sayre2e ch27 integrated_lecture_pp_ts-150668

Eugène Delacroix. Liberty Leading the People. 1830.8’ 6" × 10’ 7”.

J. M. W. Turner. Interior of Tintern Abbery. 1794.12-5/8" × 9-7/8”.

Map: Romantic England.

The Early Romantic Imagination

What is Romanticism?

• The Ideal of the Romantic: William Wordsworth’s “Tintern Abbey” — This poem can be taken as one of the fullest statements of the Romantic imagination and argues that in experiencing the beauty of nature, the imagination dissolves all opposition.

• A Romantic Experiment: Lyrical Ballads — Although published anonymously, this work was co-written by Wordsworth and Coleridge and included “Tintern Abbey.”

• Romanticism as a Voyage of Discovery: Samuel Taylor Coleridge — Coleridge’s “Rime of the Ancient Mariner” was also included in Lyrical Ballads. The supernatural and mystical character of his imagination helped to define Romantic art as a voyage of discovery.

• Classical versus Romantic: The Odes of John Keats — An ode is a poem of exaltation, exhibiting deep feeling and Keats represents the essence of Romantic poetry. “Ode to a Nightingale” and Ode on a Grecian Urn” typify this form.

What are the “classical” components in the verse and thought of Keats’ Ode on a Grecian Urn (Reading 27.7)?

John Constable. Landscape and Double Rainbow. 1812.13-1/4" × 15”.

Closer Look: William Wordsworth, The Rainbow.

MyArtsLabChapter 27 – The Romantic World View

John Constable. The Stour Valley and Dedham Village. 1814.21-3/4" × 30-3/4”.

The Romantic Landscape

How does landscape painting reflect a Romantic worldview?

• John Constable: Painter of the English Countryside — Tension between the timeless and the more fleeting aspects of nature deeply informs the paintings of Constable.

• Joseph Mallord William Turner: Colorist of the Imagination — Turner freely explored what he called “the colors of the imagination.” Earth and vegetation seem to dissolve into light and water.

• The Romantic in Germany: Friedrich and Kant — Friedrich represents the imaginative capacities of the Romantic mind by placing figures, often solitary ones, before sublime landscapes. Some Romantic sentiments were expressed by Kant in Critique of Pure Reason.

• The American Romantic Landscape — In America, the Romantic landscape was literally shaped by the presence of vast tracts of wilderness. Thomas Cole’s works The Oxbow and Twilight in the Wilderness exemplify the power of the landscape genre.

What is specifically “American” about the landscapes of Cole?

John Constable. Willy Lott’s House, East Bergholt. ca. 1820.9-7/8" × 11-1/8”.

John Constable. The Hay Wain. 1821.51-3/8" × 73”.

J. M. W. Turner. The Upper Falls of the Reichenbach. ca. 1810-15.10-7/8" × 15-7/16”.

J. M. W. Turner. The Fall of an Avalanche in the Grisons. 1810.35-5/8" × 47-1/4”.

J. M. W. Turner. Snow Storm—Steam-Boat off a Harbour’s Mouth. 1842.36" × 48”.

Caspar David Friedrich. Monk by the Sea. 1810.47-1/2" × 67”.

Closer Look: The Sublime, the Beautiful, and the Picturesque: Tintern Abbey. Wye Valley, Monmouthshire, Wales.

Hubert Robert. Closer Look: The Sublime, the Beautiful, and the Picturesque: Pyramids. ca. 1750.

24" × 28-1/2”.

Caspar David Friedrich. The Wanderer above the Mists. 1817-18.37-1/4" × 29-1/2”.

Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). 1836.

4’ 3-1/2" × 6’ 4”.

Closer Look: Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, After a Thunderstorm)

Frederic Edwin Church. Twilight in the Wilderness. 1860.40" × 60”.

Transcendentalism and the American Romantics

What is Transcendentalism?

• The Philosophy of Romantic Idealism: Emerson and Thoreau — Emerson wrote Nature which became a beacon for the “Transcendental Club” who took their name from Schelling who argued that scientific observation and artistic intuition were complementary, not opposed.

Is a specific “American” character reflected in Transcendentalism?

Title page of Henry David Thoreau's Walden, or Life in the Woods, 1854 (first edition). 1854.

Romanticism’s Darker Realities

What are the characteristics of the Romantic hero?

