Why the Word Feelings Is an Appropriate Key Word for the Romantic Arts

Around the plough of the 19th century, the Romantic movement began to sally throughout Europe. The Romantic movement, which emphasized emotion and imagination, emerged in response to artistic disillusion with the Enlightenment ideas of order and reason. Romanticism encompassed fine 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

• ane A Brief Summary of the Romantic Movement
  • ane.1 Fundamental Romanticism Art Characteristics: A Romanticism Definition
• ii The Development of Romanticism Art
• iii Romanticism Literature
  • 3.1 Pre-Romantic Literature: The Development of the Troubled Hero
  • three.two Romanticism Characteristics in Literature
• 4 Romanticism in the Visual Arts
  • iv.ane The Sublime: Stimulating the Romantic Listen
  • 4.2 Romantic Landscapes: Romanticism Paintings and the Natural World
  • 4.3 The Animal Kingdom
  • 4.4 The Hudson River School
  • 4.5 Romantic Portraiture
  • 4.6 History Painting
• 5 Music and Romanticism
  • five.ane Romantic Opera
  • five.2 Developments in Musical Instruments
• vi Romantic Architecture: The Gothic Revival
• seven Romanticism Throughout the World
  • seven.i French Romanticism
  • 7.two English language Romanticism
  • seven.3 American Romanticism

A Brief Summary of the Romantic Movement

What is Romanticism? The spread of Romanticism throughout Europe and even the United states of america was rapid towards the late 18th century. Romanticism challenged the rational ideals so loved past artists of the Enlightenment. Romantic artists believed that emotions and senses were equally equally important equally society and reason for experiencing and understanding the globe.

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 creative powers of the creative person continued to fuel Advanced movements into the 20th century.

Romantic artists reacting against the somber Neoclassical style found their expression through music, literature, architecture, and visual art. The Romantic motion encompasses a variety of styles because it valued imagination, inspiration, and originality. Personal connections to nature and an idealized past were a significant theme for many Romantic artists attempting to hold back the waves of industrialism.

Key Romanticism Art Characteristics: A Romanticism Definition

You will already see that the Romantic movement was broad and far-reaching. Despite the multifariousness of individual expressions encouraged past 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.

Freedom Leading the People (1830) past Eugène Delacroix, depicting the theater of war during the French July Revolution (July 28, 1830);Eugène Delacroix, Public domain, via Wikimedia Commons

Nationalism

The growing nationalism throughout Europe post-obit the American Revolution was closely tied to Romanticism. You 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 call to spiritual renewal, which would continue ushering in a new age of liberties and freedom.

Subjectivity

I 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 rule-based practices and logical thought in art. Nosotros can consider Romanticism as a direct reactionary response to the Neoclassical period.

Romantic artists began to explore different psychological, emotional, and mood states in their works. The Neoclassical obsession with genius and hero transformed into new ideas almost the creative person. Artists were able to express themselves fully, complimentary 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 practice 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 being 1 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 earth.

Justice and Equality

Partly driven frontwards by French Revolutionary idealism, the Romantic period 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 than rigid history paintings of the Neoclassical period.

The Development of Romanticism Art

At the end of the 18th century, German critics Friedrich and August Schlegal offset used the term Romanticism in their article on "Romantic Poetry." The term became pop in France in the early 19th century thank you to Madame de Stael, an influential intellectual French leader. She used the term in a published business relationship of her travels in Germany in 1813.

In England, the poet William Wordsworth was a significant proponent of Romanticism. Wordsworth believed that poetry was a natural expression of powerful emotions. Romantic artists shared an mental 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 Commons

Romanticism Literature

The earliest expressions of Romanticism were literary. The High german movement Sturm und Drang, or Storm and Stress, was a precursor to Romanticism. This movement was primarily musical and literary and was popular betwixt 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 chosen Romanticism (1777).

