Neo-Grec

Néo-Grec was a Neoclassical Revival style of the mid-to-late 19th century that was popularized in architecture, the decorative arts, and in painting during France's Second Empire, the reign of Napoleon III (1852–1870).

Typical "Neo-Grec" color harmonies were rich and harsh: black motifs and outlines against "Pompeian" red, powder blue and puce, bistre and olive drab might be combined in a single decor.

In painting, the Neoclassical style continued to be taught in the Académie des Beaux-Arts, inculcating crisp outlines, pellucid atmosphere, and a clear, clean palette.

Gérôme gained fame from this exhibition, and in the next year formed the Neo-Grec group with Jean-Louis Hamon and Henri-Pierre Picou—all three pupils in the same atelier under Charles Gleyre.

[9] The paintings of the Neo-Grecs sought to capture everyday, anecdotal trivialities of ancient Greek life, in a manner of whimsy, grace, and charm, and were often realistic, sensual, and erotic.

The Neo-Grec school was criticized in many respects; for its attention to historical detail it was said by Charles Baudelaire "the scholarship is to disguise the absence of imagination", and the subject matter was considered by many as trivial.

The painters were also charged with selectively adopting the ancient Greek style, in that they left out noble themes and only focused on trivial daily life—leading to the accusation that they were creating art that supported the ideologies of the bourgeoisie, or comfortable middle class.

The Neo-Grec vogue even made its way into French music through the works of the composer Erik Satie in a series of pieces called Gymnopédies – the title is a reference to dances performed by the youths of ancient Sparta in honour of Diana and Apollo at ceremonies commemorating the dead of the Battle of Thyrea.