Romanticism ca. 1780-1880, Realism, Late 19th C HOA106 Test two

Jean Auguste Dominique Ingres, The Turkish Bath, ca. 1860 romanticism exoticism- escape to the east the invention of the steam engine allowed travel to eastern lands, whose customs inspired Romantic escapist fantasies.

.. was in this class but i don't know if she talked about this earlier.....

I. Ideas of Realism A. Industrialism 2. Steam engine, coal, iron, the railroad

2. Steam engine, coal, iron, the railroad - Expansion of railroad with steel. 3. Synthetic colors a. First synthetic dye, mauve, made from coal tar in 1856. - Chemicals and colors coming from the industrial revolution; bringing colors people have never seen before. 19th C chemical reactions were bringing forth colors artists could never have used before this they didn't exist. First was mauve. Named after the guy that made this chemical reaction.

Wagner, Siegfried's Funeral March, 1876

4. The musical virtuoso Romanticism i. Depiction, in music, of the heroic funeral of the hero Siegfried, from Wagner's four-part music drama The Ring of the Nibelung

Realism Painting

A. Realism was a reaction against Romantic escapism. - Artists used different ways to be social activists. 1. No sentimentality, objective, un-idealized 2. Representation of reality in all its starkness and ugliness 3. Emphasis on the ability of art to achieve social reform 4. Earthy colors and rough application of paint parallels the lack of pretentiousness of the subject

Cole, The Course of Empire: Aftermath, 1833-6, oil on canvas ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. Desolation: The fifth painting, Desolation, shows the results, years later. We view the remains of the city in the livid light of a dying day. The landscape has begun to return to wilderness, and no human beings are to be seen; but the remnants of their architecture emerge from beneath a mantle of trees, ivy, and other overgrowth. The broken stumps of the pharoses loom in the background. The arches of the shattered bridge, and the columns of the temple are still visible; a single column looms in the foreground, now a nesting place for birds. The sunrise of the first painting is mirrored here by a moonrise, a pale light reflecting in the ruin-choked river while the standing pillar reflects the last rays of sunset. This gloomy picture symbolizes what all empires could be after their fall. It is a harsh possible future in which humanity has been destroyed by its own hands. This cycle is, unsurprisingly, depressing. It reflects Cole's pessimism and is often seen as a commentary on Andrew Jackson and the Democratic Party. (Note, for instance, the military hero at the center of "Consummation.")[9] However, some Democrats had a different theory of the course of empire. They saw not a spiral or cycle but a continuing upward trajectory. Levi Woodbury, a Democrat and a justice on the United States Supreme Court, for instance, responded to Cole by saying that there would be no destruction in the United States

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Cole, The Course of Empire: Arcadian State, 1833-6, oil on canvas ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. Arcadian State: In the second painting, The Arcadian or Pastoral State, the sky has cleared and we are in the fresh morning of a day in spring or summer. The viewpoint has shifted further down the river, as the crag with the boulder is now on the left-hand side of the painting; a forked peak can be seen in the distance beyond it. Much of the wilderness has given way to settled lands, with plowed fields and lawns visible. Various activities go on in the background: plowing, boat-building, herding sheep, dancing; in the foreground, an old man sketches what may be a geometrical problem with a stick. On a bluff on the near side of the river, a megalithic temple has been built, and smoke (presumably from sacrifices) arises from it. The images reflect an idealized, pre-urban ancient Greece. This work shows humanity at peace with nature. It symbolizes that the environment has been altered, but not so much so that it or its inhabitants are in danger.

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Cole, The Course of Empire: Culmination of Empire, 1833-6, oil on canvas ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. The Consummation of Empire: The third painting, The Consummation of Empire, shifts the viewpoint to the opposite shore, approximately the site of the clearing in the first painting. It is noontide of a glorious summer day. Both sides of the river valley are now covered in colonnaded marble structures, whose steps run down into the water. The megalithic temple seems to have been transformed into a huge domed structure dominating the river-bank. The mouth of the river is guarded by two pharoses, and ships with lateen sails go out to the sea beyond. A joyous crowd throngs the balconies and terraces as a scarlet-robed king or victorious general crosses a bridge connecting the two sides of the river in a triumphal procession. In the foreground an elaborate fountain gushes. The overall look suggests the height of ancient Rome. The decadence seen in every detail of this cityscape foreshadows the inevitable fall of this mighty civilization.

