DOCSLIB.ORG

The Funeral of Atala: the Savage, the Virgin, and the Romantic” Heather Bailey Art History Major Georgia College and State University Bailey 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Funeral of Atala: the Savage, the Virgin, and the Romantic” Heather Bailey Art History Major Georgia College and State University Bailey 2 “The Funeral of Atala: The Savage, The Virgin, and The Romantic” Heather Bailey Art History Major Georgia College and State University Bailey 2 The Funeral of Atala: The Savage, The Virgin, and The Romantic The French Revolution developed and defined a new cultural attitude referred to as Romanticism. The movement emphasized human emotion and the imagination in opposition to the reason and rigor of Neoclassicism during the late eighteenth-century.1 Leading the French Romantic art and literary movements were none other than Anne- Louis de Roussy Girodet-Trioson, pupil of Neoclassicist leader Jacques-Louis David, and François-Rene de Chateaubriand, respectively. In 1801, Chateaubriand wrote a Romantic novella, entitled Atala, in which the Christian-Indian maiden commits suicide in fear of breaking her vow of chastity. 2 Girodet depicted the tragic burial scene of Chateaubriand‟s novella in his painting, The Funeral of Atala, in 1808.3 The use of Christian iconography in Girodet‟s painting is apparent; however, it is the significance of virginity that ties together pictorial and literary elements of both the sacred and secular worlds. At first glance the painting has an uncanny resemblance to previous depictions of The Entombment by artists such as Giovanni Battista Crespi and Guercino; however, the exotic setting, the depiction of death, and the intense emotion make The Funeral of Atala a model piece of Romantic artwork.4 Girodet‟s interpretation of Atala‟s burial is framed by cave walls with a scenic view of the wilderness in the background. A cross stands amongst an opening in the foliage and emits a strong beam of light into the shelter of the stone walls. Atala also cradles a wooden cross against her body. The stone and the wooden crosses in the composition are architectural metaphors that represent the church. The wooden cross is the central symbol for Christianity and its shape gives the standard Western church plan structure, while the stone is that which Jesus builds his Church upon.5 Within the cave, Chactas sits in a bright red loincloth on the edge of a rectangular hole dug into the ground (presumably where Chactas and the missionary will rest Atala‟s body). He passionately clings to her covered feet while the missionary stands, fully dressed in a brownish-colored cloak, holding her upper body with his head held down in reverence. The missionary, identified as Father Aubry, is prominent as he portrays the Holy Church. Father Aubry stands tall and upright, not only in the composition, but also with God. 6 Both men have their feet placed within the rectangular burial pit that can be interpreted into a religious chthonic aspect.7 This creates a transition between what is above ground to what is below the ground. As stone and wood represent the Church and its inner sanctuaries, the interior of the earth represents the housing of the image of a god.8 The appearance of Atala‟s lifeless body conflicts itself in the sense that, although she is dead, she still looks beautiful in her sheer white garments, even graceful, and her grip on the wooden cross that she holds in her hands seems to stay tight. The portrait of Bailey 3 Atala can also serve as a transition between life and death. With the subject matter of death, portraits create a strong response from the viewer as well as an automatic connection between the person‟s image in the painting and the real person. This phenomenon can reach to the extent at which the portrait itself actually becomes the person.9 The dull color palette (in exception to the vibrant white) of dark greens, browns, and reds of The Funeral of Atala are similar to that of Caravaggio‟s The Death of the Virgin.10 Both images share the chiaroscuro effect and have light directed from a source that shines down in a single diagonal beam. The light in Girodet‟s painting illuminates upon the spiritual and sacred love between God, Atala, and the missionary. The sensual bare back of Chactas and the breasts and lips of Atala are merely grazed by the light as they are connected by a secular love. Though Caravaggio shows the Virgin Mary immodestly by revealing her legs, Girodet retains Atala‟s virginal essence by completely covering her legs and feet. This detail is also seen in Fra Filippo Lippi‟s painting of the Death of the Virgin as well. 11 Girodet continues to use the contrast of light and dark to form three- dimensionality as well as to juxtapose left and right, evil and good, immoral and holy, and ignorance and knowledge. These juxtapositions are symbolic with the sheep and goats at the Last Judgment and can be found in the book of Matthew 