Romanticism Art
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Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Romantic Music for Harp
ROMANTIC MUSIC FOR HARP Thomas • Smetana Tchaikovsky Zabel • Wagner Mendelssohn Pauline Haas 1 The Vision of a Dreamer by Pauline Haas A troubling landscape, the remains of an abbey, or maybe of a castle – the horizon in the distance stands out against the dusk. In the middle of the ruins, in the frame of an unglazed window, a young man is seated in profile. Is he dreaming? Is he doubting? Is he believing? The Dreamer is a journey of initiation: it is about Man travelling down his path of life pursued by his double, it is about an artist in pursuit of truth. I have contemplated this painting, seeing in it my own image as though in a mirror. I have created the image of this individual as a picture of my own dreams. I was his age when I made this recording – the age when one leaves childhood behind to enter the wider world and face up to oneself. I became conscious that the instrument lying against my shoulder, which had inspired so many poets and artists, but had been abandoned by musicians was, in my hands, like a blank page. I placed on my music stand, therefore, the traditional repertoire for the harp, other works considered inaccessible for the harpist, works which had long maintained a magical impact on me. I have woven a connecting thread between these works, nuancing the virgin whiteness of my page without managing to reach all the possible heights. Like a figure in a painting by Caspar David Friedrich this programme contemplates a distant horizon. -
The Landscape of Longing
Caspar David Friedrich^ the peculiar Romantic. The Landscape of Longing BY ANNE HOLLANDER nly nine oil paintings and exhibition de\oted t(.> Friedricb ever to ticeable thing abotit this mini-retro- eleven works on paper be moimted in tbis coiuitiy. It is possible spective is its consistency. Friedrich iiKikc lip the Metropolitan that many more Friedricbs still lurk in perfected his method by 1808 and O Mtiseiiin's current exhibi- the Soviet Union, unknown in tbe West, never changed it, even dining the peri- tion of Caspar David Fricdricli's works even in repiodnction; but for now we are od after his stroke in 1835, wben he from Russia; and thev are only mininiallv gi'eatly pleased to see these. worked very little. augmeiilfd by a lew engravings, owned They are few, and many are ver\' Friedricb never dated bis paintings, by ibe niiist'uin. wliicb were made by ibe small, aitbotigb two of tbem, meastir- and lie sbowed none of tbat obsession artist's brotber from some with development so com- of Friedricb's 180:i draw- mon to artists of his peri- ings. Housed far to the od and to others ever rear of tbe main floor in a since. Apparently lie bad small section ol tbe I.eb- no need to enact a \isible man wing, this sbow must figbt for artistic teriitorA, be sotiglit otit, but it is im- to be seen to be struggling portant despite its small steadily along insicle the si/e and ascetic Haxor. C.as- meditmi itself, to give per- par David Friedricb (I 774- pettial evidence of bis per- 1H40) is now generally ac- sonal battle witb tbe in- knowledged as a great tractable eye, tbe pesky Romantic painter, and materials, tbe superior predecessors, (he pre.sent space lias been made for ri\als, with aljiding artistic bim beside I inner, (ieri- problems and new selt- cault, Blake, and Goya on imposed technical tasks, tbe roster of Eaily Nine- vvitli dominant opinion, teenth Centnry Originals. -
An Eye for Landscapes That Transcend Nature,” the New York Times, May 22, 2009
Genocchio, Benjamin. “An Eye for Landscapes That Transcend Nature,” The New York Times, May 22, 2009. An Eye for Landscapes That Transcend Nature One’s lasting impression of the April Gornik exhibition at the Heckscher Museum of Art in Huntington is the sheer virtuosity of the pictures. They glow with mystery and grandeur. Landscape painting of this quality is not often seen on Long Island. Assembled by Kenneth Wayne, the museum’s chief curator, the show focuses on the artist’s powerful, large-scale oil paintings. There are a dozen pictures, created roughly from the late 1980s to the present, nicely displayed in two of the Heckscher’s newly renovated galleries. The removal of a false ceiling in them has allowed the museum to accommodate much larger works than it could before. New Horizons. The large-scale oil paintings by April Gornik on display at the Heckscher include “Sun Storm Sea” (2005). At 56, Ms. Gornik is already a painter of eminence. She has had shows around the world, and her work is in several major museum collections, including those of the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art. I would place her among the top landscape artists working in America today. That this is Ms. Gornik’s first major solo exhibition on Long Island in more than 15 years seems an oversight, especially given that she lives part of the year in Suffolk County. But better late than never, for there are probably dozens of artists living and working on Long Island who are deserving of shows. -