Pre-Romantic Literature: The Development of the Troubled Hero

Johann Wolfgang von Goethe, the German language statesman, and writer was the most famous advocate for the growing Romantic movement. His novel The Sorrows of Immature Werther (1774), a story near an emotionally anguished young creative person who commits suicide when the woman he loves marries another, became a cultural phenomenon. Immature men began adopting the clothing and mannerisms of the protagonist, and copycat suicides even occurred. As a result, 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 Eatables

Although Goethe would later renounce his novel, the idea of an emotionally anguished young artist, a misunderstood genius, wormed its way 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 lone genius figure, torn between their worst and all-time traits.

Romanticism Characteristics in Literature

It was through literature that many Romantic tropes were commencement developed, but what is Romanticism in literature? In England, France, and Frg, in item, Romantic authors fueled the growing interest in subjectivity, the misunderstood genius, and nationalism. Here is a brief list of some of the most famous writers and poets from early Romanticism.

English 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 language Romantic Writers	●      August Wilhelm ●      Johann Wolfgang von Goethe ●      Jean Paul ●      Ludwig Tieck ●      Wilhelm Heinrich ●      Friedrich Schelling

We begin to see 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 argument represented the Romanticism definition for early writers.

Championship folio from Wordsworth, William and Samuel Taylor Coleridge'sLyrical 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 language 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 beginning Romantic catamenia in Deutschland.

The 2nd Romantic period ran from 1805 until the 1830s. During this time, there was a very rapid increase in cultural nationalism, and artists and writers turned their attentions to national origins. Native sociology, folk music, folk dances, folk poetry, and ballads were nerveless and imitated extensively. Sir Walter Scott translated this revived historical appreciation into his imaginative writings. As a result, we often attribute the invention of the historical novel to him.

English Romantic poetry also reached its top during this period, 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 by Mary Shelley and other works past Marquis de Sade, Charles Robert Maturin, and E. T. A. Hoffmann explore this fascination.

Frankenstein, or the Modern Prometheus (Revised Edition, 1831) by Mary Shelley;Mary Wollstonecraft Shelley, Public domain, via Wikimedia Commons

The 1820s saw a significant broadening in the scope of Romantic literature, including that of most of Europe. Towards the end of this second phase, Romanticism was becoming 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, French, and German language authors nosotros have already mentioned. There were, however, other significant authors from many European countries. In Italy, Giacomo Leopardi and Alessandro Manzoni were particularly influential. Angel 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 conduct over into Romantic art. The visual art of the Romantic period 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 it is possible to meet the furnishings of Romanticism in the portraiture of the day.

The Sublime: Stimulating the Romantic Listen

The Romantic era saw something of a nifty enkindling to the philosophy of the mind. Philosophers, novelists, and visual artists akin began to explore the relationship between feel and the intricacies of the man mind. The sublime entered into Romanticism following the 1756 publication of Edmund Burke's A Philosophical Inquiry into the Origins of Our Ideas of the Sublime and Beautiful.

One of two designs on the same plate. A cobbler (left) preaches in a bare, raftered room with a casement window. He stands behind a reading-desk on which is a large, open volume, leaning forward, pointing, gesticulating, and shouting. The heads of his congregation, erstwhile men and women, are below and on the right. The title is from Burke'southward book, A Philosophical Inquiry into the origin of our Ideas of the Sublime and the Cute (1756). one 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 experience whereby i views an object so beautiful and astonishing that we are unable to hold annihilation else in heed. Experiencing the sublime is more than than the experience of beauty. Instead, it is to experience something so monumental that it overtakes our sense of objective reality. Experiencing the sublime is crucial to Romanticism painting considering it triggers the necessary cocky-examination.

Romantic Landscapes: Romanticism Paintings and the Natural World

Many leading Romantic artists in England, the The states, and Germany focused their sights primarily on landscapes. Many Romantic artists attempted to capture the sublime in their landscapes. The natural world was one of the chief ways in which people could feel the sublime.

The overwhelming power and beauty of the natural earth, be it the rolling thunderclouds of an budgeted storm or an expansive landscape, tin can brand the man heed consider its place in the world. Attempting to sympathize or perceive the formlessness, ungovernability, and boundlessness of the natural world leads to overwhelming emotions.

Shipwreck imagery was a common theme in many French and British Romantic landscapes. A shipwreck is a powerful representation of the overwhelming force of nature and human attempts to gainsay it. The uncontrollable power of the natural world offers a direct alternative to the structured and controlled world of Enlightenment philosophy.

