Nationalism Ushers in a Romantic Movement in Arts and Ideas
Around the turn of the 19th century, the Romantic movement began to emerge throughout Europe. The Romantic motility, which emphasized emotion and imagination, emerged in response to creative disillusion with the Enlightenment ideas of lodge and reason. Romanticism encompassed art of all forms, from literary works to architectural masterpieces. Emphasizing the subjective, the individual, the spontaneous, irrational, visionary, imaginative, and transcendental, Romanticism rejected the style and notions of Neoclassicism.
Table of Contents
- 1 A Brief Summary of the Romantic Motility
- 1.i Fundamental Romanticism Art Characteristics: A Romanticism Definition
- 2 The Development of Romanticism Fine art
- three Romanticism Literature
- iii.i Pre-Romantic Literature: The Development of the Troubled Hero
- 3.2 Romanticism Characteristics in Literature
- 4 Romanticism in the Visual Arts
- iv.1 The Sublime: Stimulating the Romantic Mind
- iv.2 Romantic Landscapes: Romanticism Paintings and the Natural World
- iv.three The Animal Kingdom
- four.4 The Hudson River School
- iv.5 Romantic Portraiture
- iv.half-dozen History Painting
- v Music and Romanticism
- v.1 Romantic Opera
- 5.2 Developments in Musical Instruments
- half dozen Romantic Architecture: The Gothic Revival
- 7 Romanticism Throughout the World
- 7.1 French Romanticism
- vii.2 English Romanticism
- 7.three American Romanticism
A Brief Summary of the Romantic Movement
What is Romanticism? The spread of Romanticism throughout Europe and even the United States was rapid towards the late 18th century. Romanticism challenged the rational ideals so loved by artists of the Enlightenment. Romantic artists believed that emotions and senses were equally as important every bit lodge and reason for experiencing and understanding the earth.
Following the French Revolution, the enduring search for individual liberty and rights fueled the Romantic celebration of intuition and imagination. The Romantic ideas of the subjectively artistic powers of the artist continued to fuel Avant-Garde movements into the 20th century.
Romantic artists reacting against the somber Neoclassical way found their expression through music, literature, compages, and visual art. The Romantic motion encompasses a variety of styles because information technology valued imagination, inspiration, and originality. Personal connections to nature and an arcadian by were a meaning theme for many Romantic artists attempting to hold dorsum the waves of industrialism.
Central Romanticism Art Characteristics: A Romanticism Definition
You lot will already run across that the Romantic movement was broad and far-reaching. Despite the variety of individual expressions encouraged by Romanticism, there are several primal Romanticism characteristics, which underlie Romantic art. These include growing nationalism, subjectivity, plein air painting, and concerns with justice and equality.
Liberty Leading the People (1830) by Eugène Delacroix, depicting the theater of war during the French July Revolution (July 28, 1830);Eugène Delacroix, Public domain, via Wikimedia Eatables
Nationalism
The growing nationalism throughout Europe following the American Revolution was closely tied to Romanticism. Yous can see this nationalism in the emphasis on landscapes, traditions, and folklore in Romantic literature and art. Through the visual imagery in these works, Romantic artists fed a sense of national pride and identity. Many Romantic paintings are steeped in a telephone call to spiritual renewal, which would continue ushering in a new age of liberties and freedom.
Subjectivity
1 of the most significant elements of Romanticism was the increased emphasis on the personal and subjective power of the individual artist. The Neoclassical period, which preceded Romanticism, valued strict dominion-based practices and logical thought in art. Nosotros can consider Romanticism as a direct reactionary response to the Neoclassical catamenia.
Romantic artists began to explore dissimilar psychological, emotional, and mood states in their works. The Neoclassical obsession with genius and hero transformed into new ideas well-nigh the artist. Artists were able to express themselves fully, gratis from the tastes and rules of bookish institutions.
Painting en Plein Air
Throughout Europe, Romantic artists began turning their attention to the natural world. With this growing fascination with nature, there was an increase in the do of painting en Plein air, or outside. Artists would paint natural scenes by observing them directly. This process enabled artists to produce elevated landscapes. The close and intimate observation of the natural world translated into more emotive and atmospheric scenes.
