What Word Best Describes Romantic Art? Emotion Mythology Religion Primitive Description

Romanticism

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

Learning Objectives

Hash out the political and theoretical foundations of Romanticism

Key Takeaways

Key Points

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

Key Terms

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

Overview

Romanticism was an creative, literary, and intellectual motion that originated in Europe toward the finish of the 18th century. In most areas the movement was at its peak in the approximate period from 1800 CE to 1840 CE. Romanticism reached across the rational and Classicist ideal models to drag a revived medievalism.

The Influence of the French Revolution

Though influenced by other creative and intellectual movements, the ideologies and events of the French Revolution created the main 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 elevate society. It also legitimized the individual imagination equally a critical authorisation, which permitted freedom from classical notions of form in art.

The Passion of the High german Sturm und Drang Movement

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

Sturm und Drang in the visual arts tin can be witnessed in paintings of storms and shipwrecks showing the terror and irrational destruction 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, agonizing visions and portrayals of nightmares were gaining an audience in Germany as evidenced by Goethe's possession and admiration of paintings by Fuseli, which were said to exist capable of "giving the viewer a expert fright." 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 motion.

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 half of the 19th century, "Realism" was offered as a polarized reverse to Romanticism.

Painting in the Romantic Menstruation

Romanticism was a prevalent artistic move in Europe during the 18th and 19th centuries.

Learning Objectives

Talk over Romanticism every bit seen in the paintings from this period

Key Takeaways

Key Points

• " History painting," traditionally referred to technically difficult narrative paintings of multiple subjects, but 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 every bit expressing the Romantic spirit of the times.
• The Spanish artist Francisco Goya is considered perhaps the greatest painter of the Romantic period, though he did not necessarily self-identify with the movement; his oeuvre reflects the integration of many styles.
• The German diverseness of Romanticism notably valued wit, humor, and beauty.

Central 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 Ancient Rome.
• history painting: A a genre in painting divers by its subject area affair rather than creative style. These paintings normally depict a moment in a narrative story, rather than a specific and static subject.

Romanticism

While the arrival of Romanticism in French art was delayed by the hold of Neoclassicism on the academies, it became increasingly popular during the Napoleonic period. Its initial form was the history paintings that acted as propaganda for the new regime. The cardinal generation of French Romantics built-in betwixt 1795–1805, in the words of Alfred de Vigny, had been "conceived between battles, attended schoolhouse to the rolling of drums." The French Revolution (1789–1799) followed by the Napoleonic Wars until 1815, meant that war, and the attending political and social turmoil that went forth with them, served as the background for Romanticism.

History Painting

Since the Renaissance, history painting was considered among the highest and well-nigh difficult forms of art. History painting is divers past its subject area matter rather than creative way. History paintings usually draw a moment in a narrative story rather than a specific and static subject. In the Romantic period, 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 schoolhouse 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 24-hour interval had a powerful anti-government message.

The Raft of the Medusa by Jean Louis Theodore Gericault, 1818–21: This painting is regarded as 1 of the greatest Romantic era paintings.

Ingres

Profoundly respectful of the by, Ingres assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented past his nemesis Eugène Delacroix. He described himself every bit a "conservator of good doctrine, and not an innovator." Withal, 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 infinite make him an of import precursor of modernistic art.

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

Delacroix

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

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

Goya

Spanish painter Francisco Goya is today generally regarded every bit the greatest painter of the Romantic period. All the same, in many means he remained wedded to the classicism and realism of his training. More any other creative person of the menstruation, Goya exemplified the Romantic expression of the artist'due south feelings and his personal imaginative globe. He as well shared with many of the Romantic painters a more 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 stop. Goya's work is renowned for its expressive line, color, and brushwork as well as its singled-out subversive commentary.

The Milkmaid of Bordeaux by Goya, ca. 1825–1827: Though he worked in a multifariousness of styles, Goya is remembered as perhaps the greatest painter of the Romantic period.