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Cole, The Course of Empire: Destruction of Empire, 1833-6, oil on canvas ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. Destruction: The fourth painting, Destruction, has almost the same perspective as the third, though the artist has stepped back a bit to allow a wider scene of the action, and moved almost to the center of the river. The action is the sack and destruction of the city, in the course of a tempest seen in the distance. It seems that a fleet of enemy warriors has overthrown the city's defenses, sailed up the river, and is busily firing the city and killing and raping its inhabitants. The bridge across which the triumphal procession had crossed is broken; a makeshift crossing strains under the weight of soldiers and refugees. Columns are broken, fire breaks from the upper floors of a palace on the river bank. In the foreground a statue of some venerable hero (posed like the Borghese Warrior) stands headless, still striding forward into the uncertain future.[a] In the waning light of late afternoon, the dead lie where they fell, in fountains and atop the monuments built to celebrate the affluence of the now fallen civilization. The scene is perhaps suggested by the Vandal sack of Rome in 455. On the other hand, a detail in the lower right of "The Consummation of Empire" shows two children fighting, one clad in red and the other in green—the colors of banners of the two contending forces in "Destruction," which thus might depict a foreshadowed civil war.

MISSED IN CLASS

Cole, The Course of Empire: Savage State, 1833-6, oil on canvas ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man. The Savage State: The first painting, The Savage State, shows the valley from the shore opposite the crag, in the dim light of a dawning stormy day. A hunter clad in skins hastens through the wilderness, pursuing a deer; canoes paddle up the river; on the far shore can be seen a clearing with a cluster of tipis around a fire, the nucleus of the city that is to be. The visual references are those of Native American life. This painting symbolizes the ideal state of the natural world. It is a healthy world, unchanged by humanity.

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Romanticism Fascination with Native Americans as "natural men," unspoiled by civilization George Catlin, The White Cloud, Head Chief of the Iowas, 1845, oil on canvas a. Dignified anthropological presentation b. Henry Wadsworth Longfellow, "Song of Hiawatha," 1855—Breaks with traditional poetic forms and meters, using instead the rhythms of Native American speech pattern -Robed in his most splendid costume, his face gleaming with precious vermillion paint, he sits, like the prince he is, among his proud acolytes, solemnly smoking his pipe. [He is] a modern Jason. - In America this was not in Europe -This is what the nineteenth century French novelist and critic George Sand said when she first saw this striking portrait of the head chief of the Iowas, The White Cloud, or "Mew-hu-she-kaw," painted by the American artist, explorer, and ethnographer, George Catlin. This painting, along with a series of other portraits of American Indians by Catlin, was exhibited in the Paris Salon of 1846 (the Salon was the official exhibition of the Academy of Fine Arts in France). They stunned and titillated bourgeois Parisians with the spectacle and strangeness of the vast American wilderness and its "noble savages." -Catlin painted this portrait of The White Cloud around 1844, twenty years after the Iowa tribes were forced by the U.S. government to move from Iowa to small reservations in Kansas and Nebraska. The displacement from their ancestral and spiritual homeland left the dwindling Iowa people in a fragile state. Only thirteen years before Catlin's painting, American Indians endured one of their most traumatic collective experiences, "The Trail of Tears." As part of the Indian Removal Act of 1830, the government forced many of the southeastern tribes, the Cherokee, Seminole, Choctaw, and Chickasaw, to leave their homes and move west to designated Indian Territory in present-day Oklahoma. Hundreds of thousands died along the grueling journey from disease, exposure, and starvation. -A Dignified Portrayal Catlin met The White Cloud, not in the U.S., but in Victorian London, when the Indian chief and his family were touring Europe as part of P.T. Barnum's travelling circus from 1843 to 1845. The dancing Indians were a featured act in Barnum's "Greatest Show on Earth" which showcased what Barnum believed to be rare cultural curiosities from all over the world. - By 1844, George Catlin was already something of a celebrity in America and in Europe with his Indian portraits. Catlin exaggerated his rustic backwoods character by occasionally wearing fur and moccasins to entrance his eager European audience who were hungry for an undiluted taste of the American wilderness (Catlin had grown up in Wilkes-Barre, Pennsylvania). The exotic plumage of traditional Indian dress appealed to Catlin at a fundamental level. It connected him to another culture and to the roots of American identity and the land. -The White Cloud wears the traditional costume of the Iowa chieftain, indicative of his strengths as a warrior and hunter. His face is painted in glowing vermillion with a green a handprint across his cheeks, a sign that he was skilled in hand-to-hand combat. He wears a headdress of two eagle feathers and deer's tail (also dyed vermillion) and a black band across his forehead made of otter fur. His earrings are made of carved conch shells. White wolf skin covers his shoulders over his deerskin robe and he wears a necklace made of grizzly bear claws, which testifies to his superior skill as a hunter. -It is difficult to look at Catlin's The White Cloud today without overlaying our knowledge of the oppression and violence Indian peoples suffered over hundreds of years. Nevertheless, it's important to remember that during Catlin's time, painting was an important means that Europeans used to record and preserve the changing status of Native Americans. The cultural historian Richard Slotkin said, "Catlin tried to deal with the ephemeral quality of the wilderness—the fact that white men were destroying it as they were trying to appropriate it." [6] The Indian, to Catlin, represented a beautiful, primordial aspect of America endangered in the face of industrialization and westward expansion.

