Your Hair Is a Display of Art to the Heavens
Artworks and Artists of Romanticism
Progression of Fine art
1781
The Nightmare
Fuseli's strange and macabre painting depicts a ravished woman, draped across a divan with a small, hairy incubus sitting on top of her, staring out menacingly at the viewer. A mysterious black mare with white eyes and flaring nostrils appears behind her, inbound the scene through lush, scarlet curtains. We seem to be looking at the furnishings and the contents of the woman's dream at the aforementioned time.
Fuseli's ghastly scene was the kickoff of its kind in the midst of The Historic period of Reason, and Fuseli became something of a transitional figure. While Fuseli held many of the same tenets as the Neoclassicists (notice the idealized depiction of the woman), he was intent on exploring the dark recesses of homo psychology when most were concerned with scientific exploration of the objective world. When shown in 1782 at London's Royal Academy exhibition, the painting shocked and frightened visitors. Unlike the paintings the public was used to seeing, Fuseli's subject matter was not drawn from history or the bible, nor did information technology carry whatever moralizing intent. This new discipline affair would have wide-ranging repercussions in the art earth. Even though the woman is bathed in a bright light, Fuseli'southward composition suggests that light is unable to penetrate the darker realms of the homo heed.
The relationship between the mare, the incubus, and the woman remains suggestive and not explicit, heightening the terrifying possibilities. Fuseli's combination of horror, sexuality, and death insured the image'south notoriety as a defining instance of Gothic horror, which inspired such writers equally Mary Shelly and Edgar Allan Poe.
Oil on canvas - Detroit Establish of Art
1794
The Aboriginal of Days from Europe a Prophecy copy B
The Ancient of Days served equally the frontispiece to Blake'southward book, Europe a Prophecy (1794), which contained eighteen engravings. This image depicts Urizen, a mythological figure starting time created by the poet in 1793 to represent the rule of reason and police and influenced by the image of God described in the Book of Proverbs every bit one who "fix a compass upon the face of the world." Depicted equally an quondam human being with flowing white bristles and hair in an illuminated orb, surrounded by a circle of clouds, Urizen crouches, as his left hand extends a gilded compass over the darkness beneath, creating and containing the universe. Blake combines classical anatomy with a bold and energetic limerick to evoke a vision of divine cosmos.
Blake eschewed traditional Christianity and felt instead that imagination was "the torso of God." His highly original and often mysterious poems and images were meant to convey the mystical visions he frequently experienced. Europe a Prophecy reflected his disappointment in the French Revolution that he felt had non resulted in true freedom but in a globe full of suffering as reflected in England and France in the 1790s. Little known during his lifetime, Blake'southward works were rediscovered by the Pre-Raphaelites at the end of the nineteenth century, and as more than artists continued to rediscover him in the 20th century, he has go 1 of the virtually influential of the Romantic artists.
Relief carving with manus coloring - Glasgow Academy Library, Glasgow Scotland
1804
Bonaparte Visits the Plague Stricken in Jaffa
This painting depicts Napoleon I, not however the Emperor, visiting his bilious soldiers in 1799 in Jaffa, Syrian arab republic, at the end of his Egyptian Campaign. His troops had violently sacked the urban center but were subsequently stricken in an outbreak of plague. Gros creates a dramatic tableau of light and shade with Napoleon in the center, every bit if on a phase. He stands in forepart of a Moorish arcade and touches the sores of ane of his soldiers, while his staff officer holds his nose from the stench. In the foreground, ill and dying men, many naked, suffer on the basis in the shadows. A Syrian human being on the left, forth with his retainer who carries a stomach, gives bread to the ill, and ii men behind them acquit a human out on a stretcher.
While Gros' teacher Jaques Louis David as well portrayed Napoleon in all of his mythic glory, Gros, along with some of David's other students, injected a Baroque dynamism into their compositions to create a more dramatic issue than David's Neoclassicism offered. Gros' delineation of suffering and death, combined with heroism and patriotism within an exotic locale became hallmarks of many Romantic paintings.
The use of color and low-cal highlights Napoleon's gesture, meant to convey his noble grapheme in add-on to likening him to Christ, who healed the ill. Napoleon deputed the painting, hoping to silence the rumors that he had ordered l plague victims poisoned. The work was exhibited at the 1804 Salon de Paris, its appearance timed to occur betwixt Napoleon's proclaiming himself as emperor and his coronation.
