Romantic Art Is Concerned Primarily With the Theme of Love Brainly

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

Primal Takeaways

Key Points

• The ideals of the French Revolution created the context from which both Romanticism and the Counter- Enlightenment emerged.
• Romanticism was a defection against the aristocratic social and political norms of the Historic period of Enlightenment and too a reaction confronting the scientific rationalization of nature.
• Romanticism legitimized the individual imagination every bit a critical authorization, which permitted freedom from classical notions of form in art.
• The Industrial Revolution also influenced Romanticism, which was in part about escaping from modern realities.
• Romanticism was also influenced past Sturm und Drang, a German Counter-Enlightenment motility 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 motion 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 artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. In almost areas the movement was at its peak in the guess period 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 past other creative and intellectual movements, the ideologies and events of the French Revolution created the principal context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the ethics of the Revolution, Romanticism was a revolt against 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 elevate lodge. It also legitimized the individual imagination as a critical say-so, which permitted freedom from classical notions of class in art.

The Passion of the German language Sturm und Drang Movement

Romanticism was as well inspired by the German Sturm und Drang move (Storm and Stress), which prized intuition and emotion over Enlightenment rationalism. This proto-romantic motility was centered on literature and music, but likewise 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 past 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 Deutschland as evidenced by Goethe's possession and admiration of paintings by Fuseli, which were said to be 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 move.

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 equally a polarized opposite to Romanticism.

Painting in the Romantic Flow

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

Learning Objectives

Talk over Romanticism as seen in the paintings from this period

Cardinal Takeaways

Key Points

• " History painting," traditionally referred to technically hard narrative paintings of multiple subjects, but became more than 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 creative person Francisco Goya is considered mayhap 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 diversity of Romanticism notably valued wit, humour, and beauty.

Central Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, freedom, and private 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 Hellenic republic or Ancient Rome.
• history painting: A a genre in painting defined past its subject area matter rather than artistic style. These paintings commonly draw a moment in a narrative story, rather than a specific and static subject.

Romanticism

While the inflow of Romanticism in French art was delayed by the hold of Neoclassicism on the academies, it became increasingly pop during the Napoleonic period. Its initial class was the history paintings that acted as propaganda for the new government. The primal 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 war, and the attending political and social turmoil that went forth with them, served every bit the background for Romanticism.

History Painting

Since the Renaissance, history painting was considered amongst the highest and almost difficult forms of fine art. History painting is defined by its bailiwick matter rather than artistic style. History paintings usually depict a moment in a narrative story rather than a specific and static subject area. In the Romantic period, history painting was extremely popular and increasingly came to refer to the depiction of historical scenes, rather than those from religion 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'due south The Raft of the Medusa of 1821 remains the greatest achievement of the Romantic history painting, which in its solar day had a powerful anti-authorities message.

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

Ingres

Greatly respectful of the past, Ingres assumed the role of a guardian of academic orthodoxy confronting the ascendant Romantic style represented past his nemesis Eugène Delacroix. He described himself equally a "conservator of good doctrine, and not an innovator." Even so, modern stance has tended to regard Ingres and the other Neoclassicists of his era equally embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an of import precursor of modernistic 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 great success at the Salon with works similar The Barque of Dante (1822), The Massacre at Chios (1824) and Death of Sardanapalus (1827). Delacroix'southward 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.

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

Goya

Spanish painter Francisco Goya is today more often than not regarded as the greatest painter of the Romantic period. Nonetheless, in many means he remained wedded to the classicism and realism of his training. More than any other creative person of the menses, Goya exemplified the Romantic expression of the artist'due south feelings and his personal imaginative world. He also shared with many of the Romantic painters a more than free handling of pigment, emphasized in the new prominence of the brushstroke and impasto, which tended to be repressed in neoclassicism nether a cocky-effacing finish. Goya'southward piece of work is renowned for its expressive line, color, and brushwork as well as its distinct subversive commentary.

The Milkmaid of Bordeaux past Goya, ca. 1825–1827: Though he worked in a diverseness of styles, Goya is remembered as perhaps 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 language variety of Romanticism notably valued wit, sense of humor, and dazzler.

The early German romantics strove to create a new synthesis of fine art, philosophy, and science, largely by viewing the Middle Ages equally a simpler period of integrated culture, however, the German romantics became aware of the tenuousness of the cultural unity they sought. Late-stage German Romanticism emphasized the tension between the daily world and the irrational and supernatural projections of artistic 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 canvas: Runge was a well-known German Romantic painter.

Landscape Painting in the Romantic Period

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

Learning Objectives

Draw the emergence of mural painting in French republic, England, The netherlands, and the U.s. 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 mural artist John Constable. The Barbizon schoolhouse was an important precursor to Impressionism.
• The glorified depiction of a nation'south natural wonders, and the evolution of a distinct national way, were both means in which nationalism influenced landscape painting in Europe and America.
• The Hudson River School was the almost influential landscape art movement in 19th century America.

Fundamental 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 air," and refers to the deed of painting outdoors. In the mid-19th century, working in natural light became particularly important to the Barbizon School and Impressionism.

Dutch and English Landscape Painting

Landscape painting depicts natural scenery such equally mountains, valleys, copse, rivers, and forests, in which the primary subject is typically a wide view and the elements are bundled 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 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 holland, 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 ascend to a more prominent place in fine 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, mostly 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. Past the showtime of the 19th century, the most highly regarded English artists were all, for the most office, defended 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 Mural Painting

French painters were slower to develop an involvement in landscapes, merely 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 carelessness formalism and to describe inspiration directly from nature. During the revolutions of 1848, artists gathered in Barbizon to follow Lawman'south ideas, making nature the discipline of their paintings. They formed what is referred to as the Barbizon School.

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

In Europe, as John Ruskin noted, and Sir Kenneth Clark confirmed, landscape painting was the "chief artistic creation of the 19th century," and "the dominant art." As a result, in the times that followed, it became common for people to "assume that the appreciation of natural beauty and the painting of mural 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 equally England and France, attempted to develop distinctive national schools of their ain. 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 move, chosen 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 movement created works of mammoth scale in an attempt to capture the ballsy size and scope of the landscapes that inspired them. The piece of work of Thomas Cole, the school'due south generally best-selling founder, seemed to emanate from a like philosophical position as that of European mural artists. Both championed, from a position of secular organized religion, the spiritual benefits that could exist gained from contemplating nature. Some of the later Hudson River School artists, such every bit Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal 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 School, the almost influential mural 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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