23 “To See Clearly Is Poetry”*: the Visual Narratives of Jmw Turner
23 “TO SEE CLEARLY IS POETRY”*: THE VISUAL NARRATIVES OF J.M.W. TURNER “AÇIKÇA GÖREBİLMEK ŞİİR’DİR”: J. M.W. TURNER’İN GÖRSEL ANLATILARI Painting and Poetry flowing from the same fount… reflect and refract each other’s beauties with reciprocity of splendorous allusions. J.M.W. Turner, 1810. Yıldız Kılıç** Özet Joseph Mallord William Turner, (1775-1851) İngiliz Romantik hare- ketinin niteliğini görsel formda temsil etmiş ve 19. yüzyıl resim sanatına ışık ve rengin ‘eterik’ ifadesinde maneviyatı ve duygusallığı kazandır- mıştır. Görseli sınırlayan klasik formüllerin kısır tekrarını reddederek, ‘yapısal yoksunluk’ tarzıyla fiziksel dünyayı soyutlaştırmış ve resme ‘proto-ekspresyonist’ bir görünüm ve ifade kazandırmıştır. Rasyonali- teyi simgeleyen kontur sınırlamasından kurtulan renk ve ışık, (“sınır ve hattan yoksun”) sfumato görünümüyle özgürlüğün çarpıcı ifadesidir; böylece Viktorya döneminin klişeleşmiş ‘müşvik doğa’ anlayışının ak- sine, insanlığa kayıtsız ve zalim tutumuyla ‘yıkıcı’ bir doğa anlayışını “şiirsel” anlatıyla temsil eder. * John Ruskin, Modern Painters Vol.III, Kessinger Publishing Co., (1843) 2005, p. 250. (“Hundres of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry…”) * * Assist. Prof., Istanbul University, Faculty of Letters, Depatment of English Language and Literature, Ziverbey, 2.Hatboyu Sok., 7/6 Kızıltoprak, İstanbul/Türkiye 27.03.2014 Email: [email protected] 24 Joseph Mallord William Turner (1775-1851) was essentially a land- scape artist who came to represent the spirit of the English Romantic Movement in its visual form. He brought to the art an explosive, chimeri- cal expression of light and colour; creating in a visual medium the ultimate reaction to the sterile repetition of Classical formulae and the facile emo- tions of eighteenth-century art and enlightenment. -
Humanities (World Focus) Course Outline
Guiding Document: Humanities Course Outline Humanities (World Focus) Course Outline The Humanities To study humanities is to look at humankind’s cultural legacy-the sum total of the significant ideas and achievements handed down from generation to generation. They are not frivolous social ornaments, but rather integral forms of a culture’s values, ambitions and beliefs. UNIT ONE-ENLIGHTENMENT AND COMPARATIVE GOVERNMENTS (18th Century) HISTORY: Types of Governments/Economies, Scientific Revolution, The Philosophes, The Enlightenment and Enlightenment Thinkers (Hobbes, Locke, Montesquieu, Voltaire, Jefferson, Smith, Beccaria, Rousseau, Franklin, Wollstonecraft, Hidalgo, Bolivar), Comparing Documents (English Bill of Rights, A Declaration of the Rights of Man, Declaration of Independence, US Bill of Rights), French Revolution, French Revolution Film, Congress of Vienna, American Revolution, Latin American Revolutions, Napoleonic Wars, Waterloo Film LITERATURE: Lord of the Flies by William Golding (summer readng), Julius Caesar by Shakespeare (thematic connection), Julius Caesar Film, Neoclassicism (Denis Diderot’s Encyclopedie excerpt, Alexander Pope’s “Essay on Man”), Satire (Oliver Goldsmith’s Citizen of the World excerpt, Jonathan Swift’s Gulliver’s Travels excerpt), Birth of Modern Novel (Daniel Defoe’s Robinson Crusoe excerpt), Musician Bios PHILOSOPHY: Rene Descartes (father of philosophy--prior to time period), Philosophes ARCHITECTURE: Rococo, Neoclassical (Jacques-Germain Soufflot’s Pantheon, Jean- Francois Chalgrin’s Arch de Triomphe) -
Shipwreck, Slavery, Revolution: History As the Open Secret in Charlotte Brontë’S Villette
Mark Celeste Graduate Student, Department of English Fondren Library Research Award Shipwreck, Slavery, Revolution: History as the Open Secret in Charlotte Brontë’s Villette ABSTRACT Is trauma a private or public experience? How do larger moments of historical, national, and imperial upheaval reverberate on the level of the individual? How readily do we forget a violent past, despite the traces that wash up on the textual margins? In this project I move against the critical current that posits Charlotte Brontë’s Villette (1853) as an autobiographical work. Although the parallels between the lives of Brontë and Lucy Snowe are perhaps tempting—much like her protagonist, Brontë leaves England for the continent, teaches English at a boarding school, and falls in love with a spirited, temperamental instructor—such an autobiographical reading imposes limits