Chapter12romanticism
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Romanticism emerged in the late 18th century as a reaction against the ideals of the Enlightenment and Industrial Revolution. It valued emotion, nature, and the individual. Key figures included the English poets William Wordsworth and Lord Byron, the painters J.M.W. Turner and Caspar David Friedrich who depicted nature romantically, and composers such as Beethoven, Berlioz, and Wagner who incorporated programmatic elements into their music. The movement also saw a rise in nationalism across Europe and expressions of political liberty.
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Chapter12romanticism
- 1. ROMANTICIS M Nature, Passion, and the Sublime William Blake (1757-1827), God Creating the Universe (Ancient of Days), frontispiece of Europe: A Prophecy, 1794. Metal relief etching, hand- colored with watercolor and gouache, 12 1/4" x 9 1/2". •aesthetic style, and an attitude of mind. •revolt against conventional and authority, and a search for freedom in personal, political, and artistic life. •19-20th century.
- 2. HERALDS OF ROMANTICISM •Napoleon: Romantic Hero Jacques-Louis David. Napoleon at Saint Bernard Pass, 1800. Oil on canvas., 8' x 7' 7". Musée National du Château de Versailles •Napoleon Bonaparte •1799 (age 30) general seized control of the government of France. •“The Revolution is ended,”, •Proclaimed himself emperor in 1804. •”
- 3. GROS Antoine-Jean (Baron) (1771-1835) General Bonaparte on the bridge at Arcole, 17 November, 1796 Versailles, Musée National du Château
- 4. DAVID Jacques Louis (1748-1825) The sacre or coronation of the Emperor Napoleon I Paris, Musée du Louvre
- 6. Charles Darwin (1809-1882) Darwin explained the process by which evolution occurs. LITERATURE DARWIN’S ORIGIN OF SPECIES
- 7. Based on a 16th century German Legend. JOHANN WOLFGANG VAN GOETHE (1749-1832) FAUST
- 8. Mystical view of nature, God, and humankind. Deeply spiritual, he claimed “to see nature in a grain of sand, and heaven in a wild flower”. designed, illustrated, engraved, and hand – coloring each page. William Blake (1757-1827), The Tyger, ca. 1815-1826. Etching, ink and watercolor, 11 x 4 in. © British Library. WILLIAM BLAKE (1757- 1827),
- 11. William Blake the Great Red Dragon and the Beast from the Sea, 1805
- 12. ROMANTIC LITERATURE ENGLISH POETS William Wordsworth (1770-1850) Lyrical Ballads 1798 marked the romantic movement in England developed a love of nature, a theme reflected in many of his poems. 'The Rime of the Ancient Mariner’- The poems were greeted with hostility by most critics. 'I Wandered Lonely as a Cloud'
- 13. ROMANTIC LITERATURE ENGLISH POETS Shelley (1792-1822) “Ode to the West Wind” 1819 appeals to the wind – a symbol of restless creativity- to drive his visions throughout the universe.
- 14. Keats (1795-1821) “Ode on a Grecian Urn” 1818
- 15. ROMANTIC LITERATURE ENGLISH POETS Lord Byron (1788-1824) Childe Harold’s Pilgrimage (1819) Don Juan (1819-1824) flamboyant personality Dedicated to pleasures of the senses, he was equally impassioned by the ideals of liberty and brotherhood..
- 16. THE FEMALE VOICE Jane Austen (1775-1817) Sense and Sensibility 1811 love, romance, and heartbreak for three sisters set in England.
- 17. THE FEMALE VOICE Emily Bronte (1818-1848) Wuthering Heights 1847 A story of Revenge Her only Novel
- 18. THE FEMALE VOICE Charlotte Bronte (1816-1855) Jane Eyre 1855 Love lost and found. Semi-autobiographical
- 19. THE FEMALE VOICE Mary Wollstonecraft Shelley FRANKENSTEIN 1818
- 20. ABOLITIONIST LITERATURE – ANTISLAVERY NOVELS Harriet Beecher Stowe, Uncle Tom’s Cabin 1852
- 21. ABOLITIONIST LITERATURE – ANTISLAVERY NOVELS Douglass – Narrative of the life of Frederick Douglass - An American Slave 1845 Most famous of a number of narratives written by former slaves during the same period
- 22. ROMANTICISM IN THE VISUAL ARTS The Romantic Landscape John Constable (1776–-1837),“Painting is with me but another word for feeling.” John Constable (1776–1837), Wivenhoe Park, Essex, 1816. Oil on canvas, 22 1/8 in. x 3 ft. 3 7/8 in
- 23. John Constable, Salisbury Cathedral from the Bishop's Garden, 1820. Oil on canvas, 2' 10" x 3' 8". The Metropolitan Museum of Art, Bequest of Mary Stillman Harkness, 1950 (50.145.8). Photograph © 1992 The Metropolitan Museum of Art
- 25. Rendered nature as vast and powerful J.M.W. Turner (1775–1851), Interior of Tintern Abbey, 1794. Watercolor, 12 5/8 x 9 7/8 in. © The Board of Trustees of the Victoria and Albert Museum, London. J.M.W. TURNER (1775-1851),
- 27. J.M.W. Turner (1775–1851), Snowstorm: Steamboat off a Harbour's Mouth, 1842. Oil on canvas, 3 x 4 ft. © Tate, London 2009. •FOR HIS LARGE SIZED CANVASES, HE SEIZED UPON NATURAL DISASTERS.
