While Neoclassicism Had Embraced Balance and Reason Romantic Art Favored and

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

Key Takeaways

Fundamental Points

• The ideals of the French Revolution created the context from which both Romanticism and the Counter- Enlightenment emerged.
• Romanticism was a revolt against the aristocratic social and political norms of the Historic period of Enlightenment and also a reaction against the scientific rationalization of nature.
• Romanticism legitimized the private imagination as a critical say-so, which permitted liberty from classical notions of form in art.
• The Industrial Revolution likewise influenced Romanticism, which was in part about escaping from modern realities.
• Romanticism was also influenced past Sturm und Drang, a German language Counter-Enlightenment movement that emphasized subjectivity and intense emotion.

Central Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, freedom, and private imagination.
• Sturm und Drang: "Storm and Stress," a German proto-romantic move signifying turmoil and emotional intensity.
• Counter-Enlightenment: A move 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 move that originated in Europe toward the cease of the 18th century. In near areas the movement was at its tiptop in the judge period from 1800 CE to 1840 CE. Romanticism reached across the rational and Classicist ideal models to drag a revived medievalism.

The Influence of the French Revolution

Though influenced by other creative and intellectual movements, the ideologies and events of the French Revolution created the primary context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the ideals of the Revolution, Romanticism was a defection against the aloof social and political norms of the Age of Enlightenment and also 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 society. It also legitimized the individual imagination as a critical authority, which permitted liberty from classical notions of course in art.

The Passion of the German Sturm und Drang Movement

Romanticism was also inspired past the High german Sturm und Drang movement (Storm and Stress), which prized intuition and emotion over Enlightenment rationalism. This proto-romantic move was centered on literature and music, just also influenced the visual arts. The movement emphasized private 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 can be witnessed in paintings of storms and shipwrecks showing the terror and irrational destruction wrought by nature. These pre-romantic works were stylish in Germany from the 1760s on through the 1780s, illustrating a public audition for emotionally charged artwork. Additionally, disturbing visions and portrayals of nightmares were gaining an audience in Germany as evidenced past Goethe'due south possession and admiration of paintings past Fuseli, which were said to exist capable of "giving the viewer a good fright." Notable artists included Joseph Vernet, Caspar Wolf, Philip James de Loutherbourg, and Henry Fuseli.

The Shipwreck past Claude Joseph Vernet, 1759: Vernet participated in the proto-Romantic Sturm und Drang movement.

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 second half of the 19th century, "Realism" was offered equally a polarized opposite to Romanticism.

Painting in the Romantic Flow

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

Learning Objectives

Discuss Romanticism every bit seen in the paintings from this period

Key Takeaways

Key Points

• " History painting," traditionally referred to technically difficult narrative paintings of multiple subjects, merely became more frequently focused on contempo 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 perhaps the greatest painter of the Romantic menstruum, though he did non necessarily self-identify with the motion; his oeuvre reflects the integration of many styles.
• The High german diverseness of Romanticism notably valued wit, humour, and beauty.

Key Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, liberty, and individual imagination.
• Neoclassicism: The name given to Western movements in the decorative and visual arts, literature, theater, music, and compages that depict inspiration from the "classical" art and civilisation of Ancient Hellenic republic or Aboriginal Rome.
• history painting: A a genre in painting divers past its subject field matter rather than artistic way. These paintings unremarkably depict a moment in a narrative story, rather than a specific and static bailiwick.

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 fundamental generation of French Romantics born between 1795–1805, in the words of Alfred de Vigny, had been "conceived betwixt battles, attended school to the rolling of drums." The French Revolution (1789–1799) followed by the Napoleonic Wars until 1815, meant that war, and the attending political and social turmoil that went along with them, served equally the background for Romanticism.

History Painting

Since the Renaissance, history painting was considered amidst the highest and most hard forms of art. History painting is defined by its subject field thing rather than creative way. 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 pop 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 nonetheless concentrating on history painting with a political message. Théodore Géricault'due south The Raft of the Medusa of 1821 remains the greatest achievement of the Romantic history painting, which in its day had a powerful anti-authorities message.

