Classic into Modern: The Inspiration of Antiquity in English Painting, 1864-1918

Fascination with classical antiquity shaped the subject matter and style of England's leading artists during the 1864-1918 period. This dissertation investigates the complex networks linking the leading proponents of classical style, George Frederic Watts, Frederic Leighton, Edward Poynter, Albert Moore, Lawrence Alma-Tadema, and William Blake Richmond. Following on the heels of the Pre-Raphaelites, these painters set out to revolutionize British art by forging a noble style which wed idealism and realism after the manner of the best ancient sculpture. Drawing from their antique models the qualities of order, repose, beauty, and finish they believed the modern era most desperately needed, painters made works of art an integral part of the anti-modern campaign they waged through various forms of social activism. At the same time, while working in close cooperation with leading archeologists, such as C. T. Newton and A. S. Murray of the British Museum, painters sought to overturn outmoded notions of ancient life fostered during the neo-classical era and to re-formulate "classicism" in light of new discoveries. Through study of archaic Greek antiquities as well as Hellenistic and Roman art, artists sought to achieve insights into the specific sources of ideality in fifth-century Greek sculpture. In spite of their eagerness to make use of new archeological discoveries, painters relied on the Elgin Marbles as their greatest stylistic influence. Among other insights, close scrutiny of these artifacts led to a greater appreciation of color as a key element of classical style. The staging of classical dramas provided painters with exciting opportunities to pursue the reconstruction of the ancient world and to experiment with the delicate balance of modern emotion and ancient restraint. As archeologists focused increasing attention on prehistoric Greece, painters sought to integrate primitive artifacts and knowledge of pre-Hellenic culture into their representations of Homeric legend. These features pushed the parameters of classicism beyond the breaking point and reduced the capacity of archeology to serve as the handmaiden of art. Following the deaths of the charismatic leaders who had initiated and sustained adherence to ancient traditions, interest in classical paintings dwindled. In 1918, Edward Poynter's pressured resignation from the office of President of the Royal Academy definitively marked the end of the classical era in English painting.