upon the possible interpretations of two traumatic scenes in the novel, Lucy’s journey to the continent and the (supposed) death of Monsieur Paul Emmanuel. Against an autobiographical backdrop, these two scenes read as simple textual symptoms of Brontë’s homesickness and unrequited love. By contrast, I place Brontë’s work in a longer, wider historical context, considering the uses and limits of framing Villette as a shipwreck novel. I contend that the flotsam and jetsam of a traumatic past—specifically, the violence of the British slave trade in the West Indies and the upheaval of the 1848 European revolutions—surface in Lucy’s pain and M. Paul’s apparent death. At stake in my project is the status of history: in Villette, I believe that history functions as an “open secret” (à la D. -
Chapter 12—The Age of Revolution
Chapter 12—The Age of Revolution Paul Revere’s engraving, The Bloody Massacre, added to the fuel of revolution in America. Paul Revere The Bloody Massacre 1770 Storming of the Bastille also took place in Paris in 1789. The American and French Revolutions Trumbull The Declaration of Independence The Declaration of the Rights of Man and of the Citizen August 26, 1789 The Third Estate set up a National Assembly as pictured by David The Tennis Court Oath 1789-1791. A march to Versailles was a march of women for bread…they got the king and queen. Jacques-Louis David was the essence of Neoclassical in France. His painting seemed like he painted statues instead of people. Rationality drove his artwork. David The Oath of the Horatii (1784) David The Death of Marat (1793) David Napoleon at the Saint- Bernard Pass (1801) Napoleon’s Empire Neoclassicism in America The US was founded on the Neoclassic model… it was called Federal style. Slavery had been an issue in America from the beginning when the colonies could not trade in anything including slaves. The Declaration of Independence didn’t address the issue at all in the final version…half the signers were from the South and had slaves. ROMANTICISM • Expression of personal subjectivism • Self-Analysis—positive and in particular more negative aspects, dreams, etc. • Not for the masses but for the artist, which cuts into the profit margin • Internal wallowing in self • Love of the fantastic and exotic • Interest in nature ROMANTIC AGE • Time of philosophical ferment: Darwin, Hegel, and Marx • Radical changes in society: railroads became the Roman roads • Science: Darwin, Mendel • Social unrest due to the Industrial Revolution • Individualism/liberalism in art, politics, and in life (carried over from Renaissance and Reformation) ROMANTIC AGE cont. -
Due to Copyright Restrictions, This Image Is Only Available in the Print Version of Christian Reflection
50 Caring for Creation Due to copyright restrictions, this image is only available in the print version of Christian Reflection. Thomas Cole’s The Oxbow depicts humans living in such harmony with nature that their habitation blends into the beautiful surroundings. Thomas Cole (1801-1848), THE OXB O W (O R , VIEW FR O M MO UN T HO LY O KE , NO R T HAMP to N , MASSA - CHUSE tt S , AF T ER A THUNDERS to RM ) (1836). Oil on canvas. 51 ½” x 76”. Gift of Mrs. Russell Sage, 1908. The Metropolitan Museum of Art, New York, NY. Photo: © The Metropolitan Museum of Art / Art Resource, NY. Used by permission. Caring for Creation in Art 51 In Harmony with Nature BY HEIDI J. HORNIK he Oxbow takes its name from the shape of the Connecticut River as it winds back on itself below Mount Holyoke in western Massachusetts.1 TThomas Cole’s painting depicts this wonder of nature, which in its pure size and beauty, literally and figuratively, dwarfs the artist who looks up at us from his canvas (positioned a few yards to the left of the parasol) within the painting. The foreground is wilderness, with trees that have blown over from the wind or from the storm on the left side of the composi- tion that shows a downpour of rain. Looking closely at the valley in the dis- tance, one realizes that the land is cultivated and a human settlement exists. Yet those fields and buildings are so trivial in comparison to the rest of the landscape that they go almost undetected. -
Understanding Music Nineteenth-Century Music and Romanticism