Oil on canvas - Musée du Louvre, Paris France
1814
The Third of May 1808
This groundbreaking piece of work depicts the public execution of several Spaniards by Napoleonic troops. On the left, lit upwardly against a hill, a human being in a white shirt holds out his artillery as he kneels and faces the firing squad. Several men cluster effectually him with facial expressions and trunk language expressing a tumult of emotion. A number of the dead lie on the ground beside them and, to their right, a group of people, all with their faces in their hands, knowing they will be adjacent. On the right, the firing squad aims their rifles, forming a single faceless mass. A large square lantern stands between the two groups, dividing the scene betwixt shadowy executioners and victims.
The painting draws upon the traditional religious motifs, equally the man in the white shirt resembles a Christ-like effigy, his arms extended in the shape of the cross, and a close-up of his hands reveals a mark in his right palm like the stigmata. Still, the painting is revolutionary in its unheroic treatment, the flatness of its perspective, and its matte near granular pigments. Additionally, its depiction of a contemporary event experienced by ordinary individuals bucked academic norms that favored timeless Neoclassical vignettes. Goya intended to both witness and commemorate Castilian resistance to Napoleon's army during the Peninsular War of 1808-1814, a war marked by extreme brutality. The painting's dark horizon and sky reflect the early morning hours in which the executions took place, but as well convey a feeling of overwhelming darkness.
The art historian Kenneth Clark described it as, "the get-go great motion picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention." Goya's revolutionary painting would be instrumental in the ascent of Realism's frank depictions of everyday life, of Picasso'southward declarations against the horrors of war, and the Surrealists' exploration of dream-like bailiwick matter.
Oil on canvas - Museo del Prado, Madrid Kingdom of spain
1814
La Grande Odalisque
This painting depicts a reclining nude, a member of a harem, holding a feathered fan among sumptuous textiles. Her hair is wrapped in a turban, and a hookah sits at her feet. She turns her caput over her shoulder to peer out at the viewer.
Ingres was one of the best known of the Neoclassical painters, and while he continued to defend the manner, this work reflects a Romantic trend. The epitome recalls Titan's Venus of Urbino (1528) and echoes the pose of Jacque-Louis David's Portrait of Madame Récamier (1809), just a Mannerist influence is likewise apparent in the effigy's anatomical distortions. Her caput is a little too minor, and her arms do non appear to exist the same length. When the work was shown at the 1819 Salon, these distortions prompted critics to claim she had no basic, no structure, and too many vertebrae.
The work is a well-known instance of Orientalism. Past placing a European nude within the context of a Eye-Eastern harem, the field of study could be given an exotic and openly erotic treatment. Subsequent scholars have suggested that because the woman is a concubine in a sultan's harem, the distortions of her figure are symbolic, meant to convey the sultan'due south erotic gaze upon her figure. Every bit a result, the work points the way to Romanticism's emphasis on depicting a subject subjectively rather than objectively or according to an arcadian standard of dazzler. Ingres's use of color and his flattening of the figure would be important examples for 20th-century artists similar Picasso and Matisse, who as well eschewed classical ethics in their representations of individuals.
Oil on canvas - Musée du Louvre, Paris France
c. 1818
Wanderer In a higher place the Sea of Fog
In this painting, an aloof man steps out upon a rocky crag as he surveys the landscape before him, with his back turned toward the viewer. Out of swirling clouds of fog, alpine pinnacles of rocks loom, and a purple peak on the left and a rock formation on the right fill the horizon. Many of Friedrich's landscapes depict a solitary figure in an overwhelming landscape that stands in for a Byronic hero, overlooking and dominating the view.
While Friedrich made plein air sketches in the mountains of Saxony and Bohemia in preparation for this painting, the landscape is substantially an imaginary i, a composite of specific views. The place of the individual in the natural globe was an abiding theme of the Romantic painters. Here, the individual wanderer atop a precipice contemplating the world earlier him seems to suggest mastery over the landscape, but at the same time, the effigy seems modest and insignificant compared the sublime vista of mountains and sky that stretch out before him. Friedrich was a master of presenting the sublimity of nature in its space boundlessness and tempestuousness. Upon contemplation, the world, in its fog, ultimately remains unknowable.