Some Romantic artists painted scenes that emphasized humans as beingness i with nature. Other artists preferred to portray the powerful and unpredictable forces of nature in paintings that evoke feelings of awe and sometimes terror. Romantic artists harbored a deep appreciation for the beauty of the natural globe.
Justice and Equality
Partly driven frontwards by French Revolutionary idealism, the Romantic catamenia embraced the fight for equality, liberty, and the advancement of justice. Many Romantic painters began painting scenes of current atrocities and social events. Dramatic compositions illuminated instances of injustice and rivaled the more rigid history paintings of the Neoclassical menses.
The Development of Romanticism Art
At the finish of the 18th century, German language critics Friedrich and August Schlegal start used the term Romanticism in their commodity on "Romantic Poesy." The term became popular in France in the early 19th century thanks to Madame de Stael, an influential intellectual French leader. She used the term in a published business relationship of her travels in Deutschland in 1813.
In England, the poet William Wordsworth was a meaning proponent of Romanticism. Wordsworth believed that poetry was a natural expression of powerful emotions. Romantic artists shared an attitude towards humanity, nature, and art, but each was distinct in its unique expressions. The rejection of established orders, including religious and social systems, became a dominant theme of the Romantic movement. By 1820, Romanticism had firmly established itself throughout Europe.
Benjamin Haydon's Romantic portrait painting of William Wordsworth, Wordsworth on Helvellyn(1842);Benjamin Haydon, Public domain, via Wikimedia Eatables
Romanticism Literature
The earliest expressions of Romanticism were literary. The German movement Sturm und Drang, or Storm and Stress, was a precursor to Romanticism. This movement was primarily musical and literary and was pop between 1760 and 1780. Storm and Stress had a far-reaching influence on artistic and public consciousness. Romanticism was inspired by the title of a Friedrich Maximillian Klinger play called Romanticism (1777).
Pre-Romantic Literature: The Development of the Troubled Hero
Johann Wolfgang von Goethe, the High german statesman, and author was the well-nigh famous advocate for the growing Romantic movement. His novel The Sorrows of Young Werther (1774), a story most an emotionally anguished young artist who commits suicide when the adult female he loves marries some other, became a cultural phenomenon. Young men began adopting the article of clothing and mannerisms of the protagonist, and copycat suicides even occurred. Every bit a event, some countries, including Italy and Denmark, banned the novel.
A print of a scene from Die Leiden des Jungen Werthers('The Sorrows of Immature Werther', 1774) by Johann Wolfgang von Goethe, depicting Werther seeing Lotte with her brothers and sisters;Rijksmuseum, CC0, via Wikimedia Commons
Although Goethe would later renounce his novel, the idea of an emotionally anguished young artist, a misunderstood genius, wormed its fashion into public consciousness. Many believe that the protagonist of this novel inspired the hero in Romanticism literature.
The preoccupation with the misunderstood emotional hero was strengthened further by the publication of Childe Harold's Pilgrimage (1812) by Lord Gordon Byron, the British Poet. This publication introduced the term "Byronic hero," the brooding and lonely genius figure, torn betwixt their worst and best traits.
Romanticism Characteristics in Literature
It was through literature that many Romantic tropes were first adult, but what is Romanticism in literature? In England, France, and Germany, in item, Romantic authors fueled the growing interest in subjectivity, the misunderstood genius, and nationalism. Here is a cursory list of some of the virtually famous writers and poets from early Romanticism.
| English language Romantic Writers | ● William Wordsworth ● William Blake ● Sir Walter Scott ● Mary Shelley ● Lord Byron ● William Hazlitt ● Percy Bysshe Shelley ● John Keats ● The Bronte Sisters ● Thomas De Quincey |
| French Romantic Writers | ● Alfred de Vigny ● Alfred de Musset ● Theophile Gautier ● Alexandre Dumas ● Victor Hugo ● Alphonse de Lamartine |
| German Romantic Writers | ● Baronial Wilhelm ● Johann Wolfgang von Goethe ● Jean Paul ● Ludwig Tieck ● Wilhelm Heinrich ● Friedrich Schelling |
Nosotros begin to run into the emergence of Romanticism in literature in the 1790s with Lyrical Ballads by William Wordsworth. The preface of this publication included the description of poetry every bit "the spontaneous overflow of powerful feelings," which became somewhat of a Romanticism manifesto. This statement represented the Romanticism definition for early on writers.