- 28. In dozens of canvases that he never dared to exhibit, he all but abandoned recognizable subject matter These experiments in light and color anticipated those of the French impressionist by more than three decades. Joseph Mallord William Turner (1775–1851), The Fighting "Temeraire" Tugged to Her Last Berth to Be Broken Up, 1838. Oil on canvas, 35 4/5 x 49 1/5 in.
- 29. JEAN-BAPTISTE- CAMILLE COROT (1796-1875), Brought to his landscapes a breathtaking sense of harmony and tranquility They were recollections of previous visual experiences rather than on the spot accounts.
- 30. Compare Landscapes, West and East Shen Zhou, Poet on a Mountain Top Katsushika Hokusai, Mount Fuji Seen Below a Wave at Kanagawa
- 31. He achieved a dramatic mood. Thomas Cole (1801-1848), The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 51 1/2" x 76". The Metropolitan Museum of Art, New York. THOMAS COLE (1801-1848) (AMERICAN)
- 32. ALBERT BIERSTADT (1830–-1902), Albert Bierstadt (1830–1902), The Rocky Mountains, Lander's Peak. 1863. Oil on canvas, 6' 1 1/4" x 10' 3/4". The Metropolitan Museum of Art, New York, He was intrigued by America’s drive to settle the West. American garden of Eden
- 33. ALBERT BIERSTADT Albert Bierstadt (1830–1902), Sunrise, Yosemite Valley, ca. 1870. Oil on canvas, 36 1/2 x 52 3/8”. Amon Carter Museum, Fort Worth, Texas
- 34. George Catlin, White Cloud, Head Chief of the Iowas, 1844-1845. Oil on canvas, 28" x 22 7/8". Image © Board of Trustees, National Gallery of Art, Washington, DC, Paul Mellon Collection. 1965.16.347. AMERICAN PAINTING •George Catlin, (1796- 1872) •1830’s he went to live among the Native Americans of the great plains.
- 35. THE POPULAR HERO: GOYA AND GÉRICAULT FRANCISCO GOYA (1746-1828)
- 36. BRAVE DEEDS AGAINST THE DEAD Francisco Goya (1746–1828) , Brave Deeds Against the Dead, from the "Disasters of War" series, ca. 1814. Etching, 6 x 8 1/4 in. A shocking record of the inhuman cruelty of Napoleon's troops. Goya immortalized the history of the French occupation of Spain in a landmark series of etchings known as The Disasters of War.
- 37. Francisco de Goya y Lucientes (1746–1828) . Chronos Devouring One of His Children, c. 1820-1822. Wall painting in oil on plaster (since detached and transferred to canvas), 57 7/8" x 32 5/8". Museo del Prado, Madrid. Scala/Art Resource, NY. CHRONOS DEVOURING ONE OF HIS CHILDREN
- 38. Francisco de Goya y Lucientes, The Family of Charles IV, 1800. Oil on canvas, 9 ' 2" x 11'. Prado, Madrid. Erich Lessing/Art Resource, NY. FRANCISCO DE GOYA (1746-1828)
- 39. The painting that brought Gericault instant THÉODORE GÉRICAULT (1791-1824),
- 40. Théodore Géricault, Raft of the Medusa, diagram showing eye movement toward focal point
- 41. EUGENE DELACROIX (1798-1863) THE DEATH OF SARDANAPALUS OIL ON CANVAS, 1827, 496 X 392 CM
- 43. EUGENE DELACROIX (1798-1863) Transformed a contemporary event (the Revolution of 1830), into a heroic allegory of the struggle for human freedom.
- 44. Auguste Bartholdi and Alexandre-Gustave Eiffe.Statue of Liberty, New York, 1875 – 84. National Park Service/Richard Frear Eugène Delacroix (1798–-1863), Liberty Leading the People, 1830 COMPARE LIBERTY A hallmark of Delacroix’s style is pictorial license.
- 45. Alexandre-Gustav Eiffel, diagram of the construction of the Statue of Liberty, 1875-1884. Paris.
- 46. This sculpture embodied the dynamic heroism of the Napoleon era ROMANTIC SCULPTURE
- 47. ROMANTIC ARCHITECTURE Sir Charles Barry and Augustus W. N. Pugin, Houses of Parliament, London, 1836-1870. Length 940'. © akg-images/Jürgen Raible. London’s Houses of Parliament are a landmark example of neomedievalism. The revival of the Gothic style assumed landmark proportions
- 48. John Nash, Royal Pavilion, Brighton, England, 1815-1818. © Angelo Hornak Library. Romantic architecture also drew inspiration from the “exotic” East.
