Loading presentation...

Present Remotely

Send the link below via email or IM

Copy

Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.

DeleteCancel

Make your likes visible on Facebook?

Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.

No, thanks

Romanticism

No description
by

Brooke Tedder

on 23 March 2011

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Romanticism

Romanticism The Hay-Wain By: John Constable An art movement and style that flourished in the early nineteenth century. It emphasized the emotions painted in a bold, dramatic manner. Romantic artists rejected the cool reasoning of classicism — the established art of the times — to paint pictures of nature in its untamed state, or other exotic settings filled with dramatic action, often with an emphasis on the past. Classicism was nostalgic too, but Romantics were more emotional, usually melancholic, even melodramatically tragic date: 1821
media: oil on canvas
size: 130cm. by 185cm.
location: national gallery
in London Popular Artist -Thomas Cole
-Asher B. Durand
-Thomas Moran
-Albert Beirstadt Picnic in the Country By: Asher B. Durand Date: 1863
Media: oil on canvas
Size: 71.12cm. by 106.68cm. Media during this time was mostly oil on canvas. the time period that
this was in was the
late 1700s through
the mid 1900s. Thomas Cole He was born in Bolton, Lancashire, England in 1801. In 1818 his family emigrated to the United States, settling in Steubenville, Ohio, where Cole learned the rudiments of his profession from a wandering portrait painter named Stein. However, he had little success painting portraits, and his interest shifted to landscape. Moving to Pittsburgh in 1823 and then to Philadelphia in 1824, where he drew from casts at the Pennsylvania Academy of the Fine Arts, he rejoined his parents and sister in New York City early in 1825. Asher Durand

Durand was born in and eventually died in Maplewood, New Jersey (then called Jefferson Village), the eighth of eleven children; his father was a watchmaker and a silversmith. He lived in what is now known as the Durand-Hedden House and Garden, which is now designated as a historic landmark.Durand was apprenticed to an engraver from 1812 to 1817, later entering into a partnership the owner of the firm, who asked him to run the firm's New York branch. He engraved Declaration of Independence for John Trumbull in 1823, which established Durand's reputation as one of the country's finest engravers. Durand helped organize the New York Drawing Association in 1825, which would become the National Academy of Design; he would serve the organization as president from 1845 to 1861. By: Albert Bierstadt Among the Sierraa Nevada in Canada Date: 1868
Media: Oil on canvas
Size: 72in. by 120in.
Location: Smithsonian Art Mueseun A Study at Millbank Moonlight By: Joseph Mallord William Turner Thomas Moran began his artistic career as a teenage apprentice to the Philadelphia wood-engraving firm Scattergood & Telfer. After two years of training, he produced illustrations and works in watercolour and began developing lithographs of landscapes around the Great Lakes in the 1860s. Moran was introduced to the work of J. M. W. Turner while studying in England in 1862, and acknowledged Turner's influence on his use of color and choice of landscapes. During the 1870s and 1880s Moran's designs for wood-engraved illustrations appeared in major magazines and gift oriented publications.Moran was married to Scottish born Mary Nimmo Moran (1842–1899), an etcher and landscape painter. The couple had two daughters and a son. His brothers Edward (1829–1901), John (1831–1902) and Peter (1841–1914), as well as his nephew Jean Leon Gerome Ferris (1863–1930) were also active as artists. He died in Santa Barbara, California on August 26, 1926. Thomas Moran Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He early developed a taste for art and made clever crayon sketches in his youth. In 1851, he began to paint in oils.[2] He studied painting with the members of the Düsseldorf School in Düsseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Map of Bierstadt's journey in 1859 and 1863.Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject[3] and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed was the way things should be: water is ultramarine, vegetation is lush and green, etc. Nonetheless, in 1860 he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany;[4] and his paintings remain popular. He was a prolific artist, having completed over 500 [5] (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices.In 1882 his studio at Irvington, New York, was destroyed by fire, with many of his pictures.[2] Albert Bierstadt Date: 1779
Media: oil on canvas
Size: 18in. by 14in.
Location: Tate Museum 'Come forth into the light of things, let nature be your teacher.' ~ William Wordsworth One of the things I find very interesting about artistic movements, like Romanticism, is the fact that they influence all of the arts -- painting and sculpture, music, and literature. National Romanticism By: Albert Edelfelt By: George Stubbs A Gray Stallion in a Landscape Date: 1765
Size: 24in by 27 in
Media: oil on canvas
Location: Private George Stubbs John and Sophia Musters Our Riding at Colwick Hall
1777 Mare and Foals in a River Landscape
1763 Whistlejacket
1762 Lion Dervouring a Horse
1763 The Millbanke and Millbourne Families
1769 William Anderson with two Saddled Horses
1793
Temeraire
1838 William Turner The Grand Canal, Venice
1835 Norham Castle, Sunrise
c. 1835-40 Moonlight
c. 1840 The Romantic era was a period of great change and emancipation. While the Classical era had strict laws of balance and restraint, the Romantic era moved away from that by allowing artistic freedom, experimentation, and creativity. The music of this time period was very expressive, and melody became the dominant feature. Composers even used this expressive means to display nationalism . This became a driving force in the late Romantic period, as composers used elements of folk music to express their cultural identity.
As in any time of change, new musical techniques came about to fit in with the current trends. Composers began to experiment with length of compositions, new harmonies, and tonal relationships. Additionally, there was the increased use of dissonance and extended use of chromaticism . Another important feature of Romantic music was the use of color. While new instruments were constantly being added to the orchestra, composers also tried to get new or different sounds out of the instruments already in use.

