Romanticism

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Romanticism
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Definition
Artistic and intellectual movement that
originated in the early-late 18th century and
stressed strong emotion, imagination, freedom
from classical correctness in art forms, and
rebellion against social conventions...
Romanticism can be seen as a rejection of the
precepts of order, calm, harmony, balance,
idealization, and rationality that typified
Classicism in general and late 18th-century
Neoclassicism in particular. It was also to some
extent a reaction against the Enlightenment and
against 18th-century rationalism and physical
materialism in general. Romanticism emphasized
the individual, the subjective, the irrational,
the imaginative, the personal, the spontaneous,
the emotional, the visionary, and the
transcendental. Nicolas Pioch, Web Museum
Romanticism, http//www.ibiblio.org/wm/paint/glo/r
omanticism/, visited 18 April 2002
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In a Nutshell
It dealt with that which was beyond humanitys
power to really control Nature
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Characteristics

• a deepened appreciation of the beauties of nature
• a general exaltation of emotion over reason and
  of the senses over intellect
• a turning in upon the self and a heightened
  examination of human personality and its moods
  and mental potentialities
• a preoccupation with the genius, the hero, and
  the exceptional figure in general, and a focus on
  his passions and inner struggles
• a new view of the artist as a supremely
  individual creator, whose creative spirit is more
  important than strict adherence to formal rules
  and traditional procedures an emphasis upon
  imagination as a gateway to transcendent
  experience and spiritual truth
• an obsessive interest in folk culture, national
  and ethnic cultural origins, and the medieval era
• a predilection for the exotic, the remote, the
  mysterious, the weird, the occult, the monstrous,
  the diseased, and even the satanic.
• Nicolas Pioch, Web Museum Romanticism,
  http//www.ibiblio.org/wm/paint/glo/romanticism/,
  visited 18 April 2002