- 49. Ferdinand Georg Waldmuller, Ludwig van Beethoven, 1823. Oil on canvas, approx. 28 1/3"" x 22 5/6"". Archiv Breitkopf and Hartel, Leipzig, Germany. Original destroyed in World War II. THE SYMPHONY: BEETHOVEN Symphonies: made use of strong contrasts, of loud and soft sound, the scherzo, and dramatic motifs.
- 50. Andrew Geiger, A Concert of Hector Berlioz in 1846, 1846. Engraving. Musee de l'Opera, Paris, France/ The Bridgeman Art Library. PROGRAM MUSIC: BERLIOZ Of nineteenth- century music, the orchestra grew to grand proportions.
- 52. Frederic Chopin (1810-1849) Polish born- Chopin became the acclaimed pianist of the Paris salons. Close friend of Delacroix PIANO MUSIC: CHOPIN
- 53. THE ROMANTIC BALLET Jean-Louis-Charles Garnier, façade of the Opéra, Paris, 1862-1875, night view. Spectrum Colour Library, London. •Ballet gained immense popularity in the romantic era.
- 54. While the great ballets of Tchaikovsky brought fame to Russia toward the end of the 1800’s, it was in 19th century Paris the romantic ballet was born J.L. Charles Garnier (1825–1898), Grand Staircase of the Opéra, Paris. Engraving, 1880. Bibliotheque Nationale, Paris.
- 55. In Paris, in 1830 the Italian-born prima ballerina Maria Taglioni (1804-1884) perfected the art of dancing “on the toes”. Maria Taglioni in her London debut of 1830. Color lithograph. Bibliothèque Nationale, Paris. THE ROMANTIC BALLET
- 56. GRAND OPERA AND MUSIC-DRAMA Metropolitan Opera production of Wagner's The Rhinegold from The Ring of the Nibelung. Photo: Johan Elbers © 2003. Verdi (1813-1901) The leading Italian composer of the romantic era.
- 57. GRAND OPERA AND MUSIC-DRAMA Wagner (1813-1883) Music-Drama is a unique synthesis of sound and story
- 58. Display piece. Yoruba. Early 20th century. Cloth, basketry, beads, fiber; height 41 3/4". The British Museum, London. BEYOND THE WEST: EXPLORING AFRICA •The nineteenth century was an important time in African history. • African music and literature came to be recorded. •Africans produced some of their most notable textile and beadwork artifacts. •medical advances against malaria permitted increased contact with Western explorers.
- 59. Kente cloth, from Ghana. Asante culture, mid-20th century. Cotton, 79 1/4" x 45“.. BEYOND THE WEST: AFRICA Yoruba-style beaded crown, nineteenth century. Beads and mixed media,
- 60. The end.
- 62. Industrial Revolution The scientific Revolution of the seventeenth century brought with it advances in methods and technology that would feed directly into the Industrial Revolution.
Editor's Notes
- The term “romanticism” describes three related developments: first, in the history of Western culture it was a movement that spanned the late 18th century well into the 20 th century, but dominated the early nineteenth century. As a movement, romanticism reacted against the impersonality and social ills of the industrial Revolution, and more generally against academic convention and authority. Second, as an attitude of mind, romanticism involved a search for free, imaginative expression in personal ,political , and artistic life. Opposed to the rationalism of the Enlightenment , romantics prized intuition and the emotions as vital to creative experience. Romantics glorified the self as hero and looked to nature as a source of divine inspiration. Finally as a style romanticism embraced spontaneity as a source of divine inspiration and imagination in place of neoclassical formality and intellectual discipline. The rebels of their age, romantic artist freed themselves from exclusive dependence on the patronage of the church and the aristocratic court; they indulged a passionate individualism that often alienated them from society. Romantic authors generally exalted nature and made it a prominent subject of their writing. For poets such as Wordsworth, contemplating nature was a means of approaching the sublime, a transcendent quality that they tried to capture in their work. Analyze the excerpt from Wordsworth's Lyrical Ballads in the textbook (p. 330). What metaphors does Wordsworth make use of in this fragment? Are his metaphors in this piece direct, indirect, implied, or personified? Have any of his metaphors grown so timeworn as to become clichés? Compare the language in this poem with that of the American romantics Emerson (p. 334), Thoreau (p. 335), and Whitman (p. 335). How do the views of nature expressed by these American authors compare with that expressed by Wordsworth? Which of the authors most successfully employs metaphors to express meaning? Did any of the nineteenth-century authors succeed in capturing the essence of the sublime in their writings?
- For 10 years he pursued a policy of conquest. He abolished serfdom, expropriate Church possessions, curtailed feudal privileges, and introduce French laws, institutions and influence. Paintings as propaganda. Napoleon, the first of the modern European dictators, became the 19th century's first romantic hero, glorified in numerous European poems and paintings, and especially in the majestic portraits of Jacques-Louis David, his favorite artist.
