What Were the Characteristics Values and Themes of Neoclassical and Romantic Art and Architecture

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 defection against the aloof social and political norms of the Historic period of Enlightenment and too a reaction confronting the scientific rationalization of nature.
• Romanticism legitimized the individual imagination as a critical potency, which permitted freedom from classical notions of form in art.
• The Industrial Revolution also influenced Romanticism, which was in part about escaping from modernistic realities.
• Romanticism was also influenced past Sturm und Drang, a High german Counter-Enlightenment movement that emphasized subjectivity and intense emotion.

Cardinal Terms

• Romanticism: 18th century artistic and intellectual motility that stressed emotion, freedom, and individual imagination.
• Sturm und Drang: "Storm and Stress," a German proto-romantic motion signifying turmoil and emotional intensity.
• Counter-Enlightenment: A movement that arose primarily in late 18th and early 19th century Deutschland against the rationalism, universalism, and empiricism commonly associated with the Enlightenment.

Overview

Romanticism was an creative, literary, and intellectual movement that originated in Europe toward the end of the 18th century. In near areas the movement was at its peak in the estimate period from 1800 CE to 1840 CE. Romanticism reached beyond the rational and Classicist platonic models to elevate a revived medievalism.

The Influence of the French Revolution

Though influenced past other artistic and intellectual movements, the ideologies and events of the French Revolution created the principal context from which both Romanticism and the Counter-Enlightenment emerged. Upholding the ideals of the Revolution, Romanticism was a revolt against the aloof social and political norms of the Historic period 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 drag club. Information technology also legitimized the individual imagination as a critical authorisation, which permitted freedom from classical notions of class in art.

The Passion of the German Sturm und Drang Move

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

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

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

Painting in the Romantic Menstruation

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

Learning Objectives

Discuss Romanticism as seen in the paintings from this menstruation

Central Takeaways

Central Points

• " History painting," traditionally referred to technically difficult narrative paintings of multiple subjects, but became more oft 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 period, though he did not necessarily cocky-identify with the movement; his oeuvre reflects the integration of many styles.
• The German language variety of Romanticism notably valued wit, humor, and beauty.

Central Terms

• Romanticism: 18th century creative and intellectual movement that stressed emotion, freedom, and individual imagination.
• Neoclassicism: The name given to Western movements in the decorative and visual arts, literature, theater, music, and architecture that describe inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome.
• history painting: A a genre in painting defined by its subject area affair rather than artistic style. These paintings usually describe a moment in a narrative story, rather than a specific and static subject.

Romanticism

While the arrival of Romanticism in French art was delayed by the concur of Neoclassicism on the academies, it became increasingly popular during the Napoleonic menses. Its initial class was the history paintings that acted as propaganda for the new regime. The key generation of French Romantics built-in between 1795–1805, in the words of Alfred de Vigny, had been "conceived between 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 as the background for Romanticism.

History Painting

Since the Renaissance, history painting was considered amongst the highest and most difficult forms of art. History painting is divers by its discipline thing rather than artistic style. History paintings normally depict a moment in a narrative story rather than a specific and static subject. In the Romantic period, history painting was extremely popular 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 adult personal Romantic styles while still concentrating on history painting with a political message. Théodore Géricault's The Raft of the Medusa of 1821 remains the greatest achievement of the Romantic history painting, which in its 24-hour interval had a powerful anti-government 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 confronting the ascendant Romantic style represented by his nemesis Eugène Delacroix. He described himself equally a "conservator of proficient doctrine, and not 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 modern fine art.

Achilles Receiving the Envoys of Agamemnon by Ingres, 1801: Ingres, though firmly committed to Neoclassical values, is seen equally expressing the Romantic spirit of the times.

Delacroix

Eugène Delacroix (1798–1863) had nifty success at the Salon with works similar The Barque of Dante (1822), The Massacre at Chios (1824) and Death of Sardanapalus (1827). Delacroix'due south Liberty Leading the People (1830) remains, with The Medusa, one of the best 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 period.