Title page from Wordsworth, William and Samuel Taylor Coleridge'southwardLyrical Ballads, with a few other poems. London: Printed for J. & A. Curvation, 1798;William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834)., Public domain, via Wikimedia Commons
The poet William Blake was another founding poet of the first English Romantic phase. The first German Romantic phase included many innovations in literary style and content. A preoccupation with the subconscious, mystical, and supernatural also marked Romanticism. Writers including Jean Paul, August Wilhelm, Ludwig Tieck, Johann Wolfgang von Goethe, Wilhelm Heinrich, and Friedrich Schelling, were prominent during this starting time Romantic menstruum in Germany.
The second Romantic period ran from 1805 until the 1830s. During this fourth dimension, there was a very rapid increment in cultural nationalism, and artists and writers turned their attentions to national origins. Native folklore, folk music, folk dances, folk poetry, and ballads were collected and imitated extensively. Sir Walter Scott translated this revived historical appreciation into his imaginative writings. As a consequence, we ofttimes attribute the invention of the historical novel to him.
English Romantic poetry likewise reached its height during this menstruum, with the popular works by Percy Bysshe Shelley, Lord Byron, and John Keats. Fascination with the supernatural was a fundamental characteristic of Romantic literature and tied into the interest with the subjective emotional world. Works like Frankenstein past Mary Shelley and other works by Marquis de Sade, Charles Robert Maturin, and East. T. A. Hoffmann explore this fascination.
Frankenstein, or the Modern Prometheus (Revised Edition, 1831) past Mary Shelley;Mary Wollstonecraft Shelley, Public domain, via Wikimedia Eatables
The 1820s saw a pregnant broadening in the telescopic of Romantic literature, including that of almost of Europe. Towards the end of this second stage, Romanticism was condign increasingly nationalistic rather than universal. Authors began concentrating on their national and cultural histories, examining and exalting the struggles and passions of important historical figures.
The most prominent figures in Romantic literature are undoubtedly the English language, French, and German language authors we have already mentioned. There were, however, other significant authors from many European countries. In Italian republic, Giacomo Leopardi and Alessandro Manzoni were particularly influential. Affections de Saavedra and Jose de Espronceda dominated Spanish Romantic literature, while in Russia, Mikhail Lermontov and Aleksandr Pushkin were prominent figures.
Romanticism in the Visual Arts
The same fascination with emotional intensity, the supernatural, nationalism, and the hero trope in Romantic literature carry over into Romantic art. The visual art of the Romantic menstruum as well explored the natural globe through landscapes and ideas of revolution and justice. Orientalism was also rife in a lot of Romantic painting, and information technology is possible to see the effects of Romanticism in the portraiture of the 24-hour interval.
The Sublime: Stimulating the Romantic Heed
The Romantic era saw something of a slap-up awakening to the philosophy of the mind. Philosophers, novelists, and visual artists akin began to explore the relationship between experience and the intricacies of the human being mind. The sublime entered into Romanticism following the 1756 publication of Edmund Burke's A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Cute.
One of 2 designs on the aforementioned plate. A cobbler (left) preaches in a bare, raftered room with a casement window. He stands behind a reading-desk on which is a big, open up book, leaning forrad, pointing, gesticulating, and shouting. The heads of his congregation, one-time men and women, are below and on the right. The title is from Shush'south volume, A Philosophical Inquiry into the origin of our Ideas of the Sublime and the Beautiful (1756). 1 October 1785;British Museum, Public domain, via Wikimedia Eatables
Part of the significance of these philosophical inquiries lay in their direct contradiction of Enlightenment rationality. The sublime was an feel whereby one views an object so beautiful and amazing that we are unable to concur anything else in mind. Experiencing the sublime is more than the experience of beauty. Instead, it is to experience something so awe-inspiring that it overtakes our sense of objective reality. Experiencing the sublime is crucial to Romanticism painting because information technology triggers the necessary self-examination.
Romantic Landscapes: Romanticism Paintings and the Natural World
Many leading Romantic artists in England, the The states, and Frg focused their sights primarily on landscapes. Many Romantic artists attempted to capture the sublime in their landscapes. The natural world was one of the principal ways in which people could experience the sublime.
