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An Art movement & Style
19th Century; Emphasized the emotions painted in a bold, dramatic manner.
The 1st writers & artist to become known as ³Romantics´ were those
associated with Ô critics, the brothers:
in Dresden at the end of the eighteenth century.
Romanticism was prominent throughout the 1700¶s & 180¶s.
Romantic philosophy was alsoconnected w/the visual arts as well. The artist
of the Romantic Era used a variety of techniques and styles to express its
characteristics.
In Art, µnature¶ was the common theme.
They also used geometry in their work, such as symmetry & posture.
The themes and Characteristics used in the Romantic period were portrayed
&emphasized in the art throughout the 18th and beginning of the 19th
century.
The Romantic Era, focused on µNature, Imagination, Egotism, and Love.¶ It
drew attention to change & transistion, w/c was prominent throughout the
centuries.
³Romantics´
Goya (Spanish)
Géricault (French)
Delacroix (French)
Turner (British)
Blake
Runge
Friedrich (German)
Goya
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whose work he studied when he fled to Italy after an unhappy love affair.
His works is also characterized by a maturing of the naturalistic element & further
movement toward the dramatic presentation of contemporary events on huge
canvas.
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16¶ x 23¶. Painted by Gericault between 1818-1819. The painting lives at the Louverne in Paris,
France.
The Raft of the Medusa
Shows influences of Michael Angelo & Peter Paul Rubens.
He took this subject the ordeal of the survivors of the french ship Medusa, w/c had founded of
the west coast of Africa in 1816, laden w/Algerian immigrants.
a study for which Géricault, in his passion for realism, spent weeks studying the dead and dying
in morgues and hospitals.
The work had political overtones indicative of the artist's romantic and humanitarian tendencies
as well as his indignation at misgovernment in France. The French government disapproved of
the painting, so Géricault took it through England on what would become a triumphant tour.
Gericault¶s use of shock tactics, syunning the viewer¶s sensibilities, amounted to something
new ± a new tone & intention that distinguish the ³high´ phase of romanticism. In this phrase,
an instinct for the 18th century (see for example, Fuselli¶s Nightmare), found sharpest
expression in a method of reportorial accuracy far more stringent than that found in certain
works of David.
The value Gericault placed on accuracy in the Raft of the Medusa is indicated by the fact that
he carried out Ú
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for work, even
going so far as to interview survivors of the wreck.
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³Insane Woman´
Her mouth tense,her eyes red-
rimmed with suffering-is one of
several ³portraits´ of insane
subjects that have a peculiar,
hypnotic power & present the
psychic facts with astonishing
authenticity.
Insane woman is the only another
example of the increasingly
realistic core of Romantic painting.
(The more the Romantics become
involved wnature, sane or mad,
the more they hoped to get at the
truth.)
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April 26, 1798 ± August 13, 1863.
was the most important of the Romantic painters.
A fine lithographer, Delacroix illustrated various works of
William Shakespeare, the Scottish writer Sir Walter Scott,
and the German writer Johann Wolfgang von Goethe.
Delacroix's use of expressive brushstrokes and his study
of the optical effects of colour profoundly shaped the work
of the Impressionists, while his passion for the exotic
inspired the artists of the Symbolist movement.
³Delacroix was passionately in love with passion, but coldly determined to express passion as clearly
as possible.´ -Baudelaire
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1798-1863
Delacroix produced this
sumptuous watercolor on a trip to
North America in 1832. He
accompanied his friend th Count
de Mornay on his misssion as
good-will ambassador to the
Sultan of Morocco, Abd-er-
Rahman II. Assigned to the
delegation as dragoman was the
Jewish interpreter Abraham Ben-
Chimol of Tangiers, who
introduced the Frenchmen to his
wife & to his daughter, pictures
here in her bridal attire.
In his ³Journal,´ Delacroix
described in exstensive detail a
Jewish wedding he attended in
Tangiers on Feb. 21, 1832.
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' ±outstanding master of French Romantic
Art.
Created 20yrs.after his trip to the East, the Ú
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Bright, contrasting colours emphasize the sense of anticipation &
tension in both mind & body of the participants.
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Turner
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William Blake
(English)
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William Blake was born at 28 Broad Street, Golden Square, Soho, where his father
had a hosiery business
As an artist Blake admired and studied the works of Raphael, Heemskerk, Dürer,
and Michelangelo, who would become important influences to the fantastic and at
times apocalyptic illustrations he created for his own writings and others.
English artist, mystic and poet wrote
(1789): a poetry collection
written from the child¶s point of view, of innocent wonderment and spontaneity in
natural settings which includes ³Little Boy Lost´, ³Little Boy Found´ and ³The Lamb.
The Songs of Innocence
He hand produced the
using this new method in 1789 (32) with
the help of his wife, having taught her to read and write. The text and illustrations
were printed from copper plates, and the illustrations then finished by hand with
watercolours.
