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romanticism O

Romanticism (or the Romantic Era or the "'Romantic Period"') was an 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. 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. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education and natural history

Characteristics O

Romanticism is a style that stress imagination, emotions and the freedom to create. It is a movement which rivaled and complemented the style of Neo-classicism. Inspired by the contemporary social changes, philosophies and the great revolutions of time. Romanticism emerged as a reaction to classical restraint, asserting the significance of individual freedom over social conformity, emotion over rationalism, and the exploration of the natural and the fantastic.

 Romanticism scattered across Europe, and a lot of painters adapted the style and became recognized. The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and aweespecially 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.

O The

Raft of the Medusa O

O The

Raft of the Medusa O

The Raft of the Medusa (French: Le Radeau de la Mduse) is an oil painting of 18181819 by the French Romantic painter and lithographer Thodore Gricault (17911824). It is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Mduse, which ran aground off the coast of today's Mauritania on July 5, 1816. At least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation, dehydration, cannibalism and madness. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain perceived to be acting under the authority of the recently restored French monarchy. The Raft of the Medusa contains the gestures and grand scale of traditional history painting; however, it presents ordinary people, rather than heroes, reacting to the unfolding drama. Gericault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilized man into barbarism"

O Liberty Leading the People O

O Liberty Leading the People O Liberty Leading the People (French: La Libert guidant le peuple) is a painting by Eugne Delacroix commemorating the July Revolution of 1830, which toppled Charles X of France. A woman personifying Liberty leads the people forward over the bodies of the fallen, holding the tricolore flag of the French Revolution in one hand and brandishing a bayonetted musket with the other. The painting is perhaps Delacroix's best-known work.

O Liberty Leading the People

Delacroix depicted Liberty, as both an allegorical goddess-figure and a robust woman of the people, an approach that contemporary critics denounced as "ignoble". The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789-94. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the romantic era. The fighters are from a mixture of social classes, ranging from the upper classes represented by the young man in a top hat, to the revolutionary middle class or (bourgeoisie), as exemplified by the boy holding pistols (who may have been the inspiration for the character Gavroche in Victor Hugo's Les Misrables). What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.

O Wanderer above the Sea of Fog O

O Wanderer above the Sea of Fog O

Wanderer above the Sea of Fog (German: Der Wanderer ber dem Nebelmeer; also known as Wanderer Above the Mist) is an oil painting composed in 1818 by the German Romantic artist Caspar David Friedrich. It currently resides in the Kunsthalle Hamburg in Hamburg, Germany. In the foreground, a young man stands upon a rocky precipice, his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a garish landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the west, gently leveling off into lowland plains in the east. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.

O Wanderer above the Sea of Fog O

Wanderer above the Sea of Fog is true to the Romantic style and Friedrich's style in particular,[4] being similar to other works such as Chalk Cliffs on Rgen and The Sea of Ice. Gorra's (2004) analysis was that the message conveyed by the painting is one of Kantian self-reflection, expressed through the wanderer's gazing's into the murkiness of the sea of fog. Dembo (2001) sympathized, asserting that Wanderer presents a metaphor for the unknown future.[5] Gaddis (2004) felt that the impression the wanderer's position atop the precipice and before the twisted outlook leaves "is contradictory, suggesting at once mastery over a landscape and the insignificance of the individual within it."

O The

rd 3

of May O

O The

rd 3

of May O

The Third of May 1808 (also known as El tres de mayo de 1808 en Madrid, or Los fusilamientos de la montaa del Prncipe Po, or Los fusilamientos del tres de mayo) is a painting completed in 1814 by the Spanish painter Francisco Goya. The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".

O THANK YOUO

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