25:31-33.12 The left region of the painting contains repeated elements suggesting evil and immorality. The half naked body of Chactas and his long tousled hair are portrayed as immoral. The abandonment of his former evil way of life and turning to Christ in repentance has earned Chactas the title of the “great sinner,” shared by Mary Magdalene.13 Additional references to Mary Magdalene are the color red that he is wearing and the verity that he is clasping onto the feet of Atala.14 The red loincloth that Chactas is wearing also represents a common conception of the color red, lust, which would have also been considered immoral and more directly related to Chateaubriand‟s novella as Chactas passionately longed for Atala. Chactas‟s hunched posture and his placement close to the ground, nearly to the extent of being completely bowed over, reveal his reverence and servitude to Atala and the missionary while also foreshadowing his future reverence and servitude to Christianity. As a Native American in the seventeenth-century, to be a slave or a servant to the white Christian-European settlers would have been common, also explaining the body language of subjection.15 However, the romantic and intimate way Chactas holds the feet of Atala illustrates his capability of affection and thus condemns the common perception of Native Americans as savages. Bailey 4 Fellow Romantic artist Eugene Delacroix, and American artist George Catlin, mourned for the Native Americans as they knew that these indigenous peoples could not escape the terrible fate of forcibly having to forfeit their land to the white Christian- European settlers. Based on Chateaubriand‟s novella, Atala, Delacroix‟s painting, The Natchez, features a Native American couple fleeing from the massacre of the Natchez tribe with their newborn son by the Mississippi River.16 In comparison with Girodet‟s Funeral of Atala, the two paintings share similarities such as the red draperies of the darker-skinned Native American, the beam of light radiating on the woman who looks distressed and on the verge of death, and the male on his knees at the feet of his lover. However, the lack of Christian symbols in The Natchez leaves Delacroix‟s Native American couple doomed. George Catlin‟s oil on canvas, The Last Race, Mandan O-Kee-Pa Ceremony, features a Native American tribe taking part in a four-day ceremony that consisted of a painful initiation of the most talented young men of the tribe.17 This painting is one of a series by Catlin in which the Native Americans are portrayed as rather savage-like. In the painting Native Americans run around in a circular motion, wearing loin-cloths and dragging each other across the ground as onlookers sit and stand on top of mounds with hands raised as if to cheer on the runners. While the red tones and the clothing of the Native Americans in Catlin‟s painting is similar to that of Chactas in The Funeral of Atala, the image of the Native Americans conveyed by Catlin seems completely barbaric in contrast to the serene and sensual depiction of the Native American Chactas, by Girodet. The wilderness is a repeated theme of literature and art symbolic of virtue and virginity, especially during the age of Romanticism. Romantics believed nature was less corrupt than civilization and in Chateaubriand‟s novella, Atala and Chactas elope and wander the wilderness for twenty-seven days until they are trapped in a storm, in which they meet the missionary and find shelter in the cave.18 The overlapping of foliage creates depth in the composition and into the wilderness. While the trees of the wilderness refer to the metaphor for wood, the cross, as the central symbol for Christianity, it too has its own separate central symbol in Christianity. The Tree of Knowledge of Good and Evil contained the fruit that caused the Fall of Man, and redeemed the Fall through the wood of the Cross.19 The cross amongst the wilderness can also be interpreted as a common metaphor of people finding God or spiritual awakening in the midst of hardships. Amongst the background of greenery, past the walls of the cave, the ground resembles slightly rolling hills or mounds. The Natchez Indians were mound builders and worked together to construct these flat-toped ceremonial bases for their sacred buildings. The raised ceremonial grounds help to link earth with sky, and thus, life on earth with eternal life.20 Bailey 5 In Girodet‟s burial scene, Atala is horizontal and lies parallel to both the bottom edge of the canvas and her grave. However, the background landscape is divided into two opposing angles; the left side of the canvas, angling from the top left to the bottom right and the right side, angling from the top right to the bottom left. The larger horizontal figures in the bottom of the composition create a stable base for a pyramidal composition, making the significance of Egyptian pyramids in correlation to transitional architecture of religious art pertinent.
