nineteenth Century Art Essay, Research Paper

nineteenth Century Art

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The Romantic Motion

( 1800-1850 )

Art as Emotion

The end of self-government that Napoleon imported to Holland, Italy,

Germany and Austria affected non lone states but besides persons. England & # 8217 ; s

metabolism during the Industrial Revolution was besides reflected in the

mentality of the person, and hence in the art produced during the first half

of this century. Heightened esthesia and intensified feeling became

feature of the ocular humanistic disciplines every bit good as musical humanistic disciplines and a convention in


Exposing Rationalism

Romanticism in Landscape

This inclination toward images of ardent or affecting feeling cut across all

national boundaries. Romanticism, as this motion became known, reflects the

motion of authors, instrumentalists, painters, and sculpturers off from rationalism

toward the more subjective side of human experience. Feeling became both the

topic and object of art.

Conscious of being propelled into the hereafter, Europe began to take a long and

pensive expression at the past and embarked on a series of resurgences. Classicism,

which had gone in and out of manner at regular intervals, was joined with resurgences

of Gothic art, Egyptian art, and the art of the Renaissance.

The Classical Tradition

By the mid-nineteenth century, much of Europe had become industrialised, and the coevals of creative persons who had inaugurated the Romantic motion were dead.

But much of the romantic spirit lived on. In their accent on single mastermind and subjective experience, humanistic disciplines of the Romantic epoch handed future coevalss the

footing for their ain developement and provided a point of position that coloured their apprehension of the yesteryear.

Features of Romanticism

Resulting in portion from the libertarian and classless ideals of the Fren

ch Revolution, the romantic motions had in common merely a rebellion against the prescribed regulations of classicalism. The basic purposes of romanticism were assorted: a return to nature and to belief in the goodness of humanity ; the rediscovery of the creative person as a supremely single Godhead ; the development of chauvinistic pride ; and the ecstasy of the senses and emotions over ground and mind. In add-on, romanticism was a philosophical rebellion against rationalism.

Romanticism in the Visual Humanistic disciplines

In the ocular humanistic disciplines romanticism is used to mention slackly to a tendency that appears at any clip, and specifically to the art of the early 19th cent. Nineteenth-century romanticism was characterized by the turning away of classical signifiers and regulations, accent on the

emotional and religious, representation of the unachievable ideal, nostalgia for the grace of past ages, and a preference for alien subjects.

Romantic creative persons developed precise techniques in order to bring forth specific associations in the head of the spectator. To convey verbal constructs they would, for illustration, endow inanimate objects with human values ( e.g. , the wild trees and shimmery moonshine used in the pictures of Caspar David Friedrich to propose an eternity of human yearning, the world-weariness of his clip ) . The consequence was frequently sentimental or farcical. In the instance of Delacroix, nevertheless, his painterly manner and colour sense exalted the romantic attitude in a singularly effectual manner.

In England landscape horticulture was used to show the

romantic aesthetic by agencies of calculated imitation of the

picturesque in nature. In architecture Wyatt & # 8217 ; s absurd,

mock medieval Fonthill Abbey displayed the romantic edifice

manner in utmost signifier. The host of lesser creative persons of the romantic

tradition included the Gallic G? ricault, the Swiss-English Henry

Fuseli, the Swiss Arnold B? cklin, the English Pre-Raphaelites, the

German Nazarenes, and the American creative persons of the Hudson

River school.



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