- The first emblematic image of the Napoleonic myth, this painting exalts the virtues of the military leader, as embodied by the young General Bonaparte at the head of the Armée d'Italie. In reality, Arcole bridge was not crossed. But that is not important. Here the artist glorifies the episode and makes it part of the legend. Drive, courage, overpowering will pour out of this edgy yet passionate picture. Gros had in fact been present at the Battle of Arcole, and thanks to the intervention of Josephine, he managed to get Bonaparte in Milan to sit for him several times. What Gros highlights is the image of Bonaparte as the providential saviour, the conquering hero who leads his troops, sabre in hand, seizing victory through his bravery alone.
- An ambitious composition representing the coronation, which took place on 2 December, 1804, in Notre-Dame cathedral, this canvas took three years of detailed work to complete. David, who had in 1804 received the title of «Premier Peintre de l'Empereur», created a monumental group portrait in which everything conspires to push the viewer's attention towards the central scene. It is in fact the coronation of Josephine, not that of Napoleon, which is the subject of the painting. The harmony of the composition is remarkable, with the figures set either side of the large central gold cross. The huge size of the work (six metres tall by ten metres wide) made it possible to indulge in the remarkable luxury of painting identifying features for each character – even for Madame Mère, who though absent from the ceremony nevertheless dominates the foreground of tribune! In expressing his satisfaction for the painting, Napoleon is said to have remarked: "This is not painting; you walk in this work".
- His ambitions were heroic, his military campaigns, were stunning. Having conquered Italy, Egypt, Austria, Prussia, Portugal, and Spain, he pressed on to Russia where , in 1982, bitter weather and lack of food forced his armies to retreat, Only 100,000 of his army of 600,000 survived, In 1813, a coalition of European posers forced his defeat and exile to the island of Elba off the coast of Italy. A second and final defeat occurred after he escaped in 1814, raided a new army, and met the combined European forces led by the English duke of Wellington at the Battle of waterloo in 1815. The fallen hero spent the last years of his life in exile on the barren island of Saint Helena off the west coast of Africa.
- The theory of evolution did not originate with Darwin, the French biologist Jean-Baptiste de Lamarck (1744-1829) had shown that fossils give evidence of perpetual change in all species. His theory of evolution by natural selection did not deny the idea of a divine Creator – But his theory implied that natural selection not divine will, governed the lineages of living things. (Not supported by the bible) Industrial Revolution The scientific Revolution of the seventeenth century brought with it advances in methods and technology that would feed directly into the Industrial Revolution.
- A traveling physician and a practitioner of black magic, Johann or Georg Faust was reputed to have sold his soul to the devil in exchange for infinite knowledge and personal experience. Faust is bored and depressed with his life as a scholar. After an attempt to take his own life, he calls on the Devil for further knowledge and magic powers with which to indulge all the pleasure and knowledge of the world. In response, the Devil's representative, Mephistopheles, appears. He makes a bargain with Faust: Mephistopheles will serve Faust with his magic powers for a set number of years, but at the end of the term, the Devil will claim Faust's soul, and Faust will be eternally enslaved. During the term of the bargain, Faust makes use of Mephistopheles in various ways. In Goethe's drama, and many subsequent versions of the story, Mephistopheles helps Faust seduce a beautiful and innocent girl, usually named Gretchen, whose life is ultimately destroyed when she gives birth to Faust's bastard son. Realizing this unholy act, she drowns the child, and is held for murder. However, Gretchen's innocence saves her in the end, and she enters Heaven after execution. In Goethe's rendition, Faust is saved by God via his constant striving—in combination with Gretchen's pleadings with God in the form of the eternal feminine. However, in the early tales, Faust is irrevocably corrupted and believes his sins cannot be forgiven; when the term ends, the Devil carries him off to Hell.
- As with the other poets he shared the romantic disdain for convention and authority. He embraced a more mystical view of nature, God ,and humankind. Deeply spiritual , he claimed “to see nature in a grain of sand, and heaven in a wild flower”. this divine vision he brought to his poetry and his paintings. His poetry was conceived along with visual images that he himself drew. He prepared all aspects of his individual works,
- he Great Red Dragon Paintings are a series of watercolour paintings by the English poet and painter William Blake, painted between 1805 and 1810.[1] It was during this period that Blake was commissioned to create over a hundred paintings intended to illustrate books of the Bible. These paintings depict 'The Great Red Dragon' in various scenes from the Book of Revelation. And behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth. — (Rev. 12:3-4, KJV)
- Wordsworth- this work marked the romantic movement in England. Shelley- he appeals to the wind – a symbol of restless creativity- to drive his visions throughout the universe. I wandered lonely as a cloud” Summary The speaker says that, wandering like a cloud floating above hills and valleys, he encountered a field of daffodils beside a lake. The dancing, fluttering flowers stretched endlessly along the shore, and though the waves of the lake danced beside the flowers, the daffodils outdid the water in glee. The speaker says that a poet could not help but be happy in such a joyful company of flowers. He says that he stared and stared, but did not realize what wealth the scene would bring him. For now, whenever he feels “vacant” or “pensive,” the memory flashes upon “that inward eye / That is the bliss of solitude,” and his heart fills with pleasure, “and dances with the daffodils.”