The overwhelming power and beauty of the natural world, be it the rolling thunderclouds of an approaching storm or an expansive landscape, can make the human heed consider its place in the world. Attempting to empathise or perceive the formlessness, ungovernability, and boundlessness of the natural world leads to overwhelming emotions.
Shipwreck imagery was a mutual theme in many French and British Romantic landscapes. A shipwreck is a powerful representation of the overwhelming forcefulness of nature and human attempts to combat it. The uncontrollable power of the natural world offers a direct alternative to the structured and controlled world of Enlightenment philosophy.
Co-ordinate to Edmund Burke and Denis Diderot, the French philosopher, annihilation that "stuns the soul" and leaves us with a "feeling of terror" is a directly path to the sublime. Many art historians believe that shipwreck imagery culminated with the Raft of the Medusa (1819) by Théodore Géricault. This powerful scene is incredibly explicit, creating an overwhelming influx of intense emotionality. The conspicuous lack of a hero inside the scene made this painting an iconic representation of Romanticism.
Le Radeau de La Méduse('The Raft of Medusa', 1818-1819) by Théodore Géricault;Théodore Géricault, Public domain, via Wikimedia Commons
English Romantic painters were some of the most prominent landscape artists inside the motility. Artists like John Lawman and J. K. W. Wiliam Turner encapsulate the Romantic fascination with the natural world, and they are able to capture the ability and unpredictability of its beauty.
The dramatic and transient effects of color, lite, and atmosphere in these works capture the dynamism of the natural world and evoke a sense of grandeur and awe. Snow Storm: Hannibal and his Army Crossing the Alps (1812) by J. Thou. W. Turner is a famous composition that dwarfs the homo experience in the face up of nature'southward ability. Three or four figures are engulfed within a big, swirling tempest of snow, utterly dwarfed past the forces across their control.
The landscapes of John Constable highlight another key Romantic attitude towards nature. John Lawman'due south landscapes express his individual human relationship to his native English language countryside. Other artists and critics embraced Constable's works equally "nature itself" in an 1824 exhibition at the Parisian Salon. The loftier level of subjectivity and attention to the landscapes highlight the ingrained sense of individuality in Romanticism.
The Hay Wain (1821) by John Constable;John Lawman, Public domain, via Wikimedia Eatables
The Animal Kingdom
While Romantic landscapes rarely included man forms, they ofttimes featured diverse members of the brute kingdom. In fact, many Romantic painters represented animals every bit metaphors for human behavior and forces of nature.
The 1820s saw artists like Edwin Landseer and Delacroix Antoine-Louis Barye creating sketches of wild animals in the London and Parisian menageries. Gericault was another Romantic artist fascinated with members of the animal kingdom, and he had a peculiarly soft spot for horses. From racehorses to workhorses, Gericault depicted horses extensively in his work. For artists like Théodore Chassériau and Delacroix, Lord Byron's story of Mazeppa tied to a wild horse inspired depictions of passion and violence.
Mazeppa and the Wolves (1826): Horace Vernet
In the 1827 Salon, Horace Vernet showed two scenes directly from Mazeppa. This particular composition depicts part of the legend of Mazeppa. In this scene, after being found to be having an matter with a countess, her husband ties Mazeppa naked to the back of a horse. The horse carries him downward to the very bottom of the steppes in Ukraine. Co-ordinate to the legend, and depicted in the painting, the hero was attacked past a pack of wolves on his journey.
Mazeppa and the Wolves (1826) by Horace Vernet;Horace Vernet, Public domain, via Wikimedia Commons
The Hudson River School
In America, Romantic landscapes cannot be separated from the Hudson River Schoolhouse. American Romantic painters plant inspiration in the wild and rugged American terrain and the Transcendentalism philosophy. The landscapes past American Romantic period artists tend to be highly detailed, vivid, and often idealized natural scenes.
Painters who used this mode were members of the Hudson River School. The group was founded by the famous landscape painters, Thomas Cole. The second grouping of Hudson River landscape painters came from New York. These artists ventured out into the wild landscapes of the West. All Hudson River Romantic painters shared the desire to capture the majesty and sublimity of the natural world.
The Voyage of Life (1840): Thomas Cole
In 1840, Cole painted a four-part serial of landscapes. These landscapes, with a Romantic properties, serve as a Christian allegory for the four stages of a man'due south life.
