What Word Best Describes Romantic Art? Emotion Religion Mythology Primitive

Romanticism

Romanticism, fueled by the French Revolution, was a reaction to the scientific rationalism and classicism of the Age of Enlightenment.

Learning Objectives

Discuss the political and theoretical foundations of Romanticism

Fundamental Takeaways

Key Points

• The ideals of the French Revolution created the context from which both Romanticism and the Counter- Enlightenment emerged.
• Romanticism was a revolt confronting the aristocratic social and political norms of the Age of Enlightenment and also a reaction against the scientific rationalization of nature.
• Romanticism legitimized the individual imagination as a disquisitional authorisation, which permitted freedom from classical notions of class in fine art.
• The Industrial Revolution likewise influenced Romanticism, which was in part about escaping from modern realities.
• Romanticism was as well influenced past Sturm und Drang, a German Counter-Enlightenment move that emphasized subjectivity and intense emotion.

Cardinal Terms

• Romanticism: 18th century artistic and intellectual motility that stressed emotion, liberty, and individual imagination.
• Sturm und Drang: "Storm and Stress," a German language proto-romantic motion signifying turmoil and emotional intensity.
• Counter-Enlightenment: A move that arose primarily in late 18th and early 19th century Germany against the rationalism, universalism, and empiricism usually associated with the Enlightenment.

Overview

Romanticism was an artistic, literary, and intellectual move that originated in Europe toward the end of the 18th century. In most areas the motion was at its top in the judge menstruation from 1800 CE to 1840 CE. Romanticism reached beyond the rational and Classicist ideal models to drag a revived medievalism.

The Influence of the French Revolution

Though influenced by other artistic and intellectual movements, the ideologies and events of the French Revolution created the primary context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the ideals of the Revolution, Romanticism was a revolt against the aristocratic social and political norms of the Age of Enlightenment and also a reaction against the scientific rationalization of nature. Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would drag gild. It also legitimized the individual imagination as a disquisitional authority, which permitted freedom from classical notions of form in art.

The Passion of the German Sturm und Drang Movement

Romanticism was also inspired past the German Sturm und Drang motion (Storm and Stress), which prized intuition and emotion over Enlightenment rationalism. This proto-romantic movement was centered on literature and music, but also influenced the visual arts. The move emphasized private subjectivity. Extremes of emotion were given gratuitous expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements.

Sturm und Drang in the visual arts can be witnessed in paintings of storms and shipwrecks showing the terror and irrational devastation wrought by nature. These pre-romantic works were fashionable in Germany from the 1760s on through the 1780s, illustrating a public audience for emotionally charged artwork. Additionally, disturbing visions and portrayals of nightmares were gaining an audience in Germany as evidenced by Goethe'southward possession and admiration of paintings by Fuseli, which were said to exist capable of "giving the viewer a good fear." Notable artists included Joseph Vernet, Caspar Wolf, Philip James de Loutherbourg, and Henry Fuseli.

The Shipwreck by Claude Joseph Vernet, 1759: Vernet participated in the proto-Romantic Sturm und Drang movement.

The Industrial Revolution also had an influence on Romanticism, which was in part an escape from modern realities of population growth, urban sprawl, and industrialism. Indeed, in the 2nd one-half of the 19th century, "Realism" was offered as a polarized reverse to Romanticism.

Painting in the Romantic Period

Romanticism was a prevalent creative motility in Europe during the 18th and 19th centuries.

Learning Objectives

Discuss Romanticism as seen in the paintings from this catamenia

Central Takeaways

Fundamental Points

• " History painting," traditionally referred to technically difficult narrative paintings of multiple subjects, merely became more frequently focused on recent historical events.
• Gericault and Delacroix were leaders of French romantic painting, and both produced iconic history paintings.
• Ingres, though firmly committed to Neoclassical values, is seen equally expressing the Romantic spirit of the times.
• The Spanish creative person Francisco Goya is considered perhaps the greatest painter of the Romantic period, though he did not necessarily cocky-identify with the motion; his oeuvre reflects the integration of many styles.
• The German diversity of Romanticism notably valued wit, sense of humor, and beauty.