- At a Glance In the first canto, the speaker of the poem summons the West Wind, likening the leaves it blows off of the trees to diseased multitudes. He lingers on these images of death and disease in the first sections of the poem. Shelley divided the poem into five cantos of four tercets each. The first and second cantos express the speaker's awe in the fact of the destructive and beautiful powers of the wind. The third canto uses nature imagery to suggest that a major change is coming to Europe, and that people aren't prepared for the darkness and cold this change will bring. He is, of course, referring to winter and to the dark times that have descended on England. At the end of the poem, the speaker asks, "If Winter comes, can Spring be far behind?" This line suggests that there's some hope for England, which will one day free itself of the trappings of greed and corruption.
- Keats – wrote about the fleeting nature of life’s pleasures. He lost both his mother and brother to tuberculosis, and he died from it at 25. the threat of imminent death seems to have produced in Keats a heightened awareness of the virtues of beauty, love, and friendship. Keats was one of the most important figures of early nineteenth-century Romanticism, a movement that espoused the sanctity of emotion and imagination, and privileged the beauty of the natural world. Many of the ideas and themes evident in Keats’s great odes are quintessentially Romantic concerns: the beauty of nature, the relation between imagination and creativity, the response of the passions to beauty and suffering, and the transience of human life in time. The sumptuous sensory language in which the odes are written, their idealistic concern for beauty and truth, and their expressive agony in the face of death are all Romantic preoccupations—though at the same time, they are all uniquely Keats’s Taken together, the odes do not exactly tell a story—there is no unifying “plot” and no recurring characters—and there is little evidence that Keats intended them to stand together as a single work of art. Nevertheless, the extraordinary number of suggestive interrelations between them is impossible to ignore. The odes explore and develop the same themes, partake of many of the same approaches and images, and, ordered in a certain way, exhibit an unmistakable psychological development. This is not to say that the poems do not stand on their own—they do, magnificently; one of the greatest felicities of the sequence is that it can be entered at any point, viewed wholly or partially from any perspective, and still prove moving and rewarding to read. There has been a great deal of critical debate over how to treat the voices that speak the poems—are they meant to be read as though a single person speaks them all, or did Keats invent a different persona for each ode? There is no right answer to the question, but it is possible that the question itself is wrong: The consciousness at work in each of the odes is unmistakably Keats’s own. Of course, the poems are not explicitly autobiographical (it is unlikely that all the events really happened to Keats), but given their sincerity and their shared frame of thematic reference, there is no reason to think that they do not come from the same part of Keats’s mind—that is to say, that they are not all told by the same part of Keats’s reflected self. In that sense, there is no harm in treating the odes a sequence of utterances told in the same voice. The psychological progress from “Ode on Indolence” to “To Autumn” is intimately personal, and a great deal of that intimacy is lost if one begins to imagine that the odes are spoken by a sequence of fictional characters. When you think of “the speaker” of these poems, think of Keats as he would have imagined himself while writing them. As you trace the speaker’s trajectory from the numb drowsiness of “Indolence” to the quiet wisdom of “Autumn,” try to hear the voice develop and change under the guidance of Keats’s extraordinary language.
- Byron – was one of the most flamboyant personalities of the age. Dedicated to pleasures of the senses, he was equally impassioned by the ideals of liberty and brotherhood. Byron was the ideal of the Romantic poet, gaining notoriety for his scandalous private life and being described by one contemporary as 'mad, bad and dangerous to know'. George Gordon Noel, sixth Baron Byron, was born on 22 January 1788 in London. His father died when he was three, with the result that he inherited his title from his great uncle in 1798. Byron spent his early years in Aberdeen, and was educated at Harrow School and Cambridge University. In 1809, he left for a two-year tour of a number of Mediterranean countries. He returned to England in 1811, and in 1812 the first two cantos of 'Childe Harold's Pilgrimage' were published. Byron became famous overnight. In 1814, Byron's half-sister Augusta gave birth to a daughter, almost certainly Byron's. The following year Byron married Annabella Milbanke, with whom he had a daughter, his only legitimate child. The couple separated in 1816. Facing mounting pressure as a result of his failed marriage, scandalous affairs and huge debts, Byron left England in April 1816 and never returned. He spent the summer of 1816 at Lake Geneva with Percy Bysshe Shelley, his wife Mary and Mary's half sister Claire Clairmont, with whom Byron had a daughter. Byron travelled on to Italy, where he was to live for more than six years. In 1819, while staying in Venice, he began an affair with Teresa Guiccioli, the wife of an Italian nobleman. It was in this period that Byron wrote some of his most famous works, including 'Don Juan' (1819-1824). In July 1823, Byron left Italy to join the Greek insurgents who were fighting a war of independence against the Ottoman Empire. On 19 April 1824 he died from fever at Missolonghi, in modern day Greece. His death was mourned throughout Britain. His body was brought back to England and buried at his ancestral home in Nottinghamshire.