Load more

Recommended publications
  • Pericles S. Vallianos I. Romanticisms
    ROMANTICISM AND POLITICS: FROM HEINRICH HEINE TO CARL SCHMITT – AND BACK AGAIN Pericles S. Vallianos Abstract: After a reference to the debate concerning the concept of Romanticism (Lovejoy vs Wellek), the article briefly evokes certain key stances of English and French literary Romanticism. It then points to the distinguishing features of German Romanticism, namely the enlargement of the doctrine into an integral metaphysics with the concept of the “organic state” at its core (A. Müller). The critique of political Romanticism by two revolutionary democrats (H. Heine and A. Ruge) is then presented. The article closes with a critique of C. Schmitt’s interpretation of political Romanticism. I. Romanticisms Romanticism was a cultural movement which put European civilization on new tracks. It is, however, notoriously difficult to define – so ramified are its particular forms and branches. The term “Romantic” as a marker of a new age of “progressive universal poetry” superseding the anti-poetic Classicism of the Enlightenment was invented by Friedrich Schlegel1 and elaborated further by his brother, August Wilhelm. In France it emerged after the Bourbon restoration and established itself towards the end of the 1820s and especially in the wake of the notorious “Hernani battle” of 1830.2 Capitalizing on this continuing difficulty a whole century and more after Romanticism’s first stirrings, Arthur O. Lovejoy argued, in a landmark article published in 1924, that we must give up striving for a general definition. In his view, there is no one internally cohering Romanticism. The concept must not be “hypostatized” as if it referred to a single real entity “existing in nature”.3 What we have instead is a variety of local and specific cultural and literary phenomena to which, for the purposes of brevity and broad-stroke classification, a common name is appended.
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • FRENCH LITERATURE – 19Th Century Buckner B Trawick, Ph.D
    HUMANITIES INSTITUTE FRENCH LITERATURE – 19th Century Buckner B Trawick, Ph.D. PART I : Early 19th Century Literature -The Romantic Age1800-1842 OVERVIEW Historical Background.* Many exciting political events which helped determine national thought and literature took place in France in the first half of the nineteenth century. As has been mentioned, Napoleon Bonaparte was made consul in 1799 and emperor in 1804. It soon became clear that he was not merely continuing a revolution which had once aimed at freedom from tyranny and oppression, but that he was waging an aggres-sive war of conquest. His fortunes continued to rise till his unsuccessful invasion of Russia in 1812. He met disaster again at the Battle of Leipzig (1813), was exiled to Elba (1814), but escaped (March, 1815)—only to lose his final battle at Waterloo (June, 1815). He was exiled again - this time to the island of St. Helena, where he died in 1821. The Bourbons were restored to the throne in the person of Louis XVIII, who ruled from 1815 till 1824. He was succeeded by Charles X, whose despotic methods led to another revolution (July, 1830). France was proclaimed a constitutional monarchy, andLouis Philippe was called to the throne. Another revolution (1848) overthrew this monarchy, and the Second Republic was proclaimed.Louis Napoleon, a nephew of Napoleon I, served as president from 1848 till 1851. Then by a coup d‟etat he establish himself as dictator, declared France an empire again, and was crowned EmperorNapoleon III in December, 1851. The political unrest is, of course, reflected in the temper of the times.Both the failure of the French Revolution to establish and maintaina just and democratic government and the defeat of Napoleon I were inevitably followed byperiods of disillusionmentamong many groups.
