Romanticism And Realism Essay, Research Paper

At the terminal of the Baroque Period in the eighteenth and 19th century art was divided into two

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distinguishable classs, Romanticism and Realism. Romanticism, the passion-filled plants exemplifying

exciting histories of specific events with symbolic gestures emerging from the scene, separated itself

from the more politically right stance taken by Realists.

A all right illustration of Romanticism is G? ricault? s Raft of the Medusa. The barbarous scene, set afloat on

the wild seas, is emphasized by the chiaroscuro mold of the ball of figures in the centre of the raft.

The X signifier of the composing draws your oculus all around the composing. The oculus starts at the top right

with the Revolutionary figure keeping on to a piece of fabric in the colourss of the Gallic Revolution and so

is drawn down the diagonal. G? ricault so depicts the nisus, the death, and the dead as they overlap

each other in a ferocious battle to last. The oculus is so drawn up and down the dark opposing diagonal.

This whole scene is so placed on the mighty ocean to define the fact that the raft is a metaphor for

France being on a hostile ocean of corruption.

The Grande Odalisque besides typifies Romanticism. Ingres, utilizing illustration such as the Mannerist

Parmaganino? s Madonna with a long cervix, takes the artistic licence to stretch the figure of this Turkish

hareem miss. Influenced by the neo-classical resurgence Ingres draws upon the Greek technique of level linear

signifiers and depicts his theoretical account in an impossible place allow us the position of both her shoulders and her

chest ; the figure is given an excess three vertebrae in order to keep this place. Ingres endows a feeling

of sensualness into the figure alternatively of the pigment. The chromatic consequence of the composing pulls the hareem

miss to the forepart as she is the lone warm colour in the piece. Ingres besides gives her a really alien feel with her

accoutrements: the Inachis io fan, velvet curtains, and other extortionate furniture. Ingres besides uses Raphael? s

typical female caput and a regard that says, ? You have merely interrupted me, ? but you don? T know what you

interrupted further fascinating the Peeping Tom.

In contrast to the about mystical passion and machination of Grande Odalisque is Rue Transnonain.

This lithograph by Daumier is pragmatism in the truest sense. Daumier depict the societal unfairness of the

guiltless violent death of all the workers in a lodging block. Daumier draws in the spectator with the initial scene of

a adult male in his pyjama lying dead against his bed. The spectator is so drawn to pay closer attending to the

work. In careful scrutiny of the piece the spectator sees a babe crushed under the adult male with

merely its caput

and weaponries coming out from under the weight of this adult male. There is a pool of blood forming from the babe

which intends to play on the viewing audiences sympathy arousing violent emotions of hatred towards the meatman

who took the lives of these guiltless people who were evidently kiping as indicated by the garb and

confusion of the bed. The atrocious scene depicted in Rue Transnonain. elicits emotions and a demand for societal


The Third Day of May, by Goya is an illustration of a transitional piece which reflects both Realism

and Romanticism. In this piece Goya depicts a specific incident in which a figure a civilians in Madrid

were rounded up in killed in revenge for the deceases of Gallic soldiers a few yearss before. Painted during

Goya? s? Black Period? the tenebroso struggle of the light contending off at the dark sky is highly

dramatic and the chromatic consequence from this adds to the suspense and play of the state of affairs at manus. Goya

besides puts the victim of this homicidal violent disorder in a white shirt to typify artlessness, strongly pulling

on the Romantic manner. But Goya besides uses the rough world of the dead organic structure and the pool of blood

roll uping on the land to do a societal commentary on the decease of these work forces, pulling on the school

of Realism.

Courbet, considered by many the male parent of pragmatism, besides uses techniques of both schools. To

illustrate, in Burials of Ornans, Courbet depicts a funeral scene with an intense feel for the emotions felt by

the grievers. ? Unlike the superhuman or subhuman histrions on the expansive phase of the Romantic canvas, this

Realist work move to the ordinary beat of modern-day life. ? ( Gardner? s, p. 898 ) Courbet, though, besides

incorporates the romantic landscape into this piece with the wide sky at twilight composed of greies and the

last yellows of the scene Sun. The truly impassioned, yet somber, landscape draws out a heartfelt

understanding for loss that the grievers are experiencing independent of any look that a figure may hold.

Romanticism and Realism played a major portion in the development of art and had a direct influence

on one another. The division of art during this period is decidedly due to the enlightenment and the

radical times, in which heated arguments between moralist of the Romantic school and the scientific

naturalist of Realism and the combinations and the divisions of the two schools. The art of these times

paralleled the economic divisions. The industrial revolution helped fuel the fire of the competition doing the

rich richer and the hapless poorer ; the art ever reflecting the differences in the categories and their attitudes

about the quality of life in their twenty-four hours and age.

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