- Sense and Sensibility is a novel by Jane Austen, published in 1811. It was published anonymously; By A Lady appears on the title page where the author's name might have been. It tells the story of the Dashwood sisters, Elinor (age 19) and Marianne (age 16 1/2) as they come of age. They have an older, stingy half-brother, John, and a younger sister, Margaret, 13. The novel follows the three Dashwood sisters as they must move with their widowed mother from the estate on which they grew up, Norland Park. Because Norland is passed down to John, the product of Mr. Dashwood's first marriage, and his young son, the four Dashwood women need to look for a new home. They have the opportunity to rent a modest home, Barton Cottage, on the property of a distant relative, Sir John Middleton. There they experience love, romance, and heartbreak. The novel is likely set in southwest England, London and Sussex between 1792 and 1797.[1] The novel, which sold out its first print run of 750 copies in the middle of 1813, marked a success for its author. It had a second print run later that year. It was the first Austen title to be republished in England after her death, and the first illustrated Austen produced in Britain, in Richard Bentley's Standard Novels series of 1833. [2] The novel continued in publication throughout the 19th, 20th and early 21st centuries and has many times been illustrated, excerpted, abridged, and adapted for stage and film Context In 1811, Sense and Sensibility became the first published novel of the English author Jane Austen (1775-1817). The first version of the novel was probably written in 1795 as an epistolary novel (novel in letters) entitled "Elinor and Marianne." At this point, Austen was still living in the home of her father, George Austen, a local Anglican rector and the father of eight children. She rewrote the early manuscript in 1797-98 as a narrated novel and then further revised it in 1809-10, shortly after she moved with her mother and sister Cassandra to a small house in Chawton on her brother Edward's estate. In 1811, Thomas Egerton of the Military Library in Whitehall accepted the manuscript for publication in three volumes. Austen published on commission, meaning she paid the expenses of printing the book and took the receipts, subject to a commission paid to the publisher. The cost of publication was more than a third of her household's 460-pound annual income, so the risk was substantial. Nonetheless, the novel received two favorable reviews upon its publication, and Austen made a profit of 140 pounds off the first edition. When the first edition of Sense and Sensibility was published, it sold out all 750 copies by July 1813, and a second edition was advertised in October 1813. The first edition was said only to be "by a lady." The second edition, also anonymous, contained on the title page the inscription "by the author of Pride and Prejudice," which had been issued in January 1813 (though Austen had not been credited on the title page of this novel either). Only Austen's immediate family knew of her authorship of these novels. And although publishing anonymously prevented her from acquiring an authorial reputation, it also enabled her to preserve her privacy at a time when entering the public sphere was associated with a reprehensible loss of femininity. Indeed, Austen used to write at Chawton behind a door that creaked when visitors approached; she would avail herself of this warning to hide her manuscript before they entered. Austen may have wanted anonymity not only because of her gender and a desire for privacy, but because of the more general atmosphere of repression pervading her era: her early writing of Sense and Sensibility coincided with the treason trial of Thomas Hardy and the proliferation of government censors as the Napoleonic War progressed. Whatever the reasons behind it, Austen's anonymity would persist until her death until 1817. Contemporary critics of Austen's novels tended to overlook Sense and Sensibility in favor of the author's later works. Mansfield Park was read for moral edification; Pride and Prejudice was read for its irony and humor; and Emma was read for its subtle craft as a novel. Sense and Sensibility did not fall neatly into any of these categories, and critics approached it less eagerly. However, although the novel did not attract much critical attention, it sold well, and helped to establish "the author of Pride and Prejudice" as a respected writer
- 19th century was the first great age for female writers. Bronte – 19th century family life and romantic love. Austen – wittily attacks sentimental love and romantic rapture. First realist in the English novel-writing tradition. Shelley was the daughter of feminist writer Mary Wollstonecraft
- Stowe – stirred up public sentiment against the brutality and injustice of the system. Originally printed in an antislavery newspaper, her book sold over one million copies within a year.. The Story of Uncle Tom Uncle Tom's Cabin begins with the daring escape of the young slave woman, Eliza, and the sale of the kindly, middle-aged slave, Tom, to settle the debts of his 'master,' a struggling Kentucky farmer. As Eliza struggles to make her way to freedom in Canada, Tom is sent downriver on a riverboat, where he meets and becomes fast friends with the angelic white child, Eva. Eva's father, St. Clare, 'purchases' Tom from the slave trader and is taken to the St. Clare home in New Orleans, where he lives for two years. Then, the frail, too-good-to-be-true Eva falls ill and dies, but not before experiencing a vision of heaven that makes everyone around her vow to do better and be better on this earth. But such promises are not easy to keep, especially when things go from bad to worse. St. Clare is killed and St. Clare's wife reneges on her late husband's promise to free Tom. Instead, she sells him to probably the most vile creature in all of American literature, the despicably cruel slave trader, Simon Legree. Legree takes Tom to his plantation in Louisiana, where Tom befriends the other slaves and witnesses the merciless brutality of Legree. He tries to hold on to his own faith and be a source of support and hope for the others, but this only infuriates Legree, making Tom that much more of a target for Legree's maliciousness. When Tom encourages and helps two of Legree's slaves, Cassy and Emmeline, to escape, that's the last straw. Legree commands his overseers to beat Tom to death, but when, with his last breath, Tom forgives the men, they repent, becoming Christians now united in their rejection of slavery. As the novel ends, we find Eliza once again, who after a series of terrible hardships of her own finally made it to Canada. Eventually, Cassy and Emmeline meet up with her there, and it's discovered that Cassy is Eliza's long-lost mother, forced like so many slave women to give up her baby in infancy
- Narrative of the Life of Frederick Douglass is an 1845 memoir and treatise on abolition written by famous orator and former slave Frederick Douglass during his time in Lynn, Massachusetts. It is generally held to be the most famous of a number of narratives written by former slaves during the same period Douglass – taught himself how to read and write at an early age, he escaped bondage in Baltimore in 1838 and eventually found his way to New England, where he joined the Massachusetts antislavery Society.