Key Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, freedom, and individual imagination.
• Neoclassicism: The name given to Western movements in the decorative and visual arts, literature, theater, music, and architecture that draw inspiration from the "classical" art and culture of Ancient Greece or Aboriginal Rome.
• history painting: A a genre in painting defined by its subject thing rather than artistic fashion. These paintings usually depict a moment in a narrative story, rather than a specific and static subject.

Romanticism

While the inflow of Romanticism in French fine art was delayed past the hold of Neoclassicism on the academies, information technology became increasingly popular during the Napoleonic catamenia. Its initial form was the history paintings that acted as propaganda for the new government. The key generation of French Romantics born between 1795–1805, in the words of Alfred de Vigny, had been "conceived between battles, attended school to the rolling of drums." The French Revolution (1789–1799) followed past the Napoleonic Wars until 1815, meant that state of war, and the attention political and social turmoil that went along with them, served as the groundwork for Romanticism.

History Painting

Since the Renaissance, history painting was considered among the highest and most hard forms of art. History painting is divers by its subject field matter rather than artistic style. History paintings usually depict a moment in a narrative story rather than a specific and static subject. In the Romantic menstruum, history painting was extremely popular and increasingly came to refer to the depiction of historical scenes, rather than those from faith or mythology.

French Romanticism

This generation of the French school developed personal Romantic styles while still concentrating on history painting with a political bulletin. Théodore Géricault's The Raft of the Medusa of 1821 remains the greatest achievement of the Romantic history painting, which in its day had a powerful anti-government message.

The Raft of the Medusa past Jean Louis Theodore Gericault, 1818–21: This painting is regarded every bit ane of the greatest Romantic era paintings.

Ingres

Profoundly respectful of the past, Ingres assumed the function of a guardian of bookish orthodoxy against the ascendant Romantic style represented by his nemesis Eugène Delacroix. He described himself as a "conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art.

Achilles Receiving the Envoys of Agamemnon past Ingres, 1801: Ingres, though firmly committed to Neoclassical values, is seen as expressing the Romantic spirit of the times.

Delacroix

Eugène Delacroix (1798–1863) had cracking success at the Salon with works similar The Barque of Dante (1822), The Massacre at Chios (1824) and Death of Sardanapalus (1827). Delacroix'south Freedom Leading the People (1830) remains, with The Medusa, ane of the best known works of French Romantic painting. Both of these works reflected current events and appealed to public sentiment.

Liberty Leading the People, by Delacroix, 1830: The history paintings of Eugene Delacroix epitomized the Romantic flow.

Goya

Spanish painter Francisco Goya is today generally regarded as the greatest painter of the Romantic catamenia. However, in many ways he remained wedded to the classicism and realism of his training. More than any other artist of the period, Goya exemplified the Romantic expression of the creative person's feelings and his personal imaginative world. He likewise shared with many of the Romantic painters a more than free handling of paint, emphasized in the new prominence of the brushstroke and impasto, which tended to be repressed in neoclassicism under a self-effacing finish. Goya'south work is renowned for its expressive line, colour, and brushwork as well as its distinct subversive commentary.

The Milkmaid of Bordeaux by Goya, ca. 1825–1827: Though he worked in a variety of styles, Goya is remembered equally mayhap the greatest painter of the Romantic catamenia.

German Romanticism

Compared to English language Romanticism, German Romanticism developed relatively late, and, in the early on years, coincided with Weimar Classicism (1772–1805). In dissimilarity to the seriousness of English Romanticism, the German multifariousness of Romanticism notably valued wit, humor, and beauty.

The early German romantics strove to create a new synthesis of art, philosophy, and scientific discipline, largely by viewing the Middle Ages every bit a simpler menstruation of integrated culture, however, the German language romantics became aware of the tenuousness of the cultural unity they sought. Late-stage German Romanticism emphasized the tension betwixt the daily world and the irrational and supernatural projections of creative genius. Key painters in the German Romantic tradition include Joseph Anton Koch, Adrian Ludwig Richter, Otto Reinhold Jacobi, and Philipp Otto Runge among others.

The Hulsenbeck Children by Phillip Otto Runge, oil on canvas: Runge was a well-known German language Romantic painter.

Mural Painting in the Romantic Period

Landscape painting in Europe and America greatly increased in prominence during the 18th and peculiarly the 19th century.