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

Ingres

Greatly respectful of the past, Ingres assumed the role of a guardian of academic orthodoxy against the ascendant Romantic way represented by his nemesis Eugène Delacroix. He described himself as a "conservator of good doctrine, and non an innovator." Nevertheless, modern stance 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 make him an important precursor of mod fine art.

Achilles Receiving the Envoys of Agamemnon past 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 peachy success at the Salon with works similar The Barque of Dante (1822), The Massacre at Chios (1824) and Decease of Sardanapalus (1827). Delacroix's Liberty Leading the People (1830) remains, with The Medusa, one of the all-time 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 menstruum.

Goya

Spanish painter Francisco Goya is today generally regarded as the greatest painter of the Romantic period. Yet, in many ways he remained wedded to the classicism and realism of his training. More than whatsoever other artist of the menstruum, Goya exemplified the Romantic expression of the artist's feelings and his personal imaginative world. He also shared with many of the Romantic painters a more gratuitous handling of paint, emphasized in the new prominence of the brushstroke and impasto, which tended to be repressed in neoclassicism under a self-effacing finish. Goya'south work is renowned for its expressive line, color, and brushwork as well as its singled-out subversive commentary.

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

High german 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, sense of humor, and beauty.

The early on German romantics strove to create a new synthesis of fine art, philosophy, and science, largely by viewing the Heart Ages equally a simpler period of integrated culture, however, the High german romantics became aware of the tenuousness of the cultural unity they sought. Late-stage German language Romanticism emphasized the tension between 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 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 greatly increased in prominence during the 18th and particularly the 19th century.

Learning Objectives

Depict the emergence of mural painting in France, England, Holland, and the United states of america during the years of the Enlightenment

Key Takeaways

Key Points

• The pass up 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 mural painting to prominence in France, and were inspired past English mural artist John Constable. The Barbizon school was an important precursor to Impressionism.
• The glorified depiction of a nation's natural wonders, and the development of a distinct national style, were both ways in which nationalism influenced landscape painting in Europe and America.
• The Hudson River Schoolhouse was the virtually influential landscape art movement in 19th century America.

Central 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 of import to the Barbizon School and Impressionism.

Dutch and English Landscape Painting

Mural painting depicts natural scenery such as mountains, valleys, trees, rivers, and forests, in which the master subject is typically a broad view and the elements are bundled into a coherent limerick. During the Dutch Aureate Age of painting of the 17th century, this type of painting profoundly 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 office a reflection of the virtual disappearance of religious fine 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 than prominent identify 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, along with other Flemish artists living in England, began a national tradition. In the 18th century, watercolor painting, mostly of landscapes, became an English speciality. The nation had both a buoyant market for professional works of this variety, and a large number of amateur painters. By the beginning of the 19th century, the nearly highly regarded English artists were all, for the about part, dedicated landscapists, including John Constable, J.M.W. Turner, and Samuel Palmer.

The Hay Wain past John Constable, 1821: Constable was a popular English Romantic Painter.

French Mural Painting

French painters were slower to develop an involvement 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 fourth dimension, moving them to abandon formalism and to draw inspiration directly from nature. During the revolutions of 1848, artists gathered in Barbizon to follow Constable'southward ideas, making nature the subject of their paintings. They formed what is referred to every bit the Barbizon Schoolhouse.

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 among others, practiced plein air painting and developed what would afterward be 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, information technology became common for people to "assume that the appreciation of natural beauty and the painting of landscape was a normal and enduring part 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 as England and France, attempted to develop distinctive national schools of their own. Painters involved in these movements often attempted to limited the unique nature of the landscape of their homeland.

The Hudson River School

In the United states, a like movement, called 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 calibration in an endeavour to capture the epic size and telescopic of the landscapes that inspired them. The work of Thomas Cole, the school's more often than not acknowledged founder, seemed to emanate from a like philosophical position equally 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 Schoolhouse artists, such as Albert Bierstadt, created less comforting works that placed a greater emphasis (with a great deal of Romantic exaggeration) on the raw, terrifying ability of nature.

The Oxbow by Thomas Cole, 1836: Thomas Cole was a founding member of the pioneering Hudson School, the almost 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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