- It was not until the 19th century that landscape became a primary vehicle for expressing artists’ personal feelings and shifting moods. Constable landscapes celebrate the physical beauty of the rivers, trees, and cottages of his native Suffolk countryside, even as they describe the mundane labors of its inhabitants. He found inspiraton in ordinary subjects.
- While Constable’s paintings describe nature as intimate and humble, the landscapes of his English contemporary Joseph Mallord William Turner render nature as vast and powerful. He began his career making topographic drawings of picturesque and architectural subjects; these he sold to engravers, who in turn mass produced and marketed them in great numbers. One of these early drawings, like this watercolor calls attention to the transience of worldly beauty and reflects the romantic artist’s nostalgia for the Gothic past.
- Corot shared the preference for working outdoors, but he brought to his landscapes a breathtaking sense of harmony and tranquility . He created luminescent landscapes that are intimate and contemplative. He called them souvenirs, that is , “remembrances,” to indicate that they were recollections of previous visual experiences, rather than on –the–spot accounts.
- Panorama and painstaking precision are features found in the topographic landscapes of the Hudson River school- a group of artists who worked chiefly in the region of upstate NY during the 1830’s and 1840’s. One of the leading figures of the Hudson River school was the British born Cole. He achieved a dramatic mood by framing the brightly lit hills and river of the distant vista with the darker thunderstorm and tree.
- Intrigued by America’s drive to settle the West, 19th century artists such as the German-born Bierstadt made panoramic depictions of that virginal territory. His landscape of the rocky Mountains, which includes a Native American encampment in the foreground, reflects his fascination with the temple like purity of America’s vast, rugged spaces along the western frontier. The isolated settlement, dwarfed and enshrined by snowcapped mountains , a magnificent waterfall, and a liking glass lake – all batted in golden light- is an American Garden of Eden, inhabited by tribes of unspoiled “noble savages.”
- He popularized the image of Native Americans as people who deeply respected nature and the natural worlds. He recorded their lives and customs in literature, as well as in hundreds of drawings and paintings. He popularized the image of Native Americans as people who deeply respected nature and the natural world. Beginning in the 1830’s under pressure from the United States government tribes were forced to cede their homelands and their hunting grounds to white settlers and to move into unoccupied lands in teh American West.
- Horrified by the guerrilla violence of the French occupation, he became a bitter social critic, producing some of the most memorable records of human warfare and savagery in the history of western art. This painting was Goya’s nationalistic response to the events ensuing from an uprising of Spanish suspects in the streets Madrid and brutally executed them in the city outskirts . Goya recorded the episode against a dark sky and an ominous urban skyline. In the foreground, an off-center lantern emits a triangular beam of light that illuminates the fate of the Spanish rebels: Some lie dead in pools of blood, while others cover their faces in fear an d horror. Goya invested the composition with imaginative force. His emphatic contrasts of light and dark, theatrical use of color, and graphic details heighten the intensity of a contemporary political event.
- “The disasters of War,” a series of etchings that Goya produced in the years of the French occupation of Spain. The gruesome prints have their source in historical fact as well as in Goya’s imagination. This print is a shocking record of the inhuman cruelty of Napoleon’s troops, as well as a reminder that the heroes of modern war are often its innocent victims.
- Saturn Devouring His Son is the name given to a painting by Spanish artist Francisco Goya. It depicts the Greek myth of the Titan Cronus (in the title Romanised to Saturn), who, fearing that his children would overthrow him, ate each one upon their birth. It is one of the series of Black Paintings that Goya painted directly onto the walls of his house sometime between 1819 and 1823. The work was transferred to canvas after Goya's death and now resides in the Museo del Prado in Madrid. In 1819, Goya purchased a house on the banks of Manzanares near Madrid called Quinta del Sordo (Villa of the Deaf Man). It was a small two-story house which was named after a previous occupant who had been deaf, although the name was fitting for Goya too, who had been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he left the house to move to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. At the age of 73, and having survived two life-threatening illnesses, Goya was likely to have been concerned with his own mortality, and was increasingly embittered by the civil strife occurring in Spain. Although he initially decorated the rooms of the house with more inspiring images, in time he overpainted them all with the intense haunting pictures known today as the Black Paintings. Uncommissioned and never meant for public display, these pictures reflect his darkening mood with some intense scenes of malevolence and conflict.[1]
- Originally he was a court painter for Charles IV of Spain.