One of the new forms was the symphonic poem , which was an orchestral work that portrayed a story or had some kind of literary or artistic background to it. Another was the art song , which was a vocal musical work with tremendous emphasis placed on the text or the symbolical meanings of words within the text. Likewise, opera became increasingly popular, as it continued to musically tell a story and to express the issues of the day. Some of the themes that composers wrote about were the escape from political oppression, the fates of national or religious groups, and the events which were taking place in far off settings or exotic climates. This allowed an element of fantasy to be used by composers.

During the Romantic period, the virtuoso began to be focused. Exceptionally gifted performers - pianists, violinists, and singers -- became enormously popular. Liszt, the great Hungarian pianist/composer, reportedly played with such passion and intensity that women in the audience would faint. Most composers were also virtuoso performers; it was inevitable that the music they wrote would be extremely challenging to play.

William Turner (12 November 1789 – 7 August 1862) was an English painter who specialised in watercolour landscapes. He was a contemporary of the more famous artist J. M. W. Turner and his style was not dissimilar. He is often known as William Turner of Oxford or just Turner of Oxford to distinguish him from his better known namesake. Many of Turner's paintings depicted the countryside around Oxford. One of his best known pictures is a view of the city of Oxford from Hinksey Hill.
In 1895 the Ashmolean Museum in Oxford held a retrospective exhibition of his work. Some of his paintings are still on permanent display at the museum. In 1984 the Oxfordshire County Council presented his work in an exhibition at the Oxfordshire County Museum in Woodstock. His paintings are also held in national and international collections, for example at the Tate Gallery (London, UK), the Metropolitan Museum of Art (New York City, U.S.) and the Dunedin Public Art Gallery (New Zealand). Musicians
in the
Romantic
Era Ludwig van Beethoven
Ferdinando Carulli
Anton Reicha
Bernhard Henrik Crusell
Johann Nepomuk Hummel
Fernando Sor
Carl Maria von Weber
Giacomo Meyerbeer
Gioachino Rossin
Franz Schubert Symbolism and Myth
Symbolism and myth were given great prominence in the Romantic conception of art. In the Romantic view, symbols were the human aesthetic correlatives of nature's emblematic language. They were valued too because they could simultaneously suggest many things, and were thus thought superior to the one-to-one communications of allegory. Partly, it may have been the desire to express the "inexpressible"--the infinite--through the available resources of language that led to symbol at one level and myth (as symbolic narrative) at another. Romanticism has very little to do with things popularly thought of as "romantic," although love may occasionally be the subject of Romantic art. Rather, it is an international artistic and philosophical movement that redefined the fundamental ways in which people in Western cultures thought about themselves and about their world. Romanticism (or the Romantic Era) was a complex artistic, literary and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and natural history.[5]

The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made of spontaneity a desirable character (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.

Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.

The modern sense of a romantic character may be expressed in Byronic ideals of a gifted, perhaps misunderstood loner, creatively following the dictates of his inspiration rather than the mores of contemporary society.

Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[6] 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 freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.
Favorite Quotes “Never shall I forget the days I spent with you. Continue to be my friend, as you will always find me yours.”
Ludwig van Beethoven
“Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts God has given us, and never stop learning”
Ludwig van Beethoven quote
“I despise a world which does not feel that music is a higher revelation than all wisdom and philosophy”
Ludwig van Beethoven quotes

“No friend have I. I must live by myself alone; but I know well that God is nearer to me than others in my art, so I will walk fearlessly with Him.”
MozartMoon Ludwig van Beethoven quote
"Nature" meant many things to the Romantics. As suggested above, it was often presented as itself a work of art, constructed by a divine imagination, in emblematic language. For example, throughout "Song of Myself," Whitman makes a practice of presenting commonplace items in nature--"ants," "heap'd stones," and "poke-weed"--as containing divine elements, and he refers to the "grass" as a natural "hieroglyphic," "the handkerchief of the Lord." While particular perspectives with regard to nature varied considerably--nature as a healing power, nature as a source of subject and image, nature as a refuge from the artificial constructs of civilization, including artificial language--the prevailing views accorded nature the status of an organically unified whole. It was viewed as "organic," rather than, as in the scientific or rationalist view, as a system of "mechanical" laws, for Romanticism displaced the rationalist view of the universe as a machine (e.g., the deistic image of a clock) with the analogue of an "organic" image, a living tree or mankind itself. At the same time, Romantics gave greater attention both to describing natural phenomena accurately and to capturing "sensuous nuance"--and this is as true of Romantic landscape painting as of Romantic nature poetry. Accuracy of observation, however, was not sought for its own sake. Romantic nature poetry is essentially a poetry of meditation. Nature Finally, it should be noted that the revolutionary energy underlying the Romantic Movement affected not just literature, but all of the arts--from music (consider the rise of Romantic opera) to painting, from sculpture to architecture. Its reach was also geographically significant, spreading as it did eastward to Russia, and westward to America. For example, in America, the great landscape painters, particularly those of the "Hudson River School," and the Utopian social colonies that thrived in the 19th century, are manifestations of the Romantic spirit on this side of the Atlantic. The Civil war also started in the Romantic era.
This war started in 1861-1865! The Romantics, Timeline BBC
This timeline of publishing dates from the Romantic period highlights some key writing that formed the basis for much of the artistic and political thought of the day. It also gives background to some of the most influencial poems created by the Engl...
1757 - 1827

William Blake, Poet and Painter
William Blake was a British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books. Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th- century. Misunderstanding shadow...
1770 - 1850

William Wordsworth, Poet
William Wordsworth, British poet, credited with ushering in the English Romantic Movement with the publication of Lyrical Ballads(1798) in collaboration with Samuel Taylor Coleridge. In 1795 he met Coleridge. Wordsworth's financial situation becam...
1772 - 1834

Samuel Taylor Coleridge, Poet
Samuel Taylor Coleridge, English lyrical poet, critic, and philosopher, whose Lyrical Ballads,(1798) written with William Wordsworth, started the English Romantic movement. Coleridge's collection Poems On Various Subjects was published in 1796, a...
1776 - 1822

E. T. A. Hoffmann, Composer & Writer
Ernst Theodor Wilhelm Hoffmann, better known by his pen name E. T. A. Hoffmann, was a Romantic author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. Hoffmann's stories were tremendously influential in the 19th ce...
1788 - 1824
Lord Byron, Poet
George Gordon Noel Byron, 6th Baron Byron, was among the most famous of the English 'Romantic' poets; his contemporaries included Percy Shelley and John Keats. He was also a satirist whose poetry and personality captured the imagination of Europe....
1792 - 1827

