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Romanticism

Romanticism, fueled by 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

Primal 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 aloof social and political norms of the Age of Enlightenment and too a reaction against the scientific rationalization of nature.
• Romanticism legitimized the individual imagination as a disquisitional authority, which permitted freedom from classical notions of form in art.
• The Industrial Revolution also influenced Romanticism, which was in part almost escaping from modern realities.
• Romanticism was as well influenced by Sturm und Drang, a German Counter-Enlightenment movement that emphasized subjectivity and intense emotion.

Cardinal Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, freedom, and individual imagination.
• Sturm und Drang: "Storm and Stress," a German proto-romantic movement signifying turmoil and emotional intensity.
• Counter-Enlightenment: A motility 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 artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. In most areas the movement was at its peak in the guess catamenia from 1800 CE to 1840 CE. Romanticism reached beyond the rational and Classicist ideal models to elevate 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 main context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the ideals of the Revolution, Romanticism was a revolt confronting the aristocratic social and political norms of the Age of Enlightenment and as well 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 society. It also legitimized the private imagination every bit a critical authority, which permitted freedom from classical notions of course in art.

The Passion of the German Sturm und Drang Movement

Romanticism was likewise inspired by the German Sturm und Drang movement (Storm and Stress), which prized intuition and emotion over Enlightenment rationalism. This proto-romantic movement was centered on literature and music, only also influenced the visual arts. The movement emphasized individual subjectivity. Extremes of emotion were given costless 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 exist witnessed in paintings of storms and shipwrecks showing the terror and irrational devastation wrought past nature. These pre-romantic works were fashionable in Germany from the 1760s on through the 1780s, illustrating a public audition for emotionally charged artwork. Additionally, agonizing visions and portrayals of nightmares were gaining an audience in Germany equally evidenced by Goethe'due south possession and admiration of paintings by Fuseli, which were said to be capable of "giving the viewer a good fearfulness." 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 move.

The Industrial Revolution besides had an influence on Romanticism, which was in part an escape from modernistic realities of population growth, urban sprawl, and industrialism. Indeed, in the second half of the 19th century, "Realism" was offered as a polarized contrary to Romanticism.

Painting in the Romantic Menstruum

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

Learning Objectives

Hash out Romanticism equally 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 than ofttimes 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 as expressing the Romantic spirit of the times.
• The Spanish artist Francisco Goya is considered possibly the greatest painter of the Romantic menstruation, though he did not necessarily self-place with the movement; his oeuvre reflects the integration of many styles.
• The German variety of Romanticism notably valued wit, humor, and dazzler.

Key Terms

• Romanticism: 18th century creative 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 depict inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome.
• history painting: A a genre in painting defined by its field of study matter rather than artistic style. These paintings usually describe 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 by the hold of Neoclassicism on the academies, it became increasingly popular during the Napoleonic period. Its initial grade was the history paintings that acted as propaganda for the new regime. The cardinal generation of French Romantics born betwixt 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 by 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 well-nigh difficult forms of art. History painting is defined by its subject matter rather than artistic mode. History paintings normally describe a moment in a narrative story rather than a specific and static discipline. In the Romantic period, history painting was extremely popular and increasingly came to refer to the delineation of historical scenes, rather than those from faith or mythology.

French Romanticism

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

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

Ingres

Profoundly respectful of the past, Ingres causeless 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." All the same, mod 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 brand him an important forerunner of mod art.

Achilles Receiving the Envoys of Agamemnon by 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 keen success at the Salon with works similar The Barque of Dante (1822), The Massacre at Chios (1824) and Expiry of Sardanapalus (1827). Delacroix'south Liberty Leading the People (1830) remains, with The Medusa, one 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 menstruation.

Goya

Spanish painter Francisco Goya is today generally regarded as the greatest painter of the Romantic menses. Still, in many ways he remained wedded to the classicism and realism of his grooming. More than any other artist of the menses, Goya exemplified the Romantic expression of the artist'southward 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 exist repressed in neoclassicism under a self-effacing terminate. Goya'southward work is renowned for its expressive line, color, and brushwork too as its distinct subversive commentary.

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

German language Romanticism

Compared to English Romanticism, German Romanticism developed relatively late, and, in the early years, coincided with Weimar Classicism (1772–1805). In contrast to the seriousness of English Romanticism, the German variety of Romanticism notably valued wit, humor, and dazzler.

The early on German language romantics strove to create a new synthesis of art, philosophy, and science, largely past viewing the Middle Ages as a simpler period of integrated culture, however, the German romantics became enlightened of the tenuousness of the cultural unity they sought. Tardily-stage High 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 High german Romantic painter.

Landscape Painting in the Romantic Flow

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

Learning Objectives

Draw the emergence of mural painting in France, England, Holland, and the The states during the years of the Enlightenment

Central Takeaways

Key Points

• The decline of explicitly religious works, a outcome of the Protestant Reformation, contributed to the rise in the popularity of landscapes.
• English language painters, working in the Romantic tradition, became well known for watercolor landscapes in the 18th century.
• Artists in the Barbizon Schoolhouse brought mural painting to prominence in France, and were inspired past 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 evolution of a singled-out national style, were both ways in which nationalism influenced landscape painting in Europe and America.
• The Hudson River School was the virtually influential landscape art movement in 19th century America.

Key Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, liberty, and individual imagination
• plein air: En plein air is a French expression that means "in the open air," and refers to the act of painting outdoors. In the mid-19th century, working in natural light became particularly important to the Barbizon School and Impressionism.

Dutch and English language Landscape 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 Historic period of painting of the 17th century, this type of painting greatly increased in popularity, and many artists specialized in the genre. In detail, painters of this era were known for developing extremely subtle, realist techniques of depicting light and conditions. The popularity of mural 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 ascend to a more prominent place 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 every bit 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, generally of landscapes, became an English speciality. The nation had both a buoyant marketplace for professional person works of this variety, and a large number of apprentice painters. By the beginning of the 19th century, the near highly regarded English artists were all, for the most function, dedicated landscapists, including John Constable, J.Thousand.West. Turner, and Samuel Palmer.

The Hay Wain past John Constable, 1821: Constable was a pop 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 Constable, an extremely talented English landscape painter. His rural scenes influenced some of the younger French artists of the time, moving them to carelessness formalism and to draw inspiration straight 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 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 amidst others, practiced plein air painting and developed what would subsequently be called Impressionism, an extremely influential motility.

In Europe, as John Ruskin noted, and Sir Kenneth Clark confirmed, landscape painting was the "principal creative cosmos of the 19th century," and "the ascendant fine art." Every bit a result, in the times that followed, information technology became mutual for people to "presume that the appreciation of natural beauty and the painting of landscape was a normal and indelible part of our spiritual activeness."

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 France, attempted to develop distinctive national schools of their own. Painters involved in these movements often 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 quickly became one of the almost distinctive worldwide purveyors of landscape pieces. American painters in this motility created works of mammoth calibration in an attempt to capture the epic size and scope of the landscapes that inspired them. The piece of work of Thomas Cole, the school's by and large best-selling founder, seemed to emanate from a similar 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 later Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great bargain of Romantic exaggeration) on the raw, terrifying power of nature.

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

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

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