He had early shown an interest in and aptitude for drawing, so, at the age of ten
Blake entered Henry Pars¶ drawing school. Then, at the age of fourteen Blake started
a seven year apprenticeship with engraver James Basire, the official engraver to the
Society of Antiquaries. From his bustling shop on Queen Street, Blake learned all the
tools of the trade that would become his main source of income. He was often sent
out on assignments to create sketches and drawings of statues, paintings, and
monuments including those found in churches like Westminster Abbey. The intense
study of Gothic art and architecture appealed to Blake¶s aesthetic sensibility and
brought out his penchant for the medieval.
My mother bore me in the southern For when our souls have learned the
wild, heat to bear
And I am black, but oh! my soul is The cloud will vanish, we shall hear his
white. voice
White as an angel is the English child, Saying: `Come out from the grove, my
But I am black as if bereaved of light. love and care,
And round my golden tent like lambs
My mother taught me underneath a rejoice!' "
tree,
And, sitting down before the heat of Thus did my mother say, and kissed me;
day, And thus I say to little English boy:
She took me on her lap and kissed me, When I from black and he from white
And pointing to the east began to say: cloud free,
And round the tent of God like lambs we
"Look on the rising sun, -there God joy,
does live
And gives his light, and gives his heat I'll shade him from the heat till he can
away; bear
And flowers and trees and beasts and To lean in joy upon our father's knee;
men receive And then I'll stand and stroke his silver
Comfort in morning, joy in the noonday. hair,
And be like him, and he will then love
And we are put on earth a little space me
That we may learn to bear the beams
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Runge
Philipp Otto Runge.
1777-1810
Declared that true art could be
Understood only through the deepest
mystical experience of religion.
Runge was a religious visionary who
believed in angels.
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In this work:
All plants are descended from Paradise
& are emblematic(symbol/reprensent)
harmonies.
The image of the great lily floating in
the sky is the floral manifestation of
light & the symbol of Divine knowledge
& purity.
The morning star, Î
glows above,
under the arc of the earth; below it, on
the central axis, is the graceful figure of
the goddess herself in the guise of
Aurora. On the ground below, the
supine figure of an infant is an allusion
to the Christ Child, as well as a symbol
of regeneration & redemption & all the
promise of the newborn day.
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has the symmetry &
formality of traditional religious painting & the
mood of supernatural mystery, but the
careful, objective study of color tone- the
actual hues of dawn w/its tincture of rose
turning if radiance- shows Runge¶s concern
for the truth of appearance as the vehicle of
symbolic truth.
Friedrich
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born Sept. 5, 1774, Greifswald, Pomerania ²
died May 7, 1840, Dresden, Saxony.
was a 19th-century German Romantic
landscape painter, generally considered the
most important of the movement .
Friedrich's style most influenced the painting of
Johan Christian Dahl (1788±1857). Among later
generations, Arnold Böcklin (1827±1901) was
³ µThe Artist¶ should paint strongly influenced by his work, and the
not only what he sees
substantial presence of Friedrich's works in
before him, but also what
he sees within him. If, Russian collections influenced many Russian
however, he sees nothing painters, in particular Arkhip Kuindzhi (c. 1842±
w/in him, then he should 1910) and Ivan Shishkin (1832±98). Friedrich's
also refrain from painting spirituality anticipated American painters such
that w/c he sees before as Albert Pinkham Ryder (1847±1917), Ralph
him.´ -Friedrich Blakelock (1847±1919), the painters of the
Hudson River School and the New England
Luminists.
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oil on canvas, approx. 47´ x 70´ (Painting destroyed during World War II)
Like a solemn requiem.
The emblems of death are everytwhere: the desolation of the season,
leaning crosses & tombstones, the black of mourning worn by the grieving
&by the skeletal trees, the destruction wrought by the time on the chapel.
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³The only man that
u ever I knew
Who did not make
me almost spew
s Was Fuseli: he was
both Turk and Jew -
And so, dear
e Christian Friends,
how do you do?´
-William Blake's
l tribute to Fuseli
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Swiss painter
poet
Critic
Teacher
a fervent admirer of Shakespeare, who spent most of his active career in England.
Fuseli has often been regarded as a forerunner of the Romantic art movement and a
precursor of Symbolism and Surrealism. His most famous painting is ï
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(1781), in which an ape-like goblin sits on a young woman, who is sleeping in a
strained posture.
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After his romance with Lavater¶s niece Anna Landolt failed, he left in
1779 for London. It is though that his best-known scene, The
Nightmare, refers to this affair. A young woman is mounted by a
demonic looking incubus; the monster literally is a burden on her
heart. She lies in a sprawl, with her arm hanging down. A horse, the
³night mare´ gazes through the curtains with phosphorescent eyes,
observing or leering. It has remained a puzzle, whose nightmare
Fuseli portrays-it cannot be the woman¶s because she is part of the
scene herself. It has been said, that the picture is an revenge for an
unfulfilled desire, ultimately perhaps a manifestation of a jealous
passion, in which the strange lover of the woman is reduced into a
monster. The work became so popular that Fuseli painted several
other versions on request.
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