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Romantic period influence
Essay on romantic movement
Influence of romanticism
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During the Romantic Movement of the 1800’s in Europe, many notable artisans of both visual and auditory disciplines imbued emotion, mastery, and, in many cases, themselves in their work. Joseph Mallord William Turner, or more commonly known as J. M. W. Turner, is a perfect catalyst for comprehending the movement and it’s core values of putting emotion over objectivity to speak to the soul of the viewer rather than simply their eyes. His style of painting consists of portraying landscapes and adding color or elements to further build upon the feeling of the area, with one of his most ambitious works being the Fifth Plague of Egypt, which was regarded as nothing short of a flawless masterpiece by onlookers and critics alike. The work in question, …show more content…
Pantheism, in layman’s terms, is the idea of God being in all, especially nature that was the focus of a lot of praise during this time. By representing one of the scariest images of history, God’s wrath, the painting incites fear in viewers when they first marveled at it, and brought back the sense of religious pride that was largely absent in the Industrial Revolution. Just like the Egyptians, the people in higher social classes were essentially enslaving the working class through poor wages and degrading work, which makes the work a precaution to not allow history to repeat itself and open the gates for pure and utter chaos. Seeing as his work clearly shows nature completely wiping out modernization, it calls for people to stop the rapid expansion of Industrialization to conserve the God-given Earth all of humankind has, is, and will inhabit. All of this when pieced together, makes The Fifth Plague of Egypt a socialist message that screams in great volume that the only path to salvation for the damned Europeans is to push for equality of all with great zeal, and protect Mother Nature from the grips of greed and sin, making Turner a talented artisan and an equally talented intellectual, capable of combining new progression and old ideology to create this
The Eleventh Plague is one of those books you MUST finish in 4 days or less because the story sticks like glue to your mind and you won’t stop theory-crafting until you give in and read it to the end these are reasons why. Eleventh Plague has a well-written plot which is essential to any story and it is back up by the fascinating character development and detailed writing. Eleventh Plague has a great plot. At the start, it shows Stephen and his Father trekking along an abandoned road when suddenly, they spot a Canadian military airplane. It then leads on to show the two of them living in the plane for a few days until a group of slavers also find this plane. Stephens father has a fight with the slavers
Plagues and Peoples written by William H. McNeill follows the patterns of epidemics and endemics within human history. It is within this history that McNeill finds parallels between diseases and humans in the forms of microparasitism and macroparasitism. Merely from the title, McNeill gives equal importance to viruses and humankind. In several instances, humans behave the same way viruses, bacteria, and parasites do in order to survive and to compete. Surprisingly enough, McNeill’s overarching theme can be summarized using his last sentence, asserting that “Infectious disease which antedated the emergence of humankind will last as long as humanity itself, and will surely remain, as it has been hitherto, one of the fundamental parameters and
According to Boccaccio’s account, civil order broke down during the plague as panic swept Florence. People were terrified by the inexplicable disease and the resulting massive death toll. In this state of distress, Boccaccio notes, “that the laws, human and divine, were not regarded” (Boccaccio 168). It became a mindset of every man for himself, or as Boccaccio states, “every one did just as he pleased” (Boccaccio 168). As people abandoned the laws, and officers—either sick or dead—could no longer enforce them, civil order in Florence turned to chaos.
William H. McNeill makes a monumental contribution to the knowledge of humanity in his book Plagues and Peoples. He looks at the history of the world from an ecological point of view. From this viewpoint the history of human civilization is greatly impacted by changing patterns of epidemic infection. Plagues and Peoples suggests that "the time scale of world history...should [be] viewed [through] the "domestication" of epidemic disease that occurred between 1300 and 1700" (page 232). "Domestication" is perceived "as a fundamental breakthrough, directly resulting from the two great transportation revolutions of that age - one by land, initiated by the Mongols, and one by sea, initiated by Europeans" (page 232). This book illustrates how man's environment and its resident diseases have controlled human migration, as well as societal successes and failures. McNeill discusses the political, demographical, and psychological effects of disease on the human race. He informs his audience that epidemics are still a viable threat to society, and warns of potential future consequences.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
The men of the Brotherhood sent approachable religious and textual messages by painting subjects, nature, and colors with painstaking attention to detail, focusing on truthfulness above all. The artists and non-artists alike brought together their mutual distaste for the rules of the British Royal Academy, and combined forces to push art into an era that reflected the progress of science and the inherent beauty of nature. Still, they did not accomplish this all on their own. Social restrictions, unyielding morality, and social conventions that prevailed in Victorian society had long begun to erode with new scientific discoveries and developments during the late 1900s. Dark, 17th century Dutch-influenced moral themes, and gloomy colors had already begun to lighten up. The men in this group were simply able to harness these revolutionary details together and brought them to public attention, reflecting fluid movements under brittle surface of Victorian society. Early Christian works, Germanic and gothic works, and “pure” early Italian art (pre-Raphae...