Oil on canvas - Kunsthalle Hamburg, Hamburg German
1818-19
The Raft of the Medusa
Géricault depicts the drastic survivors of a shipwreck later weeks at sea on a wave-tossed raft beneath a stormy sky. At the front of the raft, a black man waves a shirt trying to flag downward a ship barely visible on the horizon, while behind him others struggle forward raising their arms in hope of rescue. In the foreground, a disconsolate older man holds onto the nude corpse of his dead son, the body of a man hangs off the raft trailing in the h2o, and to the far left lies a fractional corpse, severed at the waist.
The scene depicts the survivors of the wreck of the Medusa, a French Royal Navy frigate sent to colonize Senegal in 1816. The transport ran aground on a sandbank and began to sink, only at that place were non plenty lifeboats. Some of the survivors built a makeshift raft to reach the African shore, simply they were speedily lost at sea. Many died, and others resorted to violence and cannibalism. The artist did months of research, interviewing and sketching the survivors, dissecting cadavers in his studio, and recruiting friends to model, including the painter Delacroix.
Géricault's utilize of calorie-free and shadow equally well every bit organizing the scene forth ii diagonals creates a dramatic and intense vision. Get-go with the bodies in the lower left, the viewer follows the eyes and gestures of the raft's inhabitants to a human, borne on the shoulders of his companions, waving a textile - a sign of promise. From the shadows beneath the sail, one follows another diagonal to the bottom right to see a corpse, partially shrouded, slipping off the raft into the sea. This organization, coupled with the majestic and stormy heaven speaks to the Romantic tastes for the terrible and the sublime.
Intended as a profound critique of a social and political organisation by depicting the tragic consequences and suffering of the marginal members of society, the painting is a pioneering example of protest art. The famous 19th-century art critic Jules Michelet (who coined the term The Renaissance) ascribed a broader view of Géricault's subject, suggesting that "our whole social club is aboard the raft of the Medusa."
Oil on canvas - Musée du Louvre, Paris France
1821
The Hay Wain
This rural mural depicts a hay wain, a kind of cart, drawn by iii horses crossing a river. On the left banking concern, a cottage, known as Willy Lott'south Cottage for the tenant farmer who lived there, stands behind Flatford Manufactory, which was endemic by Constable'south father. Constable knew this area of the Suffolk countryside well and said, "I should paint my own places best, painting is but another word for feeling." He made countless en plein air sketches in which he engaged in about scientific observations of the weather and the furnishings of light.
In Constable'south landscape, man does not stand back and detect nature only is instead intimately a part of nature, just as the copse and birds are. The figuring driving the cart is not out of scale with his environment. Lawman depicted the oneness with nature that then many of the Romantic poets alleged.
Lawman found petty acclaim in his abode country of England considering of his refusal to follow a traditional bookish path and his insistence on pursuing the lowliest of genres: landscape painting. The French Romantics, however, took him up enthusiastically after seeing this work in the 1824 Paris Salon. His ability to capture the way fleeting atmosphere determines how nosotros run across the landscape inspired such artists as Eugène Delacroix. While The Hay Wain may not have been well-received by his countrymen at the fourth dimension, in 2005 it was the voted 2nd virtually pop painting in England.
Oil on canvass - The National Gallery, London
1830
Liberty Leading the People (July 28, 1830)
This famous and influential painting depicts the Paris insurgence in July 1830. Delacroix, though, does not present an actual event but an apologue of revolution. A blank-chested adult female, representing the idea of Liberty, wears a Phryggian cap, carries a bayonet in one paw and raises the tricolor flag in the other, encouraging the rebellious crowd forward on their path to victory. While her figure and the dress draped over her body evokes the Greek classical ideal, Delacroix includes her underarm pilus, suggesting a real person and not just an ideal.
