Henry David Horatii

As Neoclassical are typically more conservative essentially that focus on reason, thought and history rather than characterized by emotional expression. The figures in David’s painting are obscured the sentiment, but through the expression of body language. The Horatii’s arm are pointed and firm to extend all the way through their fingertips to an inch from the blades. The position of the Horatii are reaching strongly in order to take the swords from the father; all of them stand steady and strong in muscle. The father holds the swords over his head, grips them tightly and all the men intently gaze at the swords. It stresses that all four of them are highly value of what the swords stand for, the Horatii are confident in taking up the swords. While the men are
Leaning on her forehead on her hand and putting on Sabina’s shoulder, the sister of the Horatii and betrothed to one of the Curiatii. Behind the women in front, the mother of the Horatii hugs her grandchildren, trying to cover the children’s eyes. Literally, the narration of the women and man are emotional, however the painting restrained the emotion of the figures in the neoclassical period. Unlike Neoclassicism, the figures on Romanticism stress on the emotional expression, just as the figures in Goya’s painting. It’s worth to notice that the posture of the man who wears the white shirt are almost similar to the father of the Horatii, and the firing squad in Goya’s painting are the transmutation of the Horatii. It’s contrasting to David’s of Goya satirizes him in the geometry of the composition. Visually, there also have the contrast of the figures. The man in the white shirt poses as if in crucifixion, and with the obvious sorrowful face, he is showing the suffering from the war. Alongside the man, some victims died and one of them outstretched the arms, posing same with the man who wears white