Romantic Art Essay

Romantic Art

In Passionate art, nature—with its unmanageable power, unpredictability, and possibility of cataclysmic extremes—offered an alternative to the ordered associated with Enlightenment thought. The violent and frightening images of nature conjured by Intimate artists remember the eighteenth-century aesthetic with the Sublime. Since articulated by the British statesman Edmund Burkie in a 1757 treatise and echoed by French philosopher Denis Diderot a decade afterwards, " all that stuns the soul, everything that imprints a feeling of terror, brings about the stylish. " In French and British painting of the past due eighteenth and early nineteenth centuries, the recurrence of images of shipwrecks (2003. 42. 56) and other illustrations of man's struggle resistant to the awesome power of nature express this feeling. Scenes of shipwrecks finished in 1819 with Théodore Gericault's specifically original Number of the Medusa (Louvre), depending on a contemporary event. In its horrifying explicitness, psychological intensity, and conspicuous not enough a hero, The Number of the Medusa became an icon in the emerging Passionate style. Likewise, J. Meters. W. Turner's 1812 interpretation of Hannibal and his military services crossing the Alps (Tate Britain, London), in which the standard and his troops are dwarfed by the overwhelming scale from the landscape and engulfed inside the swirling vortex of snow, embodies the Romantic feeling in panorama painting. Gericault also discovered the Loving landscape within a series of landscapes representing diverse times of working day; in Evening: Landscape with an Aqueduct (1989. 183), the dramatic sky, bloody tree, and classical damages evoke a feeling of melancholic reverie.

An additional facet of the Romantic frame of mind toward mother nature emerges inside the landscapes of John Policier, whose fine art expresses his response to his native English language countryside. Pertaining to his significant paintings, Policier executed full-scale sketches, as with a view of Salisbury Cathedral (50. one hundred forty five. 8); this individual wrote which a sketch presents " simply one point out of mind—that which you...