According to Edmund Shush and Denis Diderot, the French philosopher, annihilation that "stuns the soul" and leaves us with a "feeling of terror" is a direct 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 within the scene fabricated 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 virtually prominent landscape artists within the motion. Artists like John Constable and J. M. Due west. Wiliam Turner encapsulate the Romantic fascination with the natural earth, and they are able to capture the power and unpredictability of its dazzler.

The dramatic and transient effects of color, light, and atmosphere in these works capture the dynamism of the natural earth and evoke a sense of grandeur and awe. Snow Tempest: Hannibal and his Army Crossing the Alps (1812) past J. M. Due west. Turner is a famous composition that dwarfs the human experience in the face of nature's power. 3 or four figures are engulfed inside a large, swirling tempest of snow, utterly dwarfed past the forces beyond their control.

The landscapes of John Constable highlight another cardinal Romantic mental attitude towards nature. John Constable'due south landscapes express his individual relationship to his native English countryside. Other artists and critics embraced Constable's works as "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 Constable, Public domain, via Wikimedia Commons

The Animal Kingdom

While Romantic landscapes rarely included homo forms, they oftentimes featured diverse members of the animal kingdom. In fact, many Romantic painters represented animals as 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 some other Romantic artist fascinated with members of the animal kingdom, and he had a particularly soft spot for horses. From racehorses to workhorses, Gericault depicted horses extensively in his piece of work. For artists similar 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 ii scenes directly from Mazeppa. This particular composition depicts part of the legend of Mazeppa. In this scene, later on being found to be having an matter with a countess, her husband ties Mazeppa naked to the back of a equus caballus. The horse carries him downward to the very bottom of the steppes in Ukraine. According to the legend, and depicted in the painting, the hero was attacked by a pack of wolves on his journey.

Mazeppa and the Wolves (1826) by Horace Vernet;Horace Vernet, Public domain, via Wikimedia Eatables

The Hudson River School

In America, Romantic landscapes cannot be separated from the Hudson River School. American Romantic painters establish inspiration in the wild and rugged American terrain and the Transcendentalism philosophy. The landscapes by American Romantic period artists tend to be highly detailed, bright, and often idealized natural scenes.

Painters who used this manner were members of the Hudson River School. The grouping was founded by the famous landscape painters, Thomas Cole. The 2d group of Hudson River mural painters came from New York. These artists ventured out into the wild landscapes of the W. All Hudson River Romantic painters shared the desire to capture the majesty and sublimity of the natural earth.

The Voyage of Life (1840): Thomas Cole

In 1840, Cole painted a 4-part series of landscapes. These landscapes, with a Romantic backdrop, serve as a Christian allegory for the iv stages of a human's life.

The first painting is Childhood, and information technology sets the stage for the unabridged series. The composition shows a babe exiting a dark canal on a small gunkhole bathed in calorie-free. The water beneath is polish and calm, and a soft white lite bathes the landscape around the child. At the tiller of the boat is a guardian angel, gently guiding the kid out onto the water.

The Voyage of Life: Babyhood(1842) by Thomas Cole;Thomas Cole, Public domain, via Wikimedia Eatables

The 2nd painting is called Youth. The composition remains the same as the first painting, and the surroundings continue to be lush and peaceful. The stark difference between the beginning and second painting is the guardian angel leaving the male child on his own. The young boy eagerly grabs the tiller and sets off towards his ambitions and dreams. A youthful innocence still permeates this painting, but just beyond the river's curve, the water begins to get inclement. Hints of a more troublesome and difficult journeying towards his dreams lay ahead.

The Voyage of Life: Youth(1842) by Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons

Manhood is the third painting in this series. 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 take grown night. The waters are choppy, and large jagged rocks line the edge of the h2o. The boat is missing its tiller, and the man is no longer in control.

The Voyage of Life: Manhood (1842) by Thomas Cole;Thomas Cole, Public domain, via Wikimedia Commons

From a distance, he is still watched by his guardian angel where the man cannot see her. He must continue to accept faith that she is watching over him. According to historians, Cole wanted to communicate how the idealism and dreams nosotros accept when we are immature come crashing downwards in adulthood. The ocean that begins to appear in the distance, symbolizes the terminate of the man'due south life, and the warm ruby hues of the sunset hint at hope despite his trials.