The first painting is Childhood, and information technology sets the stage for the entire series. The limerick shows a baby exiting a dark canal on a small boat bathed in low-cal. The water below is smooth and calm, and a soft white light bathes the landscape around the child. At the tiller of the boat is a guardian angel, gently guiding the child out onto the h2o.
The Voyage of Life: Childhood(1842) past Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons
The second painting is called Youth. The composition remains the aforementioned as the first painting, and the surroundings continue to be lush and peaceful. The stark difference betwixt the beginning and second painting is the guardian angel leaving the male child on his own. The young male child eagerly grabs the tiller and sets off towards his ambitions and dreams. A youthful innocence still permeates this painting, but but beyond the river'south bend, the water begins to become choppy. Hints of a more troublesome and hard journey towards his dreams lay alee.
The Voyage of Life: Youth(1842) past Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons
Manhood is the third painting in this serial. A grown man replaces the young boy on the boat. The peaceful and luscious countryside on either side of the riverbank is gone, and the skies have grown nighttime. The waters are choppy, and large jagged rocks line the edge of the water. The gunkhole is missing its tiller, and the man is no longer in command.
The Voyage of Life: Manhood (1842) past Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons
From a altitude, he is still watched by his guardian angel where the man cannot see her. He must continue to have faith that she is watching over him. Co-ordinate to historians, Cole wanted to communicate how the idealism and dreams nosotros have when we are young come up crashing down in adulthood. The ocean that begins to appear in the altitude, symbolizes the end of the homo's life, and the warm red hues of the sunset hint at promise despite his trials.
The final painting in this series is chosen Old Age. The angel returns to the side of the now old homo. His gunkhole now sits on the expansive sea, and the waters are smoothen and calm one time again. Light is beginning to intermission through the dark clouds in the heaven, and the man's religion has carried him safely through the trials of his life. The beauty of eternity at present awaits him.
The Voyage of Life: Old Historic period (1842) by Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons
Romantic Portraiture
The Romantic interest in internal, subjective states is possibly best captured in their portraiture. While traditional, Neoclassical portraiture aimed to capture the likeness of an individual, Romantic portraiture was far more interested in the psychological and emotional states of the individual.
Gericault explored emotional anguish in the extremes of mental health through portraits he painted of psychiatric patients. The emotionality that Gericault is able to capture represents the epitome of the Romantic interest in the wild and subjective. Gericault also explored the darker sides of babyhood.
Alfred Dedreux (1810-1860): Théodore Géricault
This portrait is one of the best examples of Gericault's portraiture of young children. The portrait is of a young boy chosen Alfred Dedreux, the nephew of Pierre-Joseph Dedreux-Dorcy, a skilful friend of Gericault. Although the young boy is only about five or six years old, he appears to be an adult. His face carries a seriousness of a grown man, and the night background with heavy and ominous clouds communicates feelings of unease.
Alfred Dedreux as a Child (1819-1820) past Théodore Géricault; Théodore Géricault, CC0, via Wikimedia Commons
History Painting
While Romanticism paintings rejected almost everything from the Neoclassic era, Romantic period artists repurposed the History painting. Romantic artists discarded the pedantic rules and regulations of Neoclassical history painting in favor of more than exotic subjects.
While the Romanticism we have spoken about so far has been primarily concerned with depicting scenes of high emotionality, lack of human command, and the sublime, oriental, and glorified images were also an essential part of the movement's oeuvre. Many of the paintings nosotros hash out here would non be appropriate today, following Edward Said's report of Orientalism. It is possible to find Orientalism in both Romantic painting and literature.
Eugene Delacroix, the most famous French Romantic painter, visited Morocco in 1832, and this trip prompted many other Romantic artists to follow suit. Delacroix is famous for his expressive and free brushwork, dynamic compositions, adventurous and exotic field of study matter, and sensual use of color.
Following the example of Delacroix, Chasseriau visited People's democratic republic of algeria in 1846, and we tin follow his journey through his notebooks total of drawings and watercolors. These preliminary studies would afterward inspire many paintings produced in Paris.
The exaggerated exoticism of the Eastern World past European artists began in the Renaissance period. You can see this early development in The Reception of the Ambassadors in Damascus (1511). In Oriental paintings like this 1, the artist attempts to create a scene that captures and glorifies the exotic nature of these Centre Eastern countries. These scenes, however, tend to cross the line between glorification and caricatures. Many of these paintings are deeply offensive to the cultures they portray.