Other contemporary details and political symbols can exist found in the portrayal of various classes of Parisian society. A male child, wearing a beret worn by students carries a cartridge pouch on his shoulder and his cavalry pistols, a factory worker brandishes a saber and wears sailor trousers with an apron, and a man wearing the waistcoat and top lid of fashionable urban society is perhaps a self-portrait of Delacroix. The wounded man who kneels at Freedom'south feet and looks up at Liberty is a Parisian temporary worker. Each item in the epitome carries political significance, every bit the beret with a white royalist and a red ribbon denotes the liberal faction, and a Cholet handkerchief, a symbol of a Royalist leader, is used to spike a pistol to a man'south abdomen. The right background is relatively empty, and though the towers of Notre Dame identify the scene in Paris, parts of the urbanscape are purely imagined.
Delacroix said of the work, "I take undertaken a modern subject area, a battlement, and although I may non have fought for my state, at to the lowest degree I shall accept painted for her." He had witnessed the issue, describing, "Three days amid gunfire and bullets, every bit there was fighting all around. A simple stroller like myself ran the same risk of stopping a bullet as the impromptu heroes who advanced on the enemy with pieces of fe stock-still to broom handles." Delacroix used the dynamic pyramidal arrangement, chiaroscuro, and color to create a scene of clamorous drama that highlights heroism, decease, and suffering, quintessential themes of the Romantic movement. Delacroix's bohemianism, his personal vision, and his refusal of academic norms, hallmarks of the Romantic attitude, made him a model for many mod artists.
Oil on canvas - Musée du Louvre, Paris France
1836
The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm
The American Thomas Cole depicts a view of the winding Connecticut River from Mount Holyoke in Massachusetts. A heavily wooded promontory overlooks a apartment plain marked past cultivated fields where the wide river meandered over a long menstruation of time and formed an oxbow, or bend, in its flow, and hills rise in the background. The diagonal created by the promontory divides the scene into ii triangles, juxtaposing the stormy and greenish wilderness on the left with the sunlit and cultivated plains on the right. In the lower correct, a single man figure, the artist himself, is depicted at work. Cole thus presents the creative person in harmony with nature.
Thomas Cole was among the well-nigh of import and influential of the Hudson Valley School painters. While traveling in Europe from 1829-1832, the creative person traced this view from Basil Hall's 40 Etchings Made with the Camera Lucida in North America in 1827 and 1828. Wanting to counter Hall'due south criticism of Americans as indifferent to their native landscape, Cole wanted to describe the uniqueness of the American landscape as "a union of the picturesque, the sublime, and the magnificent." This Romantic concept found its style into future depictions of the American landscape past the likes of other painters and photographers, including Ansel Adams.
Oil on sail - The Metropolitan Museum of Art, New York New York
1840
The Slave Send
This painting depicts a seascape, the ocean a swirl of cluttered waves beneath a stormy sky that is lit up with scarlet and yellowish as if on fire. On the horizon, a ship with its sails unfurled appears to be headed directly into rough dark waters. Shackled human forms, some partially glimpsed, are scattered in the foreground like droppings, as sharks and other fish circle and close in upon the flailing swimmers.
Turner painted this image later on reading Thomas Clarkson's The History and Abolition of the Slave Trade (1808) that recounted how the captain of the slave ship Zong ordered 133 slaves thrown overboard and then that he could collect the insurance payments on his human cargo. An ardent abolitionist, Turner hoped that the work would inspire Prince Albert to do more to gainsay slavery around the earth.
Turner captured the philosopher Edmond Burke's concept of the "sublime," the feeling 1 senses in the presence of nature's overwhelming grandeur and power. In this image, the man figures, and even the ship on the horizon, are minuscule, and the accent on the water and the sky conveys a sense of humanity overwhelmed. The blood blood-red colour of the heaven and the black caps of the waves convey the emotional intensity of the natural world, and the vertical ray of lite from the sun that divides the ocean in half seems almost an apocalyptic vision, the presence of a divine witness. Turner's quick brush strokes create a sense of frenzy and anarchy, overpowering the barely visible struggling human forms. His work influenced Romanticism'southward depiction of nature as a dramatic and tumultuous struggle.
Oil on canvas - Museum of Fine Arts, Boston Massachusetts
Similar Fine art
Content compiled and written by Rebecca Seiferle
Edited and revised, with Summary and Accomplishments added by Valerie Hellstein
"Romanticism Movement Overview and Analysis". [Net]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Summary and Accomplishments added past Valerie Hellstein
Available from:
First published on 25 Sep 2017. Updated and modified regularly
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Source: https://www.theartstory.org/movement/romanticism/artworks/
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