The final painting in this series is chosen Old Historic period. The angel returns to the side of the now old human. His boat now sits on the expansive ocean, and the waters are shine and calm once once again. Light is kickoff to break through the night clouds in the sky, and the homo'southward organized religion has carried him safely through the trials of his life. The beauty of eternity now awaits him.

The Voyage of Life: Old Historic period (1842) by Thomas Cole;Thomas Cole, Public domain, via Wikimedia Eatables

Romantic Portraiture

The Romantic involvement in internal, subjective states is possibly best captured in their portraiture. While traditional, Neoclassical portraiture aimed to capture the likeness of an private, Romantic portraiture was far more than 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 prototype 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 called Alfred Dedreux, the nephew of Pierre-Joseph Dedreux-Dorcy, a skillful friend of Gericault. Although the young male child is only about five or vi years old, he appears to exist an developed. His face carries a seriousness of a grown man, and the dark groundwork with heavy and ominous clouds communicates feelings of unease.

Alfred Dedreux as a Child (1819-1820) by Théodore Géricault; Théodore Géricault, CC0, via Wikimedia Commons

History Painting

While Romanticism paintings rejected nigh 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 exotic subjects.

While the Romanticism nosotros have spoken most so far has been primarily concerned with depicting scenes of high emotionality, lack of human control, and the sublime, oriental, and glorified images were also an essential function of the movement'southward oeuvre. Many of the paintings nosotros discuss here would non be advisable today, following Edward Said'south study of Orientalism. It is possible to observe Orientalism in both Romantic painting and literature.

Eugene Delacroix, the most famous French Romantic painter, visited Kingdom of morocco in 1832, and this trip prompted many other Romantic artists to follow suit. Delacroix is famous for his expressive and complimentary brushwork, dynamic compositions, adventurous and exotic subject thing, and sensual use of color.

Post-obit the example of Delacroix, Chasseriau visited People's democratic republic of algeria in 1846, and we tin can follow his journey through his notebooks full of drawings and watercolors. These preliminary studies would later inspire many paintings produced in Paris.

The exaggerated exoticism of the Eastern World by European artists began in the Renaissance flow. You can see this early on evolution in The Reception of the Ambassadors in Damascus (1511). In Oriental paintings similar this 1, the artist attempts to create a scene that captures and glorifies the exotic nature of these Middle 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 Middle 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) by Delacroix. These paintings project 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 first shown in Paris in 1834, it acquired a great stir. Non only were the highly sexual connotations shocking to Parisian society, but the painting also portrayed the apply of opium. At the time, opium was but portrayed in works featuring prostitutes.

This painting was too notorious because of the way 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 sensation, King Louis Philippe purchased the painting and presented it to the Luxembourg museum. It now hangs in the Louvre, alongside many of his other masterpieces.

Les Femmes d'Alger dans leur appartement('The Women of Algiers', 1834) by Eugène Delacroix;Eugène Delacroix, Public domain, via Wikimedia Commons

Music and Romanticism

Every bit in literature and the visual arts, Romantic music emphasizes individuality, subjectivity, emotional expression, and liberty of expression. Two composers, in particular, bridged the gap betwixt the Romantic and Classical periods. These two musical artists are Franz Schubert and Ludwig van Beethoven. For some time, the musical techniques used by these two were strict and formal, and very classical. Information technology was, notwithstanding, their use of programmatic elements and communication of intense emotionality that fix the stage for music in the Romantic era.

Romanticism influenced the musical earth in several ways. 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 Federal republic of germany and Italian republic 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 Italy, Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti were the leading composers of Romantic opera. While these composers developed the Italian Romantic opera, it was through Guiseppe Verdi that it reached its tiptop.

Developments in Musical Instruments

Without innovations in the musical instrument repertoire, Romantic composers could not 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 often found inspiration in national folk tales, poetry, and legends. Many strung together music and words through forms like 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 calibration. They also pushed orchestral instruments to the boundaries of their expressive abilities and explored the linking of the man voice and instrumentation.