High german Romanticism

Compared to English language Romanticism, German Romanticism developed relatively tardily, and, in the early on years, coincided with Weimar Classicism (1772–1805). In dissimilarity to the seriousness of English Romanticism, the German variety of Romanticism notably valued wit, sense of humour, and dazzler.

The early German romantics strove to create a new synthesis of art, philosophy, and science, largely by viewing the Centre Ages equally a simpler period of integrated culture, still, the High german romantics became aware of the tenuousness of the cultural unity they sought. Late-stage High german Romanticism emphasized the tension between 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 past Phillip Otto Runge, oil on sail: Runge was a well-known German Romantic painter.

Landscape Painting in the Romantic Period

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

Learning Objectives

Describe the emergence of landscape painting in France, England, Kingdom of the netherlands, and the United States during the years of the Enlightenment

Key Takeaways

Key Points

• The pass up 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 schoolhouse was an important precursor to Impressionism.
• The glorified delineation of a nation'southward natural wonders, and the development of a distinct national style, were both ways in which nationalism influenced landscape painting in Europe and America.
• The Hudson River School was the most influential mural art move in 19th century America.

Key Terms

• Romanticism: 18th century creative and intellectual movement that stressed emotion, freedom, and individual imagination
• plein air: En plein air is a French expression that means "in the open up air," and refers to the human activity of painting outdoors. In the mid-19th century, working in natural light became particularly of import to the Barbizon Schoolhouse and Impressionism.

Dutch and English Mural Painting

Landscape painting depicts natural scenery such as mountains, valleys, trees, rivers, and forests, in which the main subject is typically a wide view and the elements are arranged into a coherent composition. During the Dutch Golden Age 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 light and weather condition. 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 move of Romanticism spread, both of which provided important historical ingredients for landscape painting to arise to a more prominent identify in art.

In England, landscapes had initially only been painted as the backgrounds for portraits, and typically portrayed the parks or estates of a landowner. This changed equally a result of Anthony van Dyck, who, forth 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 speciality. The nation had both a buoyant market for professional person works of this diverseness, and a large number of amateur painters. By the beginning of the 19th century, the most highly regarded English artists were all, for the most part, defended landscapists, including John Constable, J.K.W. Turner, and Samuel Palmer.

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

French Mural Painting

French painters were slower to develop an involvement in landscapes, but in 1824, the Salon de Paris exhibited the works of John Constable, an extremely talented English mural painter. His rural scenes influenced some of the younger French artists of the time, moving them to abandon formalism and to depict inspiration direct from nature. During the revolutions of 1848, artists gathered in Barbizon to follow Constable'south ideas, making nature the subject of their paintings. They formed what is referred to as 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, adept plein air painting and developed what would afterwards be chosen Impressionism, an extremely influential motion.

In Europe, as John Ruskin noted, and Sir Kenneth Clark confirmed, mural painting was the "chief artistic cosmos of the 19th century," and "the dominant art." As a event, in the times that followed, it became common for people to "assume that the appreciation of natural beauty and the painting of landscape was a normal and enduring office of our spiritual activity."

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 every bit England and French republic, attempted to develop distinctive national schools of their own. Painters involved in these movements frequently attempted to express the unique nature of the landscape of their homeland.

The Hudson River School

In the United states of america, a similar motility, called the Hudson River School, emerged in the 19th century and quickly became one of the most distinctive worldwide purveyors of landscape pieces. American painters in this motion created works of mammoth scale in an endeavor to capture the ballsy size and scope of the landscapes that inspired them. The work of Thomas Cole, the school's generally best-selling founder, seemed to emanate from a like philosophical position as that of European landscape artists. Both championed, from a position of secular faith, the spiritual benefits that could be gained from contemplating nature. Some of the afterwards Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a corking deal of Romantic exaggeration) on the raw, terrifying power of nature.

The Oxbow by Thomas Cole, 1836: Thomas Cole was a founding fellow member of the pioneering Hudson Schoolhouse, the about influential landscape fine art motility in 19th century America.

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

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