The Plague (French, La Peste) is a novel written by Albert Camus that is about an epidemic of bubonic plague. The Plague is set in a small Mediterranean town in North Africa called Oran. Dr. Bernard Rieux, one of the main characters, describes it as an ugly town. Oran’s inhabitants are boring people who appear to live, for the most part, habitual lives. The main focus of the town is money. “…everyone is bored, and devotes himself to cultivating habits. Our citizens work hard, but solely with the object of getting rich. Their chief interest is in commerce, and their chief aim in life is, as they call it, 'doing business’” (Camus 4). The citizens’ unawareness of life’s riches and pleasures show their susceptibility to the oncoming plague. They don’t bother themselves with matters not involving money. It is very easy for the reader to realize that they are too naive to combat the forthcoming calamity. The theme of not knowing life is more than work and habits will narrow the people’s chances of survival. Rieux explains that the town had a view of death as something that happens every day. He then explains that the town really doesn’t face towards the Mediterranean Sea. Actually it is almost impossible to see the sea from town. Oran is a town which seems to turn its back on life and freedom. The Plague was first published in 1948 in France. “Early readers were quick to note that it was in part an allegory of the German occupation of France from 1940 to 1944, which cut France off from the outside world; just as in the novel the town of Oran must close its gates to isolate the plague” (“The Plague” 202). When the plague first arrives, the residents are slow to realize the extreme danger they are in. Once they finally become aware of it...
How to Survive a Plague (2012) is a documentary about the story of two coalitions, ACT-UP and TAG (Treatment Action Group). Both groups dedicate their time and energy to stop AIDS from being the deadly disease that it has been for years and is only getting worse. Those affected by the disease were primarily of the LGBT community. Those with AIDS struggled to see progress with research for a cure because of those who held leadership roles had in certain religious views along with a lack of political interest. As millions of individuals were dying from this abhorrent disease, the two coalitions continued to protest and advocate for change. Through their actions, an effective treatment was found for AIDS. Their actions even led to the LGBT community
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The Art Nouveau movement stands as a marked shift in artistic production and artist liberties as it existed between two worlds: it was simultaneously fantastical and irrevocably real. It offered a return to the natural with characteristics like meandering curvilinear shapes and bold colorings. There is no artist within the Art Nouveau movement that was better equipped to “know and see the dance of the seven veils,” (Zatlin, 8) than Aubrey Beardsley. To attempt discussions of the complexity of Art Nouveau without including Beardsley is to not fully envelop the movement and style, as Beardsley himself moved between the two worlds of the fantastical and the real. He illustrated the sexuality and grotesque decadence of the era while maintaining
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
The Romanticism the nineteenth century is often called “The Romantic era.” The “Romanticism” defines a movement in the history of culture, an artistic style, attitude of mind and it describes the aesthetic, antique artworks of history. The Romanticism era was before the modernism era, during this time, many artists show their talents to the world. Romanticism is easy to understand, and it provides a lot of information of that era. The Romantic movement is uprising against academic convention and freedom of personal.political, and artistic life. John Constable, The Haywain, 1821, Francisco Goya, The Third of May, 1808: The Execution of the Defenders of Madrid 1814, and The John Nash, the Royal Pavilion, Brighton, the Northeast, 1815-1821 are the passionate and incredible artworks in the masterpiece of Romanticism, Realism, and the Nineteenth- Century World. This era was an artistic and creative era of the art history.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...