By Gilles Bechard
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15 Carlo Nolli, Seller of Loves from Le Pitture Antiche d’Ercolano e Contorni, Vol. 3, 1762. Engraving, 23 × 32 cm (9 × 125/ 8 in). Indiana University Art Museum, Bloomington, IN. 16 Anton Raphael Mengs, Parnassus, 1761. Fresco, 300 × 600 cm (10 × 20ft). Villa Albani, Rome. 22 Chapter 1 A time of transition NEOCLASSICAL STYLE Johann Joachim Winckelmann (1717–68) admired antiquity before he ever set foot in Italy, and wrote a famous essay praising Greek art, 5HÁHFWLRQV RQ WKH ,PLWDWLRQ RI *UHHN Works in Painting and Sculpture (1755).
In promoting Greuze’s “moral painting” Diderot DUJXHGWKDWLWVVXSHUÀFLDOUHVHPEODQFHWRJHQUHLQDGHTXDWHO\FRQYH\HGWKHVHULRXVQHVV of its message, which allied it more closely with history painting. By the 1750s the Marquis de Marigny, Louis XV’s Directeur-Général des Bâtiments du Roi (a kind of interior minister), realized that history painting failed to stir noble sentiments as originally intended. Like Diderot, he considered Greuze’s simple yet powerful genre scenes possibilities for reviving the purpose of history painting, an unconventional attitude attributable to his status as an ennobled member of the entrepreneurial bourgeoisie, not part of the aristocratic establishment.
Typical of Batoni’s clients, the Austrian brothers selected the monuments they wanted included in their portraits, thus personalizing what was otherwise a formulaic souvenir. 11 Pompeo Batoni, The Brothers Emperor Joseph II and Emperor Leopold II, 1769. Oil on canvas, 173 × 122 cm (5 ft 8 in × 4 ft). Kunsthistorisches Museum, Vienna. 5HOLHI Sculptural elements projecting from a ﬂat surface. Other tourists, particularly artists and writers, had different objectives in visiting Italy. In 1787, the German author Johann Wolfgang von Goethe visited his artist friend Wilhelm Tischbein (1751–1829) in Naples.