N ineteenth-Century Music and Romanticism 6Jeff Kluball and Elizabeth Kramer 6.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of nineteenth- century music, including musical Romanticism and nationalism 2. Aurally identify selected genres of nineteenth century music and their associated expressive aims, uses, and styles 3. Aurally identify the music of selected composers of nineteenth century music and their associated styles 4. Explain ways in which music and other cultural forms interact in nineteenth century music in genres such as the art song, program music, opera, and musical nationalism 6.2 KEY TERMS AND INDIVIDUALS • 1848 revolutions • Exoticism • Antonín Dvořák • Fanny Mendelssohn Hensel • art song • Felix Mendelssohn-Bartholdy • Augmented second • Francisco de Goya • Bedřich Smetana • Franz Liszt • Beethoven • Franz Schubert • Caspar David Friedrich • Fryderyk Chopin • chamber music • Giuseppe Verdi • chromaticism • idée fixe • concerto • Johann Wolfgang von Goethe • conductor • John Philip Sousa • drone • leitmotiv • Eugène Delacroix • lied Page | 160 UNDERSTANDING MUSIC NINETEENTH-CENTURY MUSIC AND ROMANTICISM • Louis Moreau Gottschalk • soirée • Mary Shelley • sonata • mazurka • sonata form (exposition, • nationalism development, recapitulation) • opera • song cycle • program symphony • string quartet • Pyotr Tchaikovsky • strophic • Richard Wagner • symphonic poem • Robert and Clara Schumann • Symphony • Romanticism • ternary form • rubato • through-composed • salon • V.E.R.D.I. • scena ad aria (recitative, • William Wordsworth cantabile, cabaletta) 6.3 INTRODUCTION AND HISTORICAL CONTEXT This chapter considers music of the nineteenth century, a period often called the “Romantic era” in music. Romanticism might be defined as a cultural move- ment stressing emotion, imagination, and individuality. It started in literature around 1800 and then spread to art and music. -
Waldorf World List
Waldorf World List Adressverzeichnis der Waldorfschulen, Waldorfkindergärten und Ausbildungsstätten weltweit Directory of Waldorf and Rudolf Steiner Schools, Kindergartens and Teacher Training Centers worldwide 2018 April HAGUE CIRCLE INTERNATIONAL FORUM FOR STEINER/WALDORF- EDUCATION Inhaltsverzeichnis *Legende / abbreviations : ............................................................................................................................................... 5 *Freie Waldorfschulen und Waldorfkindergärten ............................................................................................................ 6 *Waldorf Schools and Waldorf Kindergärten .................................................................................................................. 6 *International tätige Organe der Waldorfkindergarten- und Waldorfschulbewegung ..................................................... 7 *International Bodies of the Waldorf Kindergarten and School Movement .................................................................... 8 *Anzahl der Waldorfschulen/Waldorfkindergärten pro Land/weltweit ............................................................................ 9 Number of Waldorf Schools/ Kindergarten per country/worldwide ................................................................................. 9 *Anzahl der Waldorfschulen/Waldorfkindergärten pro Land/weltweit ..........................................................................10 Number of Waldorf Schools/ Kindergarten per country/worldwide -
1 Laure Cahen-Maurel « the Art of Romanticizing the World. Caspar David Friedrich and Romantic Philosophy » Deploying Romanti
Laure Cahen-Maurel « The Art of Romanticizing the World. Caspar David Friedrich and Romantic Philosophy » Deploying romanticism as an intellectual category, this doctoral thesis explores the nature of the painting of C. D. Friedrich (1774-1840) as a form of romantic art. Without turning the painter himself into a romantic philosopher, the concept of German romanticism is subject to a philosophical re-evaluation. And reciprocally: this work also furnishes a new contribution to the research on philosophical romanticism by means of a study of the plastic rather than the literary imagination. P. Lacoue-Labarthe and J.-L. Nancy’s The Literary Absolute (1978), took as their theoretical reference for romanticism "the strictly indefinite program" of the Athenaeum texts of the Schlegel brothers. In contrast to that reading, this investigation refocuses the interpretation of romanticism on the thought of Novalis (1772-1801). The main title of this PhD-thesis, "The Art of Romanizing the World," alludes to fragment 105 of Noavlis’s Poeticisms of 1798: "The world must be romanticized. This is how the original meaning will be found". Novalis explains in 12 condensed lines the precise meaning he accords to the word "romantic" and to the program of a "romantic philosophy." Accordingly, our topic is not German romanticism as a single exclusive category, but to philosophically determine Novalis’s conception of romanticism. The Novalisian program considers romanticism as an operational concept. Thus, in addition to the ordinary meaning of the word “art”, understood as a produced or created object, our choice of the expression "the art of" furthermore refers to the method of the object’s production.