- The painting that brought Gericault instant fame, The Raft of the “Medusa,” immortalized a dramatic event that made headlines in his own time: the wreck of a government frigate called the “Medusa” and the ghastly fate of its survivors. When the ship his a reef 50 miles off the coast of West Africa, the inexperienced captain. A political appointee, tried ignobly to save himself and his crew, who filled the few available lifeboats. Over a hundred passengers piled on to a makeshift raft. Which was to be towed by the lifeboats. Cruelly, the crew set the raft adrift, With almost no food and supplies, chances of survival were scant; after almost two weeks, in which most died and several resorted to cannibalism, the raft was sighted and fifteen survivors were rescued.
- Gericault ( a staunch opponent of the regime that appointed the captain of the “Medusa”) was so fired by newspaper reports of the tragedy that he resolved to immortalize it in paint. He interviewed the few survivors, made drawing of the mutilated corpses in the Paris morgue, and even had a model of the raft constructed in his studio. The result was enormous, both in size (the canvas measures 16 ‘ 1” x 23’6”) and in dramatic impact, This landmark painting elevated ordinary men to the position of heroic combatants in the eternal struggle against the forces of nature and celebrated their collective heroism in confronting deadly danger.
- A melancholic and an intellectual, Delacroix prized the imagination as “paramount” in the life of the artist, “ Strange as it may seem,” he observed in his journal, “the great majority of people are devoid of imagination. Not only do they lack the keen, penetrating imagination which would show them to see objects in a vivid way- that could lead them, as it were, to the very root of things-but they are equally incapable of any clear understanding of works in which imagination predominates.” Arab influence. Delacroix loved dramatic narrative; he favored sensuous and violent subjects drawn from contemporary life, popular literature, and ancient and medieval history. A six-month visit to Morocco, neighbor of France’s newly conquered colony of Algeria, was to have a lifelong impact on his interest in exotic subjects and his love of light and color, He depicted the harem women Islamic Africa recorded the poignant and shocking results of the Turkish massacres in Greece. His paintings of human and animal combat are filled with fierce vitality. Such works are faithful to his declaration, “I have no love for reasonable painting.”
- Goya - Horrified by the guerrilla violence of the French occupation, he became a bitter social critic, producing some of the most memorable records of human warfare and savagery in the history of western art. Wagner - He wrote his own librettos (the words in a opera) and composed scores that brought to life the fabulous events and personalities featured in German folk tales and legends.
- When King Charles X (1757-1836) dissolved the French legislature and took measures to repress voting rights and freedom of the press, liberal leaders, radicals, and journalists rose in rebellion. Delacroix envisioned this rebellion as a monumental drama with a handsome, bare-breasted female-the personification of liberty- leading a group of French rebels through the narrow streets of Paris and over barricades strewn with corpses. A bayonet in one had and the tricolor flag of France in the other, Liberty presses forward to challenge the forces of tyranny She is champion of “the people” : the middle class, as represented by the gentleman in a frock coat; the lower class, as symbolized by the scruffy youth carrying pistols: and racial minorities, as conceived in the black saber-bearer at the left. She is, moreover, France itself, the banner-bearer of the spirit of nationalism that infused 19th century European history.
- A hallmark of his style, and romantic painting in general, was pictorial license- the artist’s freedom to romanticize form and content, In Here for instance, the nudity of the rebel in the left foreground had no basis in reality- it is uncommon to lose one’s trousers in combat – however, the detail serves to emphasize human vulnerability and the imminence of death in battle, “ The most sublime effects of every master,” argued Delacroix, “ are often the result of pictorial license… Mediocre painters never have sufficient daring, they never get beyond themselves.” Delacroix’s Liberty instantly became a symbol of democratic aspirations. In 1884 France sent as a gift of friendship to the young American national monumental copper and cast-iron statue of an idealized female bearing a tablet and a flaming torch. Designed by Frederic-Auguste Bartholdi the Statue of Liberty is the “sister” of Delacroix's painted heroine; it has become a landmark of freedom for oppressed people everywhere.
- In sculpture as in painting, heroic subjects served the cause of nationalism
- Romantic Architecture: the taste for medieval and other remote or exotic styles, Neomedievalism – the revival of medieval culture- served the ideals of nationalism, exalting the state by patriotic identification with the past.
- Scherzo - a lively and often playful or humorous movement in a musical composition, usually the third of four
- Tchaikovsky – Swan Lake, The Nutcracker, and sleeping Beauty
- Romantic ballets such as La sylphide derived their plot lines from fairy tales and folk legends.
- Wagner wrote his own librettos (the words in a opera) and composed scores that brought to life the fabulous events and personalities featured in German folk tales and legends.