Percy Bysshe Shelley
Percy Bysshe Shelley, English Romantic poet who rebelled against English politics and conservative values. Shelley drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the e...
1795 - 1821

John Keats, Poet
John Keats lived only twenty-five years and four months (1795-1821), yet his poetic achievement is extraordinary. His writing career lasted a little more than five years (1814-1820), and three of his great odes--"Ode to a Nightingale," "Ode on a Grec...
1797 - 1851

Mary Shelley, Writer of Frankenstein
Mary Wollstonecraft Shelley, English Romantic novelist, biographer and editor, best known as the writer of Frankenstein, or, The Modern Prometheus (1818). Shelley was 21 when the book was published; she started to write it when she was 18. The story...
1809 - 1892

Alfred Tennyson, Poet
Alfred Tennyson, English poet often regarded as the chief representative of the Victorian age in poetry. Tennyson succeeded Wordsworth as Poet Laureate in 1850. Alfred, Lord Tennyson was born on August 5, 1809 in Somersby, Lincolnshire. His father... ROMANTICISM

As an intellectual and aesthetic phenomenon, Romanticism dominated cultural thought from the last decade of the 18th century well into the first decades of the 20th century. From its earliest manifestations in Germany with the "Sturm und Drang" Movement of the 1770's to its vibrant first flowering in England in the 1790's to its importation to American soil from the 1820's onward, Romanticism has exerted a powerful hold on Western thought and culture. The Age of Enlightenment, as the 18th century was named for its emphasis on reason and its optimistic faith in a perfectible material and spiritual universe, immolated itself in the flames of the revolutions which closed that century. And as Europe and America arose, phoenix-like from the ashes, a bold new vision had taken hold. The birth of Romanticism is, as historian Paul Johnson has written, also the birth of the modern.
Romanticism, more than anything else, is the cult of the individual--the cultural and psychological nativity of the I--the Self--the inner spark of divinity that links one human being to another and all human beings to the Larger Truth. In poetry, visual art, and music, artists became increasingly preoccupied with articulating the personal experience that becomes, in turn, a representative one. The Poet--the artist in all his various incarnations--takes on quasi-religious status not only as prophet and moral leader, but also as a divinely inspired vehicle through which Nature and the common man find their voices.
Concern for the common man, for the Romantics, evolved not only from the democratic ideologies of the Age of Revolution, but also from a renewed interest in folk culture. While the search to preserve the stories, songs, legends, and verse was born, in part, from a nationalistic impulse, the Folk Movement conversely became the conduit for an international language of human commonality, at whose center stood the images of home and the heart.
In aesthetic terms this individuality translated into the revolution of feeling against form--the rejection of classical equipoise in favor of Romantic asymmetry. Romantic poets, painters, and musicians ceased struggling to make the expression fit conventional forms and boldly carved out new forms to encase their expression and thought. Ever-striving, ever in flux, the Romantic Soul required an equally dynamic new language to make itself understood.
Embracing the unknown and unafraid of the contraries of human existence, the Romantics overthrew the philosophical, artistic--even geographical--limitations of the Enlightenment. The quintessential Romantic figure was the Wanderer, literally and figuratively journeying in search of new lands, new places in the imagination, and new vistas for the soul. Exotic lands, the amorphous world of dreams, the dark terrors of the psyche as well as the dizzying heights of creativity and the dazzling beauties of Nature--these were all waystations along the Romantic quester's route.
For the Romantic, Nature was, indeed, a constant companion and teacher--both benign and tyrannical. She became the stage on which the human drama was played, the context in which man came to understand his place in the universe, the transforming agent which harmonized the individual soul with what the Transcendentalists would call the Over-Soul. Throughout all of Romantic literature, music, and art, Nature is a dynamic presence, a character who speaks in a language of symbols at once mysterious and anthropomorphic. who engages man in a dialogue with the life-force, itself. T H E E N D
Full transcript