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Thomas Cole, The Oxbow, 1836 Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. An American painter born in England During the nineteenth century—an expanse of time that saw the elevation of landscape painting to a point of national pride—Thomas Cole reigned supreme as the undisputed leader of the Hudson River School of landscape painters (not an actual school, but a group of New York city-based landscape painters). It is ironic, however, that the person who most embodies the beauty and grandeur of the American wilderness during the first half of the nineteenth century was not originally from the United States, but was instead born and lived the first seventeen years of his life in Great Britain. Originally from Bolton-le-Moor in Lancashire (England), the Cole family immigrated to the United States in 1818, first settling in Philadelphia before eventually moving to Steubenville, Ohio, a locale then on the edge of wilderness of the American west. -More than a bend in the Connecticut River A wonderful illustration of this is Cole's 1836 masterwork,A View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, a painting that is generally (and mercifully) known as The Oxbow. At first glance this painting may seem to be nothing more than an interesting view of a recognizable bend in the Connecticut River. But when viewed through the lens of nineteenth-century political ideology, this painting eloquently speaks about the widely discussed topic of westward expansion. -When looking at The Oxbow, the viewer can clearly see that Cole used a diagonal line from the lower right to the upper left to divide the composition into two unequal halves. The left-hand side of the painting depicts a sublime view of the land, a perspective that elicits feelings of danger and even fear. This is enhanced by the gloomy storm clouds that seem to pummel the not-too-distant middle ground with rain. This part of the painting depicts a virginal landscape, nature created by God and untouched by man. It is wild, unruly, and untamed. -Within the construction of American landscape painting, American artists often visually represented the notion of the untamed wilderness through the "Blasted Tree, a motif Cole paints into the lower left corner. That such a formidable tree could be obliterated in such a way suggests the herculean power of Nature. -If the left side of this painting is sublime in tenor, on the right side of the composition we can observe a peaceful, pastoral landscape that humankind has subjugated to their will. The land, which was once as disorderly as that on the left side of the painting, has now been overtaken by the order and regulation of agriculture. Animals graze. Crops grow. Smoke billows from chimneys. Boats sail upon the river. What was once wild has been tamed. The thunderstorm, which threatens the left side of the painting, has left the land on the right refreshed and no worse for the wear. The sun shines brightly, filling the right side of the painting with the golden glow of a fresh afternoon. -Manifest Destiny When viewed together, the right side of the painting—the view to the east—and that of the left—the west—clearly speak to the ideology of Manifest Destiny. During the nineteenth century, discussions of westward expansion dominated political discourse. The Louisiana Purchase of 1804 essentially doubled the size of the United States, and many believed that it was a divinely ordained obligation of Americans to settle this westward territory. In The Oxbow, Cole visually shows the benefits of this process. The land to the east is ordered, productive, and useful. In contrast, the land to the west remains unbridled. Further westward expansion—a change that is destined to happen—is shown to positively alter the land.

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II. Subject Matter A. The Sublime Romanticism 2. The beginnings of science fiction in the works of Edgar Allen Poe, Jules Verne, and H.G. Wells

- Child of the sublime - Edgar Allen Poe was an American writer (at the time more appreciated by Europe) - H.G. Wells movies about his writings: the Time Machine, War of the World's.

The subject of the femme fatale Romanticism

("fatal woman") (an attractive and seductive woman, especially one who will ultimately bring disaster to a man who becomes involved with her) - In response to women's movement that threatened the male patriarchy. There was a backlash against feminism and woman and what they wanted. - Revival of an art style the fatale woman= if we are related to Eve we bring death, tragedy to men and this is going true for all woman. We can use sexuality to seducing, and killing men. Attempt to put all woman in the category of dangerous. - Believed you could only catch a vanalilur disease by woman.

The piano forte Romanticism

(a large keyboard musical instrument with a wooden case enclosing a soundboard and metal strings, which are struck by hammers when the keys are depressed. The strings' vibration is stopped by dampers when the keys are released, and it can be regulated for length and volume by two or three pedals.) allows an individual performer to have the sound spectrum of an orchestra at their command. - Great invention of Romanticism was the piano, basically has not changed until today. Piano means soft and forte means loud; so a soft loud. This is a big deal the old harpsichords could only play at one level, did not matter how hard you pushed down the keys; but on the piano it dictates how the sound with the pressure of your hands. You can play so many notes at once: individual, and this represents the time period of people wanting to be individual and have their own experience.