    [Show full text]
  • MUSC 1013 Lecture, Study Guide 5 1) Hector Berlioz (1803–1869)
    MUSC 1013 Lecture, Study Guide 5 1) Hector Berlioz (1803–1869) • Born in southern France, first great proponent of musical Romanticism in France, He combined musical creativity with personal storytelling • Fan of Beethoven and Shakespeare • Works draw upon literary influences • Genius orchestrator-- Berlioz and the Symphonie fantastique • Program symphony based on personal life; • Idée fixe a recurring musical thread unifying the five movements; Thematic transformation 2) Edvard Grieg (1843–1907) • Born in Norway, attended Leipzig Conservatory (Germany) • Stipend from Norwegian government allowed him to focus on composition • Goal was to create art accessible to all the public • International figure, notable for lyricism and use of folk music and dances Compositions: Peer Gynt, Suite no. 1 • Morning Mood, --atmospheric depiction of sunrise In the Hall of the Mountain King, grotesque ballet music as troll daughters chase Peer; Play by Henrik Ibsen based on moralistic Norwegian folk tale • Grieg composed twenty-two pieces as incidental music for the play • Later extracted eight of them, created two four movement suites • 1 One Piano Concerto 3) Giuseppe Verdi (1813–1901) • Born in northern Italy • Operas for Milan’s La Scala opera house • Identified with Italian independence movement • Twenty-eight operas in all, written throughout his lifetime— two of most famous operas are Aida, Rigoletto, • Hit songs from operas saturated the culture; Commercially successful multimedia arose in the 1800s Italian theatrical tradition Verdi’s music adopted
    [Show full text]
  • European Romanticism 1405110392 1 Pretoc Final Proof Page Iii 10.9.2005 7:59Am
    Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page iii 10.9.2005 7:59am A C O M P A N I O N T O EUROPEAN R OMANTICISM EDITED BY MICHAEL FERBER Ferber: Companion to European Romanticism 1405110392_3_posttoc Final Proof page xiv 10.9.2005 7:58am Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page i 10.9.2005 7:59am A Companion to European Romanticism Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page ii 10.9.2005 7:59am Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post- canonical texts, orientating the beginning student in new fields of study and provid- ing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. 1. A Companion to Romanticism Edited by Duncan Wu 2. A Companion to Victorian Literature and Culture Edited by Herbert F. Tucker 3. A Companion to Shakespeare Edited by David Scott Kastan 4. A Companion to the Gothic Edited by David Punter 5. A Feminist Companion to Shakespeare Edited by Dympna Callaghan 6. A Companion to Chaucer Edited by Peter Brown 7. A Companion to Literature from Milton to Blake Edited by David Womersley 8. A Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 9. A Companion to Milton Edited by Thomas N. Corns 10. A Companion to Twentieth-Century Poetry Edited by Neil Roberts 11.
    [Show full text]
  • Slavery and Feminism in the Writings of Madame De Staël
    ResearchOnline@JCU This file is part of the following work: Daquin, Françoise Marie Danielle (2020) Slavery and feminism in the writings of Madame de Staël. PhD Thesis, James Cook University. Access to this file is available from: https://doi.org/10.25903/5f07e50eaaa2b Copyright © 2020 Françoise Marie Danielle Daquin. The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owners of any third party copyright material included in this document. If you believe that this is not the case, please email [email protected] Slavery and Feminism in the Writings of Madame de Staël Thesis submitted by Françoise Marie Danielle DAQUIN in February 2020 For the degree of Doctor of Philosophy in the College of Arts, Society and Education James Cook University 1 Acknowledgements I am eternally grateful to Dr Janice Wegner, my advisor and my mentor. Jan’s advice has always been indispensable. Thanks to her suggestion at the end of my undergraduate degree I embarked on this journey, the writing of this thesis. Beside her precious help, Jan supported me during my bouts of ill-health, and gave me the confidence to pursue my research and to complete it ‘nearly’ on time. I too would like to thank Dr Claire Brennan, my secondary advisor, for her valuable editorial comments. I thank Stéphanie Génand, the President of La Société des Etudes Staëliennes, whose work on Madame de Staël inspired me, and for encouraging me to participate in the numerous conferences over which she presided in Paris. A special thanks also to my dear friends, Kem and John Dorney, for their attention and kindness, and for having been great supporters of my work in every way.
