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Defining Romanticism or its characteristics in art
American Romanticism Puritain
American Romanticism Puritain
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She stands out even from across the room. Her elegant curves are accentuated by the bright lights shining down from above and any viewer soon finds his eyes wandering up and down her clouded form. This beautiful "she" is the glowing form of Mount Mansfield, almost indistinguishable from the atmospheric haze that carefully blends the background of the painting in a stunning fusion of aerial elements. However, a stunning visual experience isn't all this painting has to offer. The Hudson River School artist, Sanford Robinson Gifford, also backs up the visual effect by evoking strong emotions (Gifford, Sanford Robinson).
The epic landscape of Mount Mansfield embodies the American Romanticism movement of the Hudson Rivers School in 1859 (Gifford,
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Sanford R). This thirty by sixty inch canvas features a sweeping scene marked by rocky peaks that quickly give way to deep sloping valleys bathed in sunlight (Gifford, Sanford Robinson). Far below, shrouded in sunlight, a river ventures its way through the untapped wilderness. Atop all this natural beauty stands a figure, his feet planted firmly. This figure's gaze is cast out over a glowing horizon as his day's journey has come to an end with this final view of the untamed land. He leans against his rifle relaxed yet ready, it is easy to see both his anticipation for the future and appreciation for the beauty he now experiences. Anticipation and appreciation for nature were highly valued by American Romanticists of the Hudson River School (Gifford, Sanford R). The man who gazes out over the valley is not alone on this peak and beside him stands fidelity in the form of a Jack Russell terrier. Three other men, spread throughout the painting, made this journey as well. The first is finishing his own ascent and can be seen just now coming up over the edge. The other two sit within the shadow of a boulder preparing a fire for the night to come. Each of these figures contributes to the sense of camaraderie and universal community present amidst the isolation of the mountain top. This community amidst the wilderness was a tenant of American Romanticism and gives the painting a narrative and life (Gifford, Sanford R). Even before digging deeper into the meaning of the painting or assessing the emotional impact it has on the viewer, it is still a visually stunning piece. The subtle contrast of dark and light created by the setting sun forces the eye to continually shift and makes the painting ascetically intriguing. The use of an earthy color palette weights the painting evenly and reveals the artist's skill in working with lighting. With this skill he does not need to rely upon the crutch of an out of place color in order to highlight his point. Finally, the surreal landscape is painted with enough ambiguity that it captures the viewer's imagination and keeps them questioning what lies beneath the setting sun. Not only is Mount Mansfield a visually effective painting, it is also an emotionally charged one that clearly gives it the visceral feel of a romanticist's painting.
Romanticism can be described as the overwhelming flood of powerful emotions recollected in tranquility. This painting evokes feelings of accomplishment, individualism, loyalty, and an awe for nature. All of these feelings were clearly felt by Sanford Robinson Gifford while he created this piece. The feeling of accomplishment comes from the man who now turns back to look over the vast mountain range that he has now summated. He shares this pride with both his peers and his loyal companion. A strong sense of individualism is also portrayed by the group's remote location and independence from society as represented by the kindling of their own fire. This is a difficult task which requires mastery of the elements and represents power in the hands of those who wield it. Finally, the awe for nature comes in with the man's obvious respect for what lies in front of him (Gifford, Sanford R). He stands, head tilted back, tracking the progress of the sun as it approaches the blanket of hills where the land and sky blur together. One cannot help but share in this wonder for the beauty of the …show more content…
scene. One definite downside that the viewing of this painting is the overly ornate gold frame that blocks it in.
First and foremost, it is a bulky fixture that takes up quiet a deal of room so it leaves the space around the painting feeling crowded. The frame also extends forward several inches outward leaving the viewer feelings slightly more removed from the painting than if a subtler frame had been used. The busy texturing and large flowers at the corners of the frame attract the eye which is not what you want from a border. The frame should neither repel not attract the eye but fold seamlessly into the piece itself allowing the art to be its own experience. Another problem with the frame is that romanticism is all about independence, appreciation for nature, and a removal from societal normality (Versluis). This frame is obviously extremely expensive, relies on overused themes, and is too densely decorated which seems to embody everything that the painting is designed to help the viewer to see through. Despite the disruption that this frame is, the piece is still able to project a powerful experience which goes to show just how charged this painting
is. This artwork is a finely detailed piece which pulls in many elements in a stunning representation of American Romanticism. Sanford Gifford's experience with the Hudson River School is clearly visible in his careful creation of the piece. Each part of it has a role to play and whether it is the emotions it evokes, the physical beauty it depicts or the thoughts it provokes each works in harmony with the others. All in all, a masterpiece.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
The Appalachian Mountains in the nineteenth century landscapes are often depicted in a grand, glorious, and often spiritually uplifting form. The Hudson River School artists painting in the romantic style engages viewers to tell a story through naturally occurring images as well as interior knowledge of the times at hand.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
To inspire the visualization of the idyllic Florida’s fields, this canvas is sized to produce that impression of your presence in the coast. With a sense of solitude that is accompany by the magic of the discovery of a beautiful romantic peace, this canvas transmits you the desire to be there. The scene makes you feel that you have found that special site where you want to be for the rest of your life in concordance with nature. It is easy to spot in this paint how diverse and unreceptive subtropical locality in early Florida define the subjective state of being. In this art he totally complies with one of the most delightful characterizations of Romanticism, he puts together the heart and the mind to idealize the authenticity of the wilderness in the scene according to what the artist considered relevant to present.
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
Eric Fishl’s Scarsdale is a painting that is done on three canvases. When placed together, they appear to make one whole picture. The focal point of the painting is the woman, dressed in a white gown and veil. It appears that she is wearing a wedding dress, since the dress is white and includes a veil. To the left is a cat and to the right is a dog. The woman represents the focal point, not only because she is the largest figure in the painting, but also because everything else is slightly in darkness. Fischl’s cat and dog can only be made out if one looks at the painting carefully. Fischl also paints the woman so that she almost appears to be floating in air. One can see that she is sitting on a chair, but the dog is directly under her, and he does not really use perspective to make it clear that the woman is not floating in midair.
Ross B. Young’s painting “Contemplation is a detailed painting portraying a lone hunter and his trusted companion gazing off into the distance of a natural, beautiful, body of water inhabited by an abundance of wildlife. The painting comes to life with interpretations of reflection and deep thought, power, as well as a strong sense of passion emanating from the hunter himself.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
In the first stanza, the poet seems to be offering a conventional romanticized view of Nature:
What I see in this piece is peacefulness. Stokes of the paintbrush are perfect to make it look whole. With the sun shinning down making the colors pop out even more. The olive trees glowing in the suns light with the mountains behind it. It is a piece I could look at for a long time with out getting bored. The colors of the piece just make it look so complete. With the lines of the