houdon has an interest in a wide range of artistic styles, including naturalism and mythology, though he gained his recognition through creating as life-like figures as possible. His classical education included anatomy and ancient art studies, which influenced his progress as a realist sculptor (“Jean-Antoine Houdon (Getty Exhibitions)”). 

    Thomas Jefferson sought Jean-Antoine Houdon to craft a sculpture of George Washington following the successful American Revolution (Beetham (“Smarthistory  –  Jean-Antoine Houdon, George Washington”). Thomas Jefferson recognized that the new American state lacked the artistic talent for the task, and his sympathetic position toward Frace and French art led to Jefferson's recommendation of Jean-Antoine Houdon for the job. Jean-Antoine Houdon was commissioned by Jefferson to complete a monument of George Washington. Jean-Antoine Houdon traveled to the United States following his dissatisfaction with notes/descriptions to complete the sculpture in France. He met Benjamin Franklin in person - who he had sculpted seven years prior - at George Washington's home in Mount Vernon in 1785. They took detailed measurements and created a life mask of Washington, which gave Jean-Antoine Houdon sufficient detail to complete the sculpture. 

    Jean-Antoine Houdon's attention to detail in this work cannot be understated - he had the opportunity to complete the work in his home state of France. Still, he actively chose to travel to the United States and the home of George Washington to sufficiently understand the subject he was sculpting. This act entails a deep understanding of the importance of a key political figure of the era; Jean-Antoine Houdon highlights this understanding through his fine 3D details throughout the structure and artistic choice of clothes to create the impression of a relatable leader. Jean-Antoine Houdon displays an excellent knowledge of shape and depth to create a relatable sculpture while immortalizing and "larger than life" despite the intended simplicity of the sculpture.

Jacques Louis David - The Oath of the Tennis Court

    Jacques Louis David was a French neoclassical painter who lived from August 30th, 1748, to December 29th, 1825. His prominence and influence came from his highly supportive stance in the French Revolution and ties with powerful political regimes in France (Jacques Louis David). Jacques Louis David was arrested after the French leader Maximilien Robespierre (to whom he had close ties) fell out of power. Following his release, Jacques Louis David Aligned himself with one of the era's most expansive and dominant regimes - Napoleon (Jacques Louis David). Jacques Louis David's influential part in the classical era was primarily based on this era of outward expansion. David inspired artists and increased the influence of French art through his expansive network of pupils working alongside and under his guidance (Jacques Louis David). 

    The Oath of the Tennis Court was an unfinished piece painted by David in 1791; the Society of Friends of the Constitution commissioned this piece. The piece was intentionally designed to have a dramatic, tense feel that featured people in a storm-like atmosphere to embody the impending French Revolution following the commitment to the French Republic and constitution (Jacques Louis David Biography With All Details | jacqueslouisdavid.org). This piece was meant to demonstrate and create a heroic sense of self-sacrifice for what is considered morally right (during this historical period), including the commitment to the emperor of the state who (at the time of painting) was Napoleon (Jacques Louis David Biography With All Details | jacqueslouisdavid.org). 

    This piece utilizes dramatic lighting and lines to create the impression of movement from the top left of the scene through the bottom right. The light shines down on those David considered the key figures in sacrificing peace and stability for the French constitution. As previously described, the dramatic lighting and movement are meant to symbolize the impending storm of the French Revolution. This painting also utilizes color to make prominent/key figures stand out amongst the otherwise relatively washed-out colors of the crowd. While this work is unfinished, the elements used show a great desire to utilize small details in creating an ominous impression and feeling of impending peril for a greater purpose.

The Connection 

    I chose this particular set of paintings because they represent a significant cultural shift from previous eras of work. While looking into the different late-enlightenment era artists and famous pieces, it became increasingly evident that commissioned works were normality. Perhaps more importantly, political norms shifted toward utilizing commissioned works of art to aid in public opinion/perception of political figures, even when commissioned for depictions of one's own self (as is the case of Brook Watson). 

    John Singleton Copley and Jacques Louis David use dramatic scenes to depict heroism in self-sacrifice for "the greater good" and "triumph over adversity." Similarly, Jean-Antoine Houdon's sculpture of George Washington purposely depicts Washington as a leader by featuring wartime clothes and a non-elegant style/stature. All three artists utilize clothing and the roles of their subjects to invoke the emotions of heroism, relatability, and morality in humanized subjects, which is a key feature of late Enlightenment-era works of art. Furthermore, all three works of art were created in times of revolution and turmoil; this entails the arts' more experimental role as a means of gaining/keeping public support for political figures, which has been a lasting trait (through different mediums into the modern era) of domestic and international politics.

    I find this era of creatively utilizing art to be interesting, given the increased role of artists in society; art has always been an important aspect of society, but artists themselves can be seen as gaining positions of prominence given the political need for commissioned work from talented artists. The late Enlightenment classical era of art blended both a stylistic change in depictions of portraits/historical events and a newly found need for the existence of those works. In a large sense, the use of art to depict history in a dramatic, meaningful, and impactful way set the stage for entire art disciplines in the modern era.

Work Cited

Beetham, Sarah. Smarthistory  –  Jean-Antoine Houdon, George Washington. smarthistory.org/houdon-george-washington.

---. “Smarthistory  –  Jean-Antoine Houdon, George Washington.” Smarthistory, 2024, smarthistory.org/houdon-george-washington.

David, Jacques-Louis, and Jacques-Louis David. “The Tennis Court Oath.” World History Encyclopedia, 8 July 2024, www.worldhistory.org/image/15696/the-tennis-court-oath.

Honigman, Ana Finel. “Watson and the Shark | History, Description, and Facts.” Encyclopedia Britannica, 28 Sept. 2023, www.britannica.com/topic/Watson-and-the-Shark.

Jacques Louis David. “High Quality Reproductions of Jacques Louis David Paintings.” Jacques Louis David, 2017, www.jacqueslouisdavid.org.

Jacques Louis David Biography With All Details | jacqueslouisdavid.org. www.jacqueslouisdavid.org/biography.html.

“Jean-Antoine Houdon (Getty Exhibitions).” Getty, 24 Jan. 2004, www.getty.edu/art/exhibitions/houdon/overview.html.

“John Singleton Copley.” National Gallery of Art, 2024, www.nga.gov/collection/artist-info.1162.html.

“John Singleton Copley, Watson and the Shark, 1778.” National Gallery of Art, 2024, www.nga.gov/collection/highlights/copley-watson-and-the-shark.html.