The fascination with Center Eastern subjects grew in popularity during the Romantic era, with paintings of nude women like Grande Odalisque (1814) by Jean-Auguste-Dominique Ingres and The Women of Algiers (1834) past Delacroix. These paintings projection the fears and desires of the artists onto the Middle Eastern and African scenes.
The Women of Algiers (1834): Eugène Delacroix
When this painting was outset shown in Paris in 1834, it caused a swell stir. Not just were the highly sexual connotations shocking to Parisian gild, but the painting besides portrayed the use of opium. At the time, opium was only portrayed in works featuring prostitutes.
This painting was too notorious because of the manner Delacroix was able to pigment Muslim women, whose coverings made them tricky to pigment. Delacroix'south secret was that he was able to sketch some of these women during his 1832 visit to Morocco. Despite the awareness, King Louis Philippe purchased the painting and presented it to the Grand duchy of luxembourg museum. Information technology now hangs in the Louvre, alongside many of his other masterpieces.
Les Femmes d'Alger dans leur appartement('The Women of Algiers', 1834) past Eugène Delacroix;Eugène Delacroix, Public domain, via Wikimedia Eatables
Music and Romanticism
As in literature and the visual arts, Romantic music emphasizes individuality, subjectivity, emotional expression, and freedom of expression. Two composers, in item, bridged the gap between the Romantic and Classical periods. These two musical artists are Franz Schubert and Ludwig van Beethoven. For some fourth dimension, the musical techniques used by these two were strict and formal, and very classical. It was, still, their employ of programmatic elements and communication of intense emotionality that fix the phase for music in the Romantic era.
Romanticism influenced the musical world in several means. Romantic composers took the opera to new heights, and there were many innovations in musical instruments that immune musicians and composers to create new possibilities of dramatic expression.
Romantic Opera
Romantic opera began in Germany and Italia consecutively. In Germany, the works of Carl Maria von Weber sparked Romantic opera and culminated with the works of Richard Wagner. Wagner combined various diverse elements of Romanticism into his operatic works. From the cult of the hero to the fervent nationalism, expressive music, exotic costumes and sets, and the virtuosity in vocal and orchestral settings.
In Italia, Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti were the leading composers of Romantic opera. While these composers developed the Italian Romantic opera, information technology was through Guiseppe Verdi that it reached its pinnacle.
Developments in Musical Instruments
Without innovations in the instrument repertoire, Romantic composers could non bring their dreams to fruition. The perfection and expansion of the instrumental repertoire allowed composers to reach new levels of dramatic expression. Composers were able to express their unique subjectivity and intense emotionality through music in very new ways, thanks to the creation of new musical forms. These forms include the nocturne, capriccio, mazurka, prelude, intermezzo, and lied.
Romantic composers oft establish inspiration in national folk tales, poetry, and legends. Many strung together music and words through forms similar incidental music, the concert overture, and programmatically. These are unique features that distinguish Romantic music.
The beginning phase of Romanticism was dominated by many famous composers, including Felix Mendelssohn, Hector Berlioz, Franz Liszt, and Frederic Chopin. Each of these composers expanded the vocabulary of harmony to the very limits, exploiting the full range of the chromatic scale. They too pushed orchestral instruments to the boundaries of their expressive abilities and explored the linking of the human voice and instrumentation.
Autographed partiture by the Smoothen composer Frédéric Chopin of his Polonaise Op. 53 in A flat major for piano, 1842;Frédéric Chopin, Public domain, via Wikimedia Eatables
During the middle Romanticism phase, composers similar Pyotr Ilyich Tchaikovsky, Edvard Grieg, and Antonin Dvorak dominated the music scene. These composers created complex, unique, and highly emotive pieces. The nationalism within Romanticism began to permeate music during this phase.
Composers like Bedrich Smetana and Dvorak integrated national folk melodies with highly expressive musicality, creating fantastic and powerful works. Composers similar Jean Sibelius, Edward Elgar, Richard Strauss, and Gustav Mahler tied up the final phase of Romantic music.
