Watch Middle Class Sensibilities Change Art

 For this blog post I decided to display some art that I feel shows the transition between the Rococo and Neoclassical styles, as this gave rise to some of the more interesting works of art of this period.

Here’s a fascinating one called The Forge of Vulcan by John Singleton Copley (American) dated to 1754. The rise of the middle class asked for more didactic paintings in terms of morals and a return to the subjects of antiquity. The Forge of Vulcan depicts the moment in mythology when Apollo finds his wife is having an affair while weapons of war are forged. Despite the grim subject matter (compare perhaps Baroque artist Diego de Velázquez’s earlier treatment of the same) and subject matter of antiquity common to the Neoclassical era, the bright colors, nature imagery, and lighthearted, sensual, almost satirical response to the god’s cuckoldry recall Rococo sensibilities.  

Here is Time orders old age to destroy beauty by Pompeo Batoni (Italian) dated to 1746. While it displays the Neoclassical values of allegory and a moral message, the central figure of the painting is quite pleasant to look at and seems blithe and lush despite her imminent destruction, again showing a Rococo influence. Note also that the beauty has a relatively simple dress, making her relatable to middle class audiences, and it also recalls much earlier periods in time.

Helios as a Personification of Midday by Anton Raphael Mengs (German), dated to 1765 and therefore quite late in the transitional period (this was, however, close to the end of Mengs’ life and it makes sense to me that he’d be influenced by the earlier movement), again shows a mythological topic as well as a more old fashioned tendency to cover up the form with flowing drapery. However, the brightness, focus on curves, and almost erotic nude figure recall Rococo. The sparseness of this painting quite fascinates me - neither movement was really known for brevity and restraint.

Just for fun, let’s look at other, less ambiguous paintings by the same artists. 

Saint John the Baptist Preaching by Mengs, dated to 1775 and firmly in the Neoclassical genre due to the moralistic subject matter and darker, almost Baroque colors. (Also, I feel like I’m getting yelled at…)

Pompeo Batoni, Portrait of Edmund Rolfe, 1761. The natural elements and bright depiction of a well-off man place this more in the category of Rococo influence than anywhere else. (Though note that it’s not quite as bright as Rococo generally is and there are classical elements like the antiquity style stonework behind Rolfe.) Batoni was well known for his portraiture of the wealthy.

Here’s Boy With A Squirrel (1765) by Copley. Firmly Neoclassical due to the subject matter (portraiture of an ordinary person doing ordinary things relatable to the middle class - the sitter was neither wealthy nor important, but the artist’s half-brother.)

Snknaebel, Stephanie. “Neoclassical Art and the Rise of the Middle Class.” Stephanie’s School Blog, 23 June 2012, stephanieknaebel.wordpress.com/2012/06/23/neoclassical-art-and-the-rise-of-the-middle-class

“Velázquez, Apollo in the Forge of Vulcan.” ColourLex, 23 Dec. 2023, colourlex.com/project/velazquez-apollo-forge-vulcan/. 

Zygmont, Brian. “John Singleton Copley, a Boy with a Flying Squirrel (Henry Pelham).” Smarthistory John Singleton Copley A Boy with a Flying Squirrel Henry Pelham Comments, smarthistory.org/copley-boy-with-a-squirrel/. Accessed 6 Mar. 2025.