Top 50 famous classicist painters: order, measure and great style

Before the grid

Why classicism remains essential

In the history of painting, classicism designates less a closed date than a requirement: composing with order, measuring expression, choosing noble subjects, giving drawing a structuring force. At Poussin, this requirement becomes almost philosophical. At Claude Lorrain, it transforms the landscape into luminous architecture. At Claude Lorrain, it transforms the landscape into luminous architecture. At Claude Lorrain, it transforms the landscape into luminous architecture. At Claude Lorrain, it transforms the landscape into luminous architecture. At Le Brun, David or Ingres, it serves the monarchy, the Republic, Empire or academic ideal.

This Top 50 therefore follows several families: Bolognese and Roman classicism of the 17th century, the French Grand Siècle, European neoclassicism, then the academic heirs of the 19th century. There are austere, decorative, political, religious, sensual or archaeological painters, but all share confidence in the composition, the line and the great tradition.

Method

How the 50 artists were selected

The ranking favors historical importance, consistency with the idea of classicism, the quality of the works, academic influence and readability for a reader who discovers the subject. The first ranks go to the founders or the summits: Poussin, Claude Lorrain, Carracci, Reni, Domenichino, Le Brun, David, Ingres, Mengs and Sacchi.

The sequel broadens the perspective to the French painters of the Grand Siècle, to the theorists and practitioners of neoclassicism, to the students or heirs of David and Ingres, then to the academicians of the 19th century who extend the great style through mythology, history, 'Dreamed Antiquity or monumental fresco.

Choose a reproduction

Where to start?

For a very pure entry into classicism, start with Poussin, Claude Lorrain, Le Sueur, La Hyre or Philippe de Champaigne. For political and moral power, David, Gros, Gérard, Girodet and Guérin give a spectacular vision of French neoclassicism.

If you're looking for more decorative academic beauty, look at Ingres, Cabanel, Bouguereau, Gérôme, Leighton, Alma-Tadema or Godward. For a broader European touch, Mengs, Kauffman, Batoni, Feuerbach and Siemiradzki show how the classical ideal circulates between Rome, Paris, London, Munich and Warsaw.

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