Romantic Architecture: The Gothic Revival
Just equally in art, literature, and music, Romantic architecture rejected the ethics of Neoclassical design. The primary style that Romantic architecture undermined the Neoclassical style was by referring to historical styles. Romantic architects used styles from various countries and eras to evoke feelings of exoticism and nostalgia. A revival style, like that of the Oriental Revival and Gothic Revival, dominated Romantic compages.
As early as the 1740s, architects began incorporating Gothic design elements. It was, however, only in the 1800s that the Gothic Revival grew in popularity. The Victor Hugo novel, The Hunchback of Notre Matriarch (1831) and instigated the popularity of Neo-Gothic compages. Perhaps the clearest British example of the Gothic Revival is the Houses of Parliament. These buildings were designed and rebuilt by the architect Charles Berry and A. W. N. Pugin.
The Hunchback of Notre Dame (1831) past Victor Hugo; Victor Hugo, Public domain, via Wikimedia Eatables
Romanticism Throughout the Globe
Romanticism began in Germany but earlier long it was popular throughout America and many European countries. Each country had its own unique expression of Romanticism, informed by the national culture and history.
French Romanticism
Romantic painters began challenging the Neoclassical techniques of Jacques Louis David following the Napoleonic Wars and the exile of Napoleon. Unlike High german Romantic artists, the French had a much wider repertoire of subjects, including history painting and portraiture. Artists similar Eugéne Delacroix and Jean-Léon Gérome ushered in an historic period of Orientalism with their colorful and dramatically staged compositions of different parts of Due north Africa.
French Romantic artists as well experimented with sculpture. Géricault, in particular, experimented with sculptures, including an 1818 slice called Nymph and Satyr, which presented a violent and suggestive meeting between 2 mythological creatures. Animals were the nigh prominent subjects for French Romantic sculptures.
Satyr and Nymph (1817) past Théodore Géricault;Théodore Géricault, Public domain, via Wikimedia Commons
Artists were able to capture the violence and aggression of roughshod beasts with such delicate beauty. These works are some of the best examples of art attempting to reach the sublime by creating scenes of terror and awe. Antoine-Louis Bayre is the most famous French animal sculptor.
English Romanticism
In England, Romanticism was seen most prominently in literature and landscape paintings. Unlike the dramatic landscapes favored by German language painters, English mural artists were much more naturalistic. From 1803, the Norwich School group of landscape artists was founded. John Crome was a prominent founding fellow member. This group held annual exhibitions betwixt 1805 and 1833. Many members of the grouping, including Crome, adept painting en plein air.
When discussing English Romantic landscapes, we cannot ignore the influence of John Constable. As one of the foremost Romantic landscape painters, Constable infused a deep sensitivity into his close observation of nature. Eugene Delacroix was heavily influenced by the manner Constable used dabs of white and local color to imitate glimmers of calorie-free.
When it comes to color employ, J. Grand. Due west. Turner was the most radical Romantic creative person. Turner was reclusive and eccentric and worked in prints, watercolor, and oil. Using rapid strokes of color, Turner was able to create dynamic compositions with stunning light effects.
The Fighting Téméraire tugged to her last berth to exist broken upwardly, 1838(1839) past J. Chiliad. W. Turner; J. M. West. Turner, Public domain, via Wikimedia Commons
American Romanticism
The center of Romantcicism in America was the Hudson River School. Betwixt 1825 and 1875, American Romantic painters establish their primary expression through landscape painting. Cole is certainly the most well-known member of the group, merely it began with Thomas Doughty. The work of Doughty emphasized a repose stillness in nature.
Frederic Edwin Church was also an influential fellow member of this grouping of landscape artists, alongside Asher B. Durand and Albert Bierstadt. Almost of these artists focused on painting the Catskills, White Mountains, and Adirondacks of the American Northeast.
Gradually, American Romantic artists began moving towards Southern and Western America and the landscapes in Latin America. Similar many English language landscape artists, American Romantic painters used sketches completed outdoors to create paintings inside their studios. American Romantic landscapes are often highly dramatic, overwhelming, and awe-inspiring vistas.
Romanticism was a natural reaction against the strict, dogmatic rules of the Neoclassical catamenia. In the face of Enlightenment ideals that valued rational thought and logic, Romantic artists emphasized emotionality, uncontrollable nature, and the subjectivity of each private. These Romantic characteristics permeated all forms of art in the 18th century, from literature to music, visual arts, and architecture.
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Source: https://artincontext.org/romanticism-art/