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Romanticism Essay
Explain how different version of the sublime can be found in various Romantic paintings and literature.
During the 19th century Romantic Movement, authors and artists began to include the philosophical concept that combined beauty with terror. This philosophy, known as the sublime, used scenes of beauty with subtle addition of shocking terror to make the viewers scared but also feel safe knowing that they could not be harmed by this impending danger. Artists used this to draw a new form of attention to their work and have the viewer compelled to see or read more. Artists and writers such as Thomas Cole, Immanuel Kant, and Arthur Schopenhauer use the sublime to display an essence of beauty that is paired with the uneasiness of vulnerability.
Thomas Cole in his piece The Course of Empire (Cole) uses the sublime to create a passion with the viewer about the rise, fall and growth of a nature surrounded empire. During the first stages of the pieces, Cole paints magnificent landscapes scattered with seemingly nomadic tribes of natives that have just come to settle. This Savage State represents the dauntingness of nature in its pure form with its natural resources untapped and its land undisturbed by man. But as man progresses and begins to settle during the Pastoral State, the viewer can see structures being built in the distance and people preparing to farm. The Consummation of Empire shows the quickly growing power of the empire and the viewer feels overwhelmed by the rapid growth from a small village to an overflowing city. Cole uses this overwhelming feeling and the sublime to display the growing vastness of this new empire. Destruction displays the fall of this grand empire as the entire city goes up in flames a...
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...o present the pure essence or ideas of the world in a small picture. The reason for only the short immersions is that within these paintings, an artist cannot capture the vastness or monumental size of the world and thus leaving room for the feeling of the sublime to escape.
As the Romantic era grew throughout its time during the 19th century, artists and authors began to implement the sublime into their work. The philosophy of the sublime surround the idea of shock. As a viewer gazes upon a beautiful scene of a raging waterfall, there is danger coming from the waterfall but the viewer cannot be harmed by it. This is what Thomas Cole tried to capture in his artwork and what philosophers Immanuel Kant and Arthur Schopenhauer began to study. This feeling of uneasiness is what the sublime is and many artists and writers tried to encapsulate that feeling in their work.
are depicted with the same degree of variation. To understand such a diverse set of paintings –
We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' between the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ...
What can be said about the sublime? Class discussion led to the definition of sublime as the element found in travel literature that is unexplainable. It is that part of travel literature where the writer is in awe of his or her surroundings, where nature can be dangerous or where nature reminds a human being of their mortality. The term "sublime" has been applied to travel texts studied in class and it is hard not to compare the sublime from texts earlier in the term to the texts in the later part of the term. Two texts that can be compared in terms of the sublime are A Tour in Switzerland by Helen Williams and History of a Six Weeks' Tour by Mary Shelley and Percy Bysshe Shelley. There are similarities and differences found in both texts concerning individual perspectives of travel and the sublime. The main focus of this commentary will be comparing and contrasting the perspectives of Williams and Shelley within their respective texts, the language of the sublime and the descriptions of the sublime.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
In many novels, such as The Turn of the Screw and The Mysteries of Udolpho, the role of the sublime is not to induce a power of nature in a familiar way but to use nature as an agent or conduit o...
The quest for the ideal is a phenomenon that many people attempt to achieve. As we all know, the quest for the ideal is difficult and complicated by personal experience. The poems, “The Story” by Karen Connelly and the “The Love Song of J.Aflred Prufrock”, by T.S Elliot, as well as the essay “Kant’s Beauty and the Sublime” by Maureen Rousseau explore the peril inherent in the quest for the ideal, which is that in our search for beauty we risk encountering the sublime. The danger of the sublime is that we cannot comprehend the magnitude of the realms of things that are sublime. We ask ourselves why someone would want to risk encountering the sublime. Well, with great risk comes great reward and that is the beauty we seek.
The connection between Romanticism and nature was said by Marjorie McAtee, to have strengthened with the idealism of folk cultures and customs. Many romantic artists, writers, and philosophers believed in the natural world as a source of strong emotions and philosophies. The artists and philosophers of the romantic period also accentuated the magnificence and loveliness of nature and the power of the natural world (McAtee, Marjorie, and W. Everett. WiseGeek. Conjecture, 03 Mar. 2014. Web. 05 Apr. 2014.) . Mary Shelly and many other writers like William Wordsworth and Samuel Taylor Coleridge were romantic writers who were apprehensive toward nature, human feelings, compassion for mankind, and rebellious against society. Romanticism, which originated in the 18th century, is something that emphasized motivation as well as imagination (Adjective Clause). In Frankenstein, Shelley cautions that the initiation of science and natural rational searching is not only ineffectual, but unsafe. In endeavoring to discover the mysteries of life, Frankenstein assumes that he ...