    [Show full text]
  • Medievalism and Literature: an Annotated Bibliography of Critical Studies
    Western Michigan University ScholarWorks at WMU English Faculty Publications English 10-2002 Medievalism and Literature: An Annotated Bibliography of Critical Studies Richard Utz University of Northern Iowa, [email protected] Aneta Dygon University of Northern Iowa Follow this and additional works at: https://scholarworks.wmich.edu/english_pubs Part of the Medieval Studies Commons WMU ScholarWorks Citation Utz, Richard and Dygon, Aneta, "Medievalism and Literature: An Annotated Bibliography of Critical Studies" (2002). English Faculty Publications. 6. https://scholarworks.wmich.edu/english_pubs/6 This Article is brought to you for free and open access by the English at ScholarWorks at WMU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Medievalism and Literature: An Annotated Bibliography of Critical Studies Richard Utz and Aneta Dygon This moderately annotated bibliography represents a solid first selection of critical studies discussing the creative and scholarly reception of medieval literary texts in post-medieval times. Naturally, such a broadly defined topic will – in the end – yield a much larger harvest. In order to compile as comprehensive as possible a bibliography, I would encourage scholars to send me titles for inclusion. Please send such titles, bibliographically arranged according to the Chicago Manual of Style, to [email protected] (or by regular mail to: Richard Utz, Department of English, University of Northern Iowa, Cedar Falls, IA 50614-0502, USA). I shall include these annually and also add the ones that will come to my attention through my association with The Year’s Work in Medievalism (ed.
    [Show full text]
  • European Romanticism 1405110392 1 Pretoc Final Proof Page Iii 10.9.2005 7:59Am
    Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page iii 10.9.2005 7:59am A C O M P A N I O N T O EUROPEAN R OMANTICISM EDITED BY MICHAEL FERBER Ferber: Companion to European Romanticism 1405110392_3_posttoc Final Proof page xiv 10.9.2005 7:58am Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page i 10.9.2005 7:59am A Companion to European Romanticism Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page ii 10.9.2005 7:59am Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post- canonical texts, orientating the beginning student in new fields of study and provid- ing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. 1. A Companion to Romanticism Edited by Duncan Wu 2. A Companion to Victorian Literature and Culture Edited by Herbert F. Tucker 3. A Companion to Shakespeare Edited by David Scott Kastan 4. A Companion to the Gothic Edited by David Punter 5. A Feminist Companion to Shakespeare Edited by Dympna Callaghan 6. A Companion to Chaucer Edited by Peter Brown 7. A Companion to Literature from Milton to Blake Edited by David Womersley 8. A Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 9. A Companion to Milton Edited by Thomas N. Corns 10. A Companion to Twentieth-Century Poetry Edited by Neil Roberts 11.
    [Show full text]
  • English Literature Poetry(Blake,Wordsworth,Coleridge
    EUROPEAN LITERATURE – 19th Century French Literature Poetry (Lamartine, Musset, Hugo, Vigny, Baudelaire) Drama (Maeterlinck) Fiction (Stael, Sand, Constant, Balzac, Stendhal, Zola, Maupassant, Flaubert,) German Literature Philosophy (Fichte; Schleiermacher; Hegel; Schlegel; Nietzsche) Poetry (Hoelderlin; Heine) Drama (Kleist; Grillparzer; Hebbel) Fiction (Jean Paul; Hoffman; Novalis) Opera (Wagner) English Literature Poetry(Blake,Wordsworth,Coleridge,Byron,Keats, Hardy) Fiction (Austen, Scott) Non-Fiction (Wollstonecraft) FRENCH LITERATURE - 19th century Overview French literature of the nineteenth century can be roughly divided into two sections. The first half of the century can be called by the term Romantic, for it picks up on tendencies evident in the French literature of the late l8th century, like the Querelle des anciens des modernes, which reflected a growing interest in the expression of feelings, and in independence from the past, which had the germs of the Romantic in it. But that is just a literary beginning, to the change in sensibility the Romantic heralds in. The first half of the l9th century in France also explodes with political and social energies, in which were released many of the open feelings and freed thoughts which became part of the Romantic perspective in literature and the other arts, as well as in morals and philosophy. The declaration of Napoleon as consul, in 1799, and Emperor in l804, was the launching pad first for great French optimism, that a new era of growth and justice was at hand, and then for growing dismay at the abuses and humiliations of Napoleon. After Waterloo, in l815, a despotic monarch was chosen to lead the nation, then replaced by a revolution, then a second (constitutional) monarchy was called in, headed by Louis Philippe, who was again replaced in l848, by Louis Napoleon, a nephew of Napoleon I.