Autographed partiture by the Polish composer Frédéric Chopin of his Polonaise Op. 53 in A flat major for piano, 1842;Frédéric Chopin, Public domain, via Wikimedia Commons

During the middle Romanticism phase, composers like 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 like Jean Sibelius, Edward Elgar, Richard Strauss, and Gustav Mahler tied upwards the final phase of Romantic music.

Romantic Architecture: The Gothic Revival

Just every bit in art, literature, and music, Romantic architecture rejected the ethics of Neoclassical pattern. The primary style that Romantic compages undermined the Neoclassical mode was by referring to historical styles. Romantic architects used styles from diverse countries and eras to evoke feelings of exoticism and nostalgia. A revival fashion, like that of the Oriental Revival and Gothic Revival, dominated Romantic architecture.

As early as the 1740s, architects began incorporating Gothic design elements. It was, even so, just in the 1800s that the Gothic Revival grew in popularity. The Victor Hugo novel, The Hunchback of Notre Dame (1831) and instigated the popularity of Neo-Gothic architecture. Perhaps the clearest British example of the Gothic Revival is the Houses of Parliament. These buildings were designed and rebuilt by the architect Charles Drupe and A. W. N. Pugin.

The Hunchback of Notre Dame (1831) past Victor Hugo; Victor Hugo, Public domain, via Wikimedia Commons

Romanticism Throughout the World

Romanticism began in Germany only before long it was pop throughout America and many European countries. Each state had its own unique expression of Romanticism, informed by the national civilisation 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 German language Romantic artists, the French had a much wider repertoire of subjects, including history painting and portraiture. Artists like Eugéne Delacroix and Jean-Léon Gérome ushered in an age of Orientalism with their colorful and dramatically staged compositions of unlike parts of North Africa.

French Romantic artists also experimented with sculpture. Géricault, in particular, experimented with sculptures, including an 1818 slice chosen Nymph and Satyr, which presented a vehement and suggestive coming together between two mythological creatures. Animals were the most prominent subjects for French Romantic sculptures.

Satyr and Nymph (1817) by Théodore Géricault;Théodore Géricault, Public domain, via Wikimedia Commons

Artists were able to capture the violence and aggression of vicious beasts with such frail 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 nigh famous French beast sculptor.

English language Romanticism

In England, Romanticism was seen most prominently in literature and landscape paintings. Unlike the dramatic landscapes favored past German painters, English language landscape artists were much more naturalistic. From 1803, the Norwich School group of landscape artists was founded. John Crome was a prominent founding member. This group held annual exhibitions between 1805 and 1833. Many members of the group, including Crome, skilful painting en plein air.

When discussing English Romantic landscapes, nosotros cannot ignore the influence of John Constable. As one of the foremost Romantic landscape painters, Lawman infused a deep sensitivity into his close observation of nature. Eugene Delacroix was heavily influenced by the way Constable used dabs of white and local color to imitate glimmers of light.

When it comes to color apply, J. 1000. West. Turner was the near 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 low-cal effects.

The Fighting Téméraire tugged to her last berth to be broken up, 1838(1839) by J. 1000. W. Turner; J. M. W. Turner, Public domain, via Wikimedia Commons

American Romanticism

The center of Romantcicism in America was the Hudson River Schoolhouse. Between 1825 and 1875, American Romantic painters found their principal expression through landscape painting. Cole is certainly the almost well-known member of the group, but it began with Thomas Doughty. The work of Doughty emphasized a quiet stillness in nature.

Frederic Edwin Church was too an influential member of this group of landscape artists, alongside Asher B. Durand and Albert Bierstadt. Virtually 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. Like many English landscape artists, American Romantic painters used sketches completed outdoors to create paintings within 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 menstruum. In the confront of Enlightenment ideals that valued rational thought and logic, Romantic artists emphasized emotionality, uncontrollable nature, and the subjectivity of each individual. These Romantic characteristics permeated all forms of art in the 18th century, from literature to music, visual arts, and compages.

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Source: https://artincontext.org/romanticism-art/

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