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Ozymandis By Percy Bysshe Shelley
I met a traveller from an antique land, Who
said--"Two vast and trunkless legs of stone
Stand in the desart . . . Near them, on the
sand, Half sunk a shattered visage lies, whose
frown, And wrinkled lip, and sneer of cold
command, 5 Tell that its sculptor well those
passions read Which yet survive, stamped on
those lifeless things, The hand that mocked
them, and the heart that fed And on the
pedestal these words appear My name is
Ozymandias, King of Kings, 10 Look on my
Works, ye Mighty, and despair! Nothing beside
remains. Round the decay Of that colossal Wreck,
boundless and bare The lone and level sands
stretch far away. The Percy Bysshe Shelley Page,
gopher//gopher.english.upenn.edu/00/Courses/Curra
n202/Shelley/ozy,visited 18 April 2002
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Frankenstein by Mary Shelly
With an anxiety that almost amounted to agony, I
collected the instruments of life around me, that
I might infuse a spark of being into the lifeless
thing that lay at my feet I saw the dull yellow
eye of the creature open it breathed hard, and a
convulsive motion agitated its limbs The
different accidents of life are not so changeable
as the feelings of human nature. I had worked
hard for nearly two years, for the sole purpose
of infusing life into an inanimate body. For this
I had deprived myself of rest and health. I had
desired it with an ardour that far exceeded
moderation but now that I had finished, the
beauty of the dream vanished, and breathless
horror and disgust filled my heart. Unable to
endure the aspect of the being I had created, I
rushed out of the room, and continued a long time
traversing my bedchamber, unable to compose my
mind to sleep. Shelley, M., Frankenstein,
http//www.literature.org/authors/shelley-mary/fra
nkenstein/chapter-05.html, visited 17 April 2002
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Frankenstein by Mary Shelly
"I expected this reception," said the daemon.
"All men hate the wretched how, then, must I be
hated, who am miserable beyond all living things!
Yet you, my creator, detest and spurn me, thy
creature, to whom thou art bound by ties only
dissoluble by the annihilation of one of us. You
purpose to kill me. How dare you sport thus with
life? Do your duty towards me, and I will do mine
towards you and the rest of mankind. If you will
comply with my conditions, I will leave them and
you at peace but if you refuse, I will glut the
maw of death, until it be satiated with the blood
of your remaining friends." "Abhorred monster!
fiend that thou art! the tortures of hell are too
mild a vengeance for thy crimes. Wretched devil!
you reproach me with your creation come on,
then, that I may extinguish the spark which I so
negligently bestowed." My rage was without
bounds I sprang on him, impelled by all the
feelings which can arm one being against the
existence of another. Shelley, M., Frankenstein,
http//www.literature.org/authors/shelley-mary/fra
nkenstein/chapter-10.html, visited 17 April 2002
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Frankenstein
"Great God! why did I not then expire! Why am I
here to relate the destruction of the best hope
and the purest creature of earth. She was there,
lifeless and inanimate, thrown across the bed,
her head hanging down, and her pale and distorted
features half covered by her hair. Every where I
turn I see the same figure--her bloodless arms
and relaxed form flung by the murderer on its
bridal bier."--Mary Shelley, Frankenstein
Henry Fuseli, The Nightmare Web Resources for
Women Writers, http//hss.fullerton.edu/english/as
tein/fuseli.htm , visited 17 April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_09.html, visited 17
April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_15.html, visited 17
April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_18.html, visited 17
April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_02.html, visited 17
April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_16.html, visited 17
April 2002
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Industrialism- Modern Frankenstein
Fritz Langs Metropolis, http//www.geocities.com/
Area51/5555/robot.jpg, visited 17 April 2002
Fritz Langs Metropolis, http//www.geocities.com/
Area51/5555/rotwang_and_robot.jpg, visited 17
April 2002
Fritz Langs Metropolis, http//www.sciflicks.com/
metropolis/images/metropolis_01.html, visited 17
April 2002
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Blake Tyger
1 Tyger! Tyger! burning bright 13 What the
hammer? what the chain?2 In the forests of the
night, 14 In what furnace was thy brain?3 What
immortal hand or eye 15 What the anvil? what
dread grasp 4 Could frame thy fearful symmetry?
16 Dare its deadly terrors clasp? 5 In what
distant deeps or skies 17 When the stars threw
down their spears, 6 Burnt the fire of thine
eyes? 18 And water'd heaven with their tears, 7
On what wings dare he aspire? 19 Did he smile
his work to see? 8 What the hand dare seize the
fire? 20 Did he who made the Lamb make thee? 9
And what shoulder, and what art, 21 Tyger!
Tyger! burning bright 10 Could twist the sinews
of thy heart, 22 In the forests of the night, 11
And when thy heart began to beat, 23 What
immortal hand or eye, 12 What dread hand? and
what dread feet? 24 Dare frame thy fearful
symmetry? Blake, W., Tyger, http//www.library.u
toronto.ca/utel/rp/poems/blake17.html, visited 17
April 2002
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Art
John Constable, The Hay-Wain, 1821, oil on
canvas, The National Gallery, London
Constable abhorred the idea of running after
pictures and seeking the truth at second hand'.
He thought that No two days are alike, nor even
two hours neither were there ever two leaves of
a tree alike since the creation of the world',
Web Museum, http//www.ibiblio.org/wm/paint/auth/
constable/, visted 17 April 2002
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Art
John Constable, Stonehenge, 1836, watercolor,
Victoria and Albert Museum, London. Paintings
Reproductions, http//www.artunframed.com/john_con
stable2.htm, visited 17 April 2002
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Art
Caspar David Friedrich, Abbey in an Oak Forest,
1809-10, oil on canvas
CFGA, http//sunsite.dk/cgfa/friedric/p-friedrich4
.htm, visited 17 April 2002
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Art
Friedrich, Caspar David, Cloister Cemetery in the
Snow, 1817-19, Oil on canvas, 121 x 170 cm,
Destroyed 1945, formerly in the National Gallery,
Berlin
Mark Hardens Artchive, http//artchive.com/ftp_si
te.htm, visited 17 April 2002
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Art
Friedrich, Caspar David,Tetschen Altar or Cross
in the Mountains, 1807-08, Oil on canvas, 115 x
110 cm, Gemäldegalerie, Dresden Russian Gothic
Project, http//art.gothic.ru/paint/friedrich/show
_e.htm?6.jpg , visited 17 April 2002 "Close your
bodily eye, so that you may see your picture
first with the spiritual eye. Then bring to the
light of day that which you have seen in the
darkness so that it may react upon others from
the outside inwards. Painters train themselves in
inventing or, as they call it, composing. Does
not that mean perhaps, in other words that they
train themselves in patching and mending? A
picture must not be invented but felt. Observe
the form exactly, both the smallest and the large
and do not separate the small from the large, but
rather the trivial from the important.
C.D. Freidrich Selected Works, http//www.hearts-e
ase.org/cgi-bin/gallery_works.cgi?ID19 ,
visited, 17 April 2002
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Art
Friedrich, Caspar DavidWanderer Above the Sea of
Fogc. 1818Oil on canvas94.8 x 74.8
cmKunsthalle, Hamburg
The Artchive, http//artchive.com/artchive/F/fried
rich/sea_of_fog.jpg.html, visited 17 April 2002
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Art
Turner, Joseph Mallord William, Dido building
Carthage or the Rise of the Carthaginian Empire,
1815, Oil on canvas, 155.5 x 232 cm, National
Gallery, London Mark Hardens Artchive,
http//artchive.com/ftp_site.htm, visited 17
April 2002
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Art
Turner, Joseph Mallord William, Shade and
Darkness - the Evening of the Deluge, 1843, Oil
on canvas, 78.5 x 78 cm, Tate Gallery, London
Mark Hardens Artchive, http//artchive. com/ftp_
site.htm, visited 17 April 2002 "Turner outgrew
theatrical extravagance but the essential
sublimity of the forces that hold man in their
grip remained with him always. There is a sense
of it in the all-embracing flood of light that
envelops a scene, and the spectator too. The last
subjects of storm and catastrophe make visible a
dream of peril and endurance that is full of
heroic exaltation. The elemental drama that
Turner painted was both real and imaginary.
Wilson, S., Tate Gallery An Illustrated Companion
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Art
Turner, Joseph Mallord William, Rain, Steam and
Speed, 1844, Oil on canvas, 35 3/4 x 48 in. (90.8
x 121.9 cm), National Gallery, London Mark
Hardens Artchive, http//artchive.com/ftp_site.ht
m, visited 17 April 2002
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Art
Turner, Joseph Mallord William, Rain, Steam and
Speed, Detail of Locomotive, 1844, Oil on canvas,
35 3/4 x 48 in. (90.8 x 121.9 cm), National
Gallery, London Mark Hardens Artchive,
http//artchive.com/ftp_site.htm, visited 17
April 2002