    [Show full text]
  • The Influence of the Industrial Revolution on Nineteenth-Century Literary and Artistic Movements
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2019 The Influence of The Industrial Revolution on Nineteenth-Century Literary and Artistic Movements Warisara Emily Sawin University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the French and Francophone Language and Literature Commons Recommended Citation Sawin, Warisara Emily, "The Influence of The Industrial Revolution on Nineteenth-Century Literary and Artistic Movements" (2019). Electronic Theses and Dissertations. 1697. https://egrove.olemiss.edu/etd/1697 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. The Influence of the Industrial Revolution on Nineteenth-Century French Literary and Artistic Movements A Thesis Presented for the Master of Arts Degree The University of Mississippi Warisara Emily Sawin May 2019 Copyright © 2019 by Warisara Emily Sawin All rights reserved ABSTRACT This is a study of the impact and the influence of the Industrial Revolution on French literary and artistic movements in the nineteenth century. ii DEDICATION This work is dedicated to the professors of the French Department who have supported and inspired me throughout the process and my many years of study. I will always appreciate all they have done, especially Dr. Sara Wellman for helping me develop my analytical thinking and research writing skills. I dedicate this work and give special thanks to my best friends, Roshan Naran, and Hannah Arrington for being there for me throughout the entire master program.
    [Show full text]
  • Romanticism Free
    FREE ROMANTICISM PDF David Stevens | 130 pages | 01 Mar 2004 | CAMBRIDGE UNIVERSITY PRESS | 9780521753722 | English | Cambridge, United Kingdom Romanticism Movement Overview | TheArtStory If you're seeing this message, it means we're having trouble loading external resources on our website. To log in and use all the Romanticism of Romanticism Academy, please enable JavaScript in your browser. Donate Romanticism Sign up Search for courses, skills, and videos. Europe - Skill Summary Legend Opens a modal. Romanticism—an introduction. A beginner's guide to Romanticism Opens a modal. Romanticism in France Opens a modal. Romanticism, Apotheosis of Homer Opens a modal. Ingres, La Grande Odalisque Opens a modal. Ingres, Princesse de Broglie Opens a modal. Ingres, Raphael and the Fornarina Opens a modal. Delacroix, Scene of the Massacre at Chios Opens a modal. Delacroix, The Death of Sardanapalus Opens a modal. Delacroix, Liberty Romanticism the People Opens Romanticism modal. Rude, La Marseillaise Opens Romanticism modal. Ingres, La Grande Odalisque Get 3 of 4 questions to level up! Delacroix, Liberty Leading the People Get 4 of 5 questions to level up! Romanticism in France Get 7 of 10 questions to Romanticism up! Goya, And there's nothing to be done from the Disasters of War Opens a modal. Art historical Romanticism paintinga basic introduction using Goya's Third of May, Opens a modal. Goya, Third of May, Opens Romanticism modal. Goya, The Third of May Get 4 of 5 questions to level up! England Blake and Romanticism. Romanticism and the Victorian Era Opens a modal. Henry Fuseli, The Romanticism Opens Romanticism modal. Fuseli, Titania Romanticism Bottom Opens a modal.
    [Show full text]
  • Romanticism in Historical Perspective Author(S): Lilian R
    Romanticism in Historical Perspective Author(s): Lilian R. Furst Reviewed work(s): Source: Comparative Literature Studies, Vol. 5, No. 2 (Jun., 1968), pp. 115-143 Published by: Penn State University Press Stable URL: http://www.jstor.org/stable/40467744 . Accessed: 16/02/2012 09:05 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Penn State University Press is collaborating with JSTOR to digitize, preserve and extend access to Comparative Literature Studies. http://www.jstor.org Romanticism in HistoricalPerspective LILIAN R. FÜRST ABSTRACT This articlegives a chronologicalsurvey of theemergence of theRoman- ticmovements in England,France, and Germany.The spreadof new ideas is tracedfrom country to countryin thesuccessive waves of Romanticwrit- ingbetween 1750 and 1830.The principalaim is to ascertainthe correct sequenceand historicalperspective; for by recognizingthat Romanticism wasnot a simultaneousoutburst, but rather a seriesof distinctupsurges, a sounderbasis is establishedfor the exploration of themaze of similarities and differenceslinking the Romantic movements in Europe.[L. R. F.] No
    [Show full text]