The Romanticism period started in 1789 and lasted till 1830. This time period was a major international movement, shaping modern views of art, literature, music, and other aspects in life. Romanticism was the “reaction against artistic styles of classical antiquity, which was neoclassicism.” Neoclassicists focused on the power of reasoning to discover the truth while Romantics focused on the hope to transform the world through the power of imagination. They had a deep love for nature (Furst 302). The aspects of romanticism are important; they are the beliefs of this period. The first aspect includes nature, which allows them to be free from the artificial aspects of civilization; they were with man’s true setting. Nature was there to reveal and heal individuals. An example of the love for nature in Samuel Taylor Coleridge’s poetry ‘Frost at Midnight’ is he is describing how happy he is that his baby will be able to see nature instead of living in the city like he did, “But thou, my babe! shalt wander like ...
Romantics began to believe that it was important to be in touch with your emotions. Romanticism was viewed as an assertion of intuitive individualism and the primacy of feeling. (Fiero) These ideas lead to more detail and expression in art. Portraits are perfect examples for the subject of the individual because in portraits you can see what the person was feeling. Artists typically painted as a reaction of what was going on around them and portraits gave them the opportunity to express what their society was like. Traditionally, records of individual likeness, portraits became vehicles for expressing a range of psychological and emotional states in the hands of Romantic painters. (Galitz)
“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 Dark Romantics or Gothic Fiction was part of the Romanticism Movement that emphasized the use of primitive, medieval, wild and mysterious elements including supernatural events and horrifying situations. The Dark Romantics took place in the eighteen hundreds and started as a reaction to the Transcendentalists, but did not entirely embrace the ideas of Transcendentalism. The Dark Romantic works were less optimistic than the transcendental works that believed that knowledge could be arrived at not just through the senses, but also through intuition and contemplation of the internal spirit. The Romantics took on a shadowy approach to the fantastical with the use of creepy symbols, horrific themes, and psychological effects of guilt and sin.
The Dream of American Romanticism The Romantic Movement seized America from 1800 to 1860. A romantic is the name given to those who value feeling and intuition over reason (Arpin 162). During this time period, Americans were migrating westward to explore the land of America. Moving towards the countryside, they pursued beauty and tried evading their daily troubles. Romantics argued that art rather than science could best express universal truth (The Romantic Period, 1820-1860: Essayists and Poets). The romantics took a less rational approach with their beliefs. Rationalists and romantics had a very different look on cities. Rationalists looked at them as a place for success. Romantics ran from these cities viewing them as a place of poverty and death. During this time Americans felt a sense of freedom from English rule. Frontier promised opportunity for expansion, growth, freedom; Europe lacked this element (American Romanticism Overview). Americans felt the need to explore science and the land of North America. This movement brought literature of fireside poetry to the American Hero. Over the course of the American Romantic Period, focusing on emotions, changed the way Americans comprehended upward mobility in the American dream, which in turn changed the way authors wrote and lived their lives. The numerous characteristics of the romantic period helped shape the era. Romantics obsessed over the idea of individuality. They felt the need to have self-expression. They felt that they could do anything with self-reliance. “One could live without fear not because it was possible to control events but because it was possible to achieve self-control” (Cullen 71). Henry David Thoreau expressed himself by getting away from everybody and ...
In the Critique of Judgement Kant defines the sublime as "that, the mere ability to think which shows a faculty of the mind surpassing every standard of sense." (1) Such striving for absolute comprehension beyond what the imagination is capable of representing in a simple perception or image may be occasioned by the "rawness" of scenes like the Great Pyramid of Cheops, the magnitude or immensity of which alludes to the Idea of absolute greatness. (2) Imagination's failure to contain this Idea understandably results in pain. (3) But pain is not the end-point; characteristic of sublime feeling is a "movement" of pain to pleasure: "the feeling of a momentary checking of the vital powers and a consequent stronger outflow of them." (4) In other words one is awestruck: nature appears as a "mere nothing in comparison with the Ideas of Reason." (5) From this we realize our superiority to nature "within and without us" and our supersensible destination beyond nature. (6) In this paper I wish to explicate J-F. Lyotard's reading of the Kantian sublime. There are lessons to be learned here, as the title of his recent work (1994), Lessons on the Analytic of the Sublime, suggests.
Roughly from 1815 to 1910, this period of time is called the romantic period. At this period, all arts are transforming from classic arts by having greater emphasis on the qualities of remoteness and strangeness in essence. The influence of romanticism in music particularly, has shown that romantic composers value the freedom of expression, movement, passion, and endless pursuit of the unattainable fantasy and imagination. The composers of the romantic period are in search of new subject matters, more emotional and are more expressive of their feelings as they are not bounded by structural rules in classical music where order, equilibrium, control and perfection are deemed important (Dorak, 2000).
By the end of the eighteenth century, thought gradually moved towards a new trend called Romanticism. If the Age of Enlightenment was a period of reasoning, rational thinking and a study of the material world where natural laws were realized then Romanticism is its opposite. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental (Forsyth, Romanticism). It began in Germany and England in the eighteenth century and by the late 1820s swept through Europe and then swiftly made its way to the Western world. The romantics overthrew the philosophical ways of thinking during the Enlightenment, they felt that reason and rationality were too harsh and instead focused on the imagination. Romantics believed in freedom and spontaneous creativity rather than order and imitation, they believed people should think for themselves instead of being bound to the fixed set of beliefs of the Enlightenment.