Learning Objectives

Depict the emergence of landscape painting in France, England, Holland, and the The states during the years of the Enlightenment

Key Takeaways

Key Points

• The decline of explicitly religious works, a result of the Protestant Reformation, contributed to the rise in the popularity of landscapes.
• English painters, working in the Romantic tradition, became well known for watercolor landscapes in the 18th century.
• Artists in the Barbizon School brought landscape painting to prominence in France, and were inspired by English landscape artist John Constable. The Barbizon school was an important precursor to Impressionism.
• The glorified depiction of a nation'southward natural wonders, and the development of a distinct national style, were both ways in which nationalism influenced mural painting in Europe and America.
• The Hudson River Schoolhouse was the nearly influential mural fine art movement in 19th century America.

Key Terms

• Romanticism: 18th century creative and intellectual motility that stressed emotion, liberty, and private imagination
• plein air: En plein air is a French expression that ways "in the open air," and refers to the act of painting outdoors. In the mid-19th century, working in natural lite became particularly of import to the Barbizon School and Impressionism.

Dutch and English Landscape Painting

Landscape painting depicts natural scenery such as mountains, valleys, trees, rivers, and forests, in which the main subject is typically a broad view and the elements are bundled into a coherent composition. During the Dutch Gilded Historic period of painting of the 17th century, this type of painting greatly increased in popularity, and many artists specialized in the genre. In particular, painters of this era were known for developing extremely subtle, realist techniques of depicting calorie-free and weather. The popularity of landscape painting in this region, during this time, was in part a reflection of the virtual disappearance of religious art in the Netherlands, which was then a Calvinist society. In the 18th and 19th centuries, religious painting declined across all of Europe, and the movement of Romanticism spread, both of which provided important historical ingredients for landscape painting to arise to a more prominent identify in fine art.

In England, landscapes had initially simply been painted as the backgrounds for portraits, and typically portrayed the parks or estates of a landowner. This changed as a result of Anthony van Dyck, who, along with other Flemish artists living in England, began a national tradition. In the 18th century, watercolor painting, more often than not of landscapes, became an English language speciality. The nation had both a buoyant marketplace for professional works of this variety, and a large number of amateur painters. By the commencement of the 19th century, the most highly regarded English artists were all, for the most part, dedicated landscapists, including John Constable, J.M.W. Turner, and Samuel Palmer.

The Hay Wain by John Constable, 1821: Constable was a popular English Romantic Painter.

French Landscape Painting

French painters were slower to develop an interest in landscapes, but in 1824, the Salon de Paris exhibited the works of John Lawman, an extremely talented English landscape painter. His rural scenes influenced some of the younger French artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. During the revolutions of 1848, artists gathered in Barbizon to follow Constable's ideas, making nature the subject of their paintings. They formed what is referred to every bit the Barbizon School.

During the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille among others, practiced plein air painting and developed what would later be chosen Impressionism, an extremely influential movement.

In Europe, every bit John Ruskin noted, and Sir Kenneth Clark confirmed, mural painting was the "chief creative cosmos of the 19th century," and "the dominant art." As a outcome, in the times that followed, information technology became mutual for people to "assume that the appreciation of natural beauty and the painting of landscape was a normal and indelible part of our spiritual action."

Nationalism in Landscape Painting

Nationalism has been implicated in the popularity of 17th century Dutch landscapes, and in the 19th century, when other nations, such as England and French republic, attempted to develop distinctive national schools of their own. Painters involved in these movements oft attempted to express the unique nature of the landscape of their homeland.

The Hudson River School

In the United States, a similar movement, called the Hudson River School, emerged in the 19th century and rapidly became ane of the most distinctive worldwide purveyors of landscape pieces. American painters in this movement created works of mammoth calibration in an attempt to capture the epic size and scope of the landscapes that inspired them. The work of Thomas Cole, the schoolhouse's by and large acknowledged founder, seemed to emanate from a similar philosophical position as that of European landscape artists. Both championed, from a position of secular organized religion, the spiritual benefits that could be gained from contemplating nature. Some of the afterward Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal of Romantic exaggeration) on the raw, terrifying ability of nature.

The Oxbow by Thomas Cole, 1836: Thomas Cole was a founding fellow member of the pioneering Hudson School, the almost influential mural art movement in 19th century America.

winfreyfiass1976.blogspot.com

Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/neoclassicism-and-romanticism/

Share this post