Goya

Spanish painter Francisco Goya is today generally regarded every bit the greatest painter of the Romantic period. However, in many ways he remained wedded to the classicism and realism of his training. More than any other artist of the period, Goya exemplified the Romantic expression of the artist'south feelings and his personal imaginative earth. He also shared with many of the Romantic painters a more free 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'southward work is renowned for its expressive line, color, and brushwork as well equally its distinct destructive commentary.

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

German language Romanticism

Compared to English Romanticism, High german Romanticism developed relatively tardily, and, in the early years, coincided with Weimar Classicism (1772–1805). In contrast to the seriousness of English Romanticism, the German multifariousness of Romanticism notably valued wit, humor, and beauty.

The early on German romantics strove to create a new synthesis of art, philosophy, and scientific discipline, largely by viewing the Middle Ages as a simpler period of integrated civilization, however, the German romantics became aware of the tenuousness of the cultural unity they sought. Tardily-stage High german Romanticism emphasized the tension between the daily world and the irrational and supernatural projections of creative genius. Cardinal 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 by 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 specially the 19th century.

Learning Objectives

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

Key Takeaways

Key Points

• The decline of explicitly religious works, a issue 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 by English landscape creative person John Lawman. The Barbizon school was an important forerunner to Impressionism.
• The glorified depiction of a nation's natural wonders, and the development of a singled-out national way, were both ways in which nationalism influenced landscape painting in Europe and America.
• The Hudson River School was the most influential mural art motion in 19th century America.

Key Terms

• Romanticism: 18th century artistic and intellectual movement that stressed emotion, freedom, and private 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 peculiarly of import to the Barbizon School and Impressionism.

Dutch and English language Landscape Painting

Mural painting depicts natural scenery such as mountains, valleys, copse, rivers, and forests, in which the main subject is typically a wide view and the elements are arranged into a coherent composition. During the Dutch Golden Age of painting of the 17th century, this type of painting profoundly increased in popularity, and many artists specialized in the genre. In particular, painters of this era were known for developing extremely subtle, realist techniques of depicting lite and weather condition. The popularity of landscape painting in this region, during this time, was in part a reflection of the virtual disappearance of religious art in holland, which was then a Calvinist society. In the 18th and 19th centuries, religious painting declined across all of Europe, and the move of Romanticism spread, both of which provided important historical ingredients for mural painting to arise to a more prominent place in fine art.

In England, landscapes had initially just been painted as the backgrounds for portraits, and typically portrayed the parks or estates of a landowner. This changed equally 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, generally of landscapes, became an English language 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 almost highly regarded English artists were all, for the most function, defended landscapists, including John Lawman, J.Thou.W. Turner, and Samuel Palmer.

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

French Landscape Painting

French painters were slower to develop an interest 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 time, moving them to carelessness formalism and to describe inspiration straight from nature. During the revolutions of 1848, artists gathered in Barbizon to follow Constable's ideas, making nature the subject of their paintings. They formed what is referred to as the Barbizon School.

During the belatedly 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 adult what would afterward exist chosen Impressionism, an extremely influential move.

In Europe, every bit 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 activeness."

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 every bit England and France, attempted to develop distinctive national schools of their own. Painters involved in these movements often attempted to express the unique nature of the mural of their homeland.

The Hudson River School

In the United States, a similar motion, called the Hudson River School, emerged in the 19th century and rapidly became one of the most distinctive worldwide purveyors of mural pieces. American painters in this movement created works of mammoth scale in an attempt to capture the ballsy size and scope of the landscapes that inspired them. The work of Thomas Cole, the school's mostly acknowledged founder, seemed to emanate from a like philosophical position every bit that of European landscape artists. Both championed, from a position of secular organized religion, the spiritual benefits that could be gained from contemplating nature. Some of the afterwards Hudson River School artists, such as Albert Bierstadt, created less comforting works that placed a greater accent (with a great deal of Romantic exaggeration) on the raw, terrifying power of nature.

The Oxbow past Thomas Cole, 1836: Thomas Cole was a founding member of the pioneering Hudson School, the most influential landscape art motility in 19th century America.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/neoclassicism-and-romanticism/

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