Realism Painting B. The English Pre-Raphaelites

(a member of a group of English nineteenth-century artists who consciously sought to emulate the simplicity and sincerity of the work of Italian artists from before the time of Raphael. Seven young English artists and writers founded the Pre-Raphaelite Brotherhood in 1848 as a reaction against the slick sentimentality and academic convention of much Victorian art. Their work is characterized by strong line and color, naturalistic detail, and often biblical or literary subjects.) -No sentiment, reality even if it's ugly and using art to achieve or instigate social change in some way. - Chose to paint in renaissance way, chose old scenes from the Bible, just using new colors. 1. Biblical and mythological subjects, populated by contemporary English urban types

I. Ideas Realism B. Socialism

(a political and economic theory of social organization that advocates that the means of production, distribution, and exchange should be owned or regulated by the community as a whole; in Marxist theory a transitional social state between the overthrow of capitalism and the realization of communism.) - Alongside this came social revolutions. This was perhaps the biggest social movement that was invented. Vocalized by Karl Marx and Engels.

The musical virtuoso Romanticism

(one who exhibits great technical ability, especially in musical performance; also used to describe a musical composition demanding (or a performance demonstrating) great technical skill) - Someone really ahead of the crowd: virtuoso; they were the performers of new instruments that were evolving. a. Several individuals (Niccolò Paganini, Frederic Chopin, Hector Berlioz) excelled in musical performance and personal charisma so that they were adored as celebrities. - All examples of virtuoso; they were iconic at their time, women would scream and faint when they saw them.

I. Ideas of Realism A. Industrialism

- (a social or economic system built on manufacturing industries) - Reflection of the industrialism, the growing industrialization and the problem. Lack of the human touch is good for society? - Industrial machines had impact on everyone's daily life. It was available to everyone.

I. Ideas of Realism

- 19th C was reaction against romanticism, rebelled against their ideas. - Romanticism was escape, escape from rebellion; repulsive and shocking subject matter. While realism is happening Romanticism is still continuing, but realism was the most in your face, in the news style.

Walt Whitman, "Song of Myself," 1855 II. Artistic Style D. The Romantic Anti-Hero Romanticism

- Arrogant, isolated, and always misunderstood he was a unique genius, he sacrificed himself for his art. To an anti-hero if your things were popular you were a failure, your uniqueness is supposed to be that other people don't understand you. You need to be above, and you need to have ideas no one else has because you're in a way, above them. - Song of myself is anthem to Romantic anti-hero: no one will tell him what to do, absolute freedom and equality maybe even superiority. i. Breaks from the artificiality of traditional poetic diction and meter ii. Themes of freedom, democracy, and freedom of self 2. Exemplified the "live hard, die young" philosophy. Sought sensation and thrills above all things -Such a range in Romantic art, you can be very abstract, or very realistic, follow a variety of artists.

E. Madness Romanticism

- Concept of defining and looking into madness Romantics were obsessed with this. This is the time invention of physiological and Freud was at the end of this century. - At the end people became obsessed with madness and thought that the mad people had vision and insight the rest of the world did not have. - If you were normal and wanted a trip of creative inspiration, one way to do it was with love and alcohol - Grasset: the morphine addict- (like heroin today) drugs were not illegal of the time and people could easily use and find this. They would do them to get inspiration and go mad. Used cocaine, heroin, opium they used them all.

Historicism—Escape to the past Romanticism

- Escaping into the past was something the Romantics discovered. Their favorite time was the medieval gothic era. Like the game of thrones. - There were many revivals on Romantics styles, but the gothic era to the past was the most significant. - Henry VIII a while ago, ordered all the Gothic cathedrals to be ruined, so there were many ruins that was very mysterious, but very sad showing greatness can end and end violent, you must preserve things. - Frankenstein books influenced by the Gothic revival. a. The 19th century saw revivals of many earlier styles, including the Dutch Baroque and Rococo, in all the arts. b. The most significant was the Gothic Revival (an architectural and cultural movement of the eighteenth and nineteenth centuries in which Gothic architecture was imitated; in novels, stories are characterized by an atmosphere of terror, mystery, and romance), inspired by the Gothic Novel, which emphasized the melancholy and remoteness of medieval times.