• The Romantic Hero — Ultimately, Napoleon was the personification of the Romantic hero: a man of common origin who had risen to dominate the world stage. Hegel and Carlyle introduced the notion of the dialectic and the “Great Man” theory, respectively. Lord Byron and the poet Shelley championed free will, goodness, and idealism in the face of oppression. All these figures related to the story of Prometheus. Goethe created two Romantic characters, Werther and Faust

Baron Antoine-Jean Gros. Napoleon in the Pesthouse at Jaffa. 1804.17’ 5" × 23’ 7”.

Thomas Phillips. Lord Byron, Sixth Baron, in Albanian Costume. 1835.29-1/2" × 24-1/2”.

Theodor M. von Hulst. Illustration from Frankenstein by Mary Shelley. 1831.

J. H. W. Tischbein. Johann Wolfgang von Goethe in the Roman Campana. 1787.

64-1/2" × 81”.

Eugène Delacroix. Mephistopheles appearing to Faust in his Study. Illustration for Goethe’s Faust. 1828.

10-3/4" × 9”.

Goya’s Tragic Vision

What experiences shaped Goya’s worldview?

• Goya before Napoleon: Social Satire — Goya was angered at the abandonment of reform by Charles III and produced a series of prints called the Caprichos depicting the follies of Spanish society.

• The Third of May, 1808: Napoleon’s Spanish Legacy — The Spanish population rose against Napoleon and on this date hundreds of Spaniards were executed outside of Madrid. This work is one of the greatest testaments to the horrors of war.

• The Black Paintings — as an old man Goya retreated to a house outside of Madrid where he executed a series of 14 oil paintings directly on the plaster walls. Saturn Devouring One of His Children is one work depicting a sense of despair, isolation, and loneliness.

Discuss Goya’s progression from social satire to his later “Black Paintings.”

Francisco Goya. The Sleep of Reason Produces Monsters, from the series Los Caprichos. 1796-98.

8-1/2" × 6”.

Closer Look: Francisco Goya, The Sleep of Reason Produces Monsters.

Francisco Goya. The Third of May, 1808. 1814-15.8’ 9-1/2" × 13’ 4-1/2”.

Francisco Goya. Grande hazara! Con muertos! (Great courage! Against corpses!), from the series The Disasters of War, no. 39. 1810-14.

Francisco Goya. Saturn Devouring One of His Children. 1820-23.57-7/8" × 32-5/8”.

Herman Melville: The Uncertain World of Moby Dick

What insight lies at the heart of Herman Melville’s novel Moby Dick?

• Melville also found a dark expression of the Promethean hero in this novel. The white whale symbolizes both good and evil, as well as elements of the natural world that cannot be controlled by humans– that are truly wild.

J. M. W. Turner. The Whale Ship. ca. 1845.36-1/8" × 48-1/4”.

Beethoven and the Rise of Romantic Music

What is Romantic music?

• Early Years in Vienna: From Classicism to Romanticism — The Promethean hero was also reflect in the music of Beethoven, the key figure in the transition from the classical to the Romantic era.

• The Heroic Decade: 1802-1812 — Beethoven became increasingly deaf which spurred him to greater creativity. His sense of self-sufficiency, of an imagination turned inward, guided by an almost pure state of subjective feeling, lies at the very heart of Romanticism. His Third Symphony, the Eroica, expresses this new style.

• The Late Period: The Romantic in Music — Beethoven’s Ninth Symphony is a statement of faith in humanity, a utopian vision. His final piano sonatas present a form of theme and variations.

• Romantic Music after Beethoven — The symphonies composed by Berlioz are notable for their inventiveness and novelty and emphasize overwhelming emotion, passions, and otherworldly scenes. Mendelssohn felt that the meaning of music lies in the music itself. Schubert and the Schumanns did not concentrate on the symphonic form. They chose to set poetry to music called lieder. Chopin performed at salon concerts. The Fantasie impromptu showcases the expressive range of Chopin which combined impulsive creativity and imaginary and fantastical effects.

Carl Schütz. Neuer Markt (“New Market”), Vienna.

Musical Notation: Beethoven's First Symphony: opening four-note motif.

Active Listening Guide: Schumann: Widmung

Joseph Carl Stieler. Portrait of Beethoven. 1820.24-3/8" × 19-3/8”.

Active Listening Guide: Berlioz: Symphonie Fantastique, I

Andrew Geiger. A Concert of Hector Berlioz in 1846. 1846.

Active Listening Guide: Mendelssohn: Concerto for Violin and Orchestra in E Minor, I

Eugène Delacroix. Portrait of Frédéric Chopin. 1838.18-3/4" × 14-3/4”.

Théodore Géricault. Continuity & Change: Portrait of an Insane Man. 1822-23.

24" × 19-3/4”.

sayre2e ch27 integrated_lecture_pp_ts-150668

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