I. Ideas Realism B. Socialism 1. Karl Marx and Friedrich Engels, The Communist Manifesto, 1848

- Establishes all the ideas of communism; there was still oppressive monarchy in the world, and still in some a poor class not just a rich middle class. Still some unfair social inequity which is what they were responding to. a. Advocated a forcible overthrow of the upper classes by means of a revolution and the subsequent redistribution of wealth. - All money from rich would be taken and distributed along the people. It was very much not Catholic supporters. b. Protestant, bourgeois movement that sought to equalize the gap between the "haves" (bourgeoisie- the middle class, typically with reference to its perceived materialistic values or conventional attitudes) and "have-nots" (proletariat) c. Communism (a theory or system of social organization in which all property is owned by the community and each person contributes and receives according to their ability and needs) (from Latin communis-common university) - Comes from Latin common; universal, belonging to everybody and this was the ideal the Communist Manifesto put forth. France seriously took them up on this, they made the Commune. A communist government, but it did not work. (communism will never work human beings do not think that way, we are competitive, if we work hard we want to be rewarded for that and acknowledged) Communism, nobody would work, they would not show up because they knew they were getting a reward any way. On paper it looks like a great thing, but it's not.

I. Ideas of Realism C. Urbanism

- Industrialization brought jobs in factories, new jobs people could get were in the factories. Everything that we buy today, is in ways from the factories. - In the 19th C all the power was human supply. They were very dangerous places to work. They would employ peasants and farmers for the promise of jobs that would pay regularly but they got paid pennies, there was no wage limit, there was no age limit so children were working here, no safety cautions so many people died. City slums grew up to house this industrial poor working class. Everyone going out to work and bringing home pennies. - This was very hard on woman, they would spend the day washing clothes; great resolutions did come to protect the working class from this century the 20th C. 1. Cities were forced to house vast numbers of poor people who moved from their country farms to the cities to work in factories. a. Conditions were crowded and squalid. b. There were no regulations of the work force and no labor unions. Entire families, including children, worked for pennies a day. c. In the 1830s, half of London's funerals were for children under the age of 8 - Young children were prized for working in mines, coal mines, so they could get into holes and tunnels; just unbelieveable. The children were dying from these jobs. 2. Charles Dickens (The Old Curiosity Shop, 1841), and Mark Twain (Adventures of Huckleberry Finn, 1884) wrote novels which brought the situation to the broader public.

I. Ideas of Realism D. Social Activism a. Organized feminist movement

- Right to voting rights and representation. i. The first congress of women met in 1848 at Seneca Falls, New York, headed by Elizabeth Cady Stanton. Declaration of Sentiments (1848) was drafted. ii. Mount Holyoke College became the first college for women in 1837, a century before woman were allowed to vote. iii. Syracuse University was founded in 1870 as one of the first co-educational institutions in America. - One of the first to allow women for education and professors (more than the law allowed)

D. The Romantic Anti-Hero:: (a central character in a story who lacks conventional heroic attributes; the character is typically arrogant, isolated, and misunderstood; the Romantic anti-hero pays the price of his genius, which is often poverty, ill-health, obscurity, and early death. The anti-hero, believes himself to be above the common person.) Romanticism

- The Romantic Anti-Hero- people were becoming very famous and legendary in this period. But the romantic hero is likely to not think of themselves like that, they are living in isolation, alone, and just saving money for paint and all they want to do is express inner turmoil. 1. Arrogant, isolated, and misunderstood, the Romantic anti-hero paid the price of his unique genius, often through poverty, ill-health, obscurity, and early death—all endured for the sake of genius. The anti-hero believed himself to be above the common person. 2. Exemplified the "live hard, die young" philosophy. Sought sensation and thrills above all things -Such a range in Romantic art, you can be very abstract, or very realistic, follow a variety of artists.

Romantic feminine ideal Romanticism

- Woman would have a calling card, you would leave cards there and see who wants to see you, like a business card. - Sarah Bernhardt's calling cards she represents herself as dead, one even in a coffin. There was a fascination of women and death. Woman dying when they are young and in their prime, beautiful but unfortunate. - Idea of women in power is not feminine, we need delicate, dainty, sick, maybe even death was better. a. Fascination with the conflation of woman, beauty, youth, and death

I. History Romanticism

-All rules go out the door after neoclassical, romanticism overthrows all the ideas of the rules and morality, no Roman models of integrity and self sacrifice. - This art is ESCAPE and REBELLION, it's a style and an attitude of youth. Young people tired of following rules. - Comes from the word Romance, but this refers to a medieval type of literature that was about escape and rebellion, in the Romance language, Latin (Roman) spanish, italian, french are the romantic languages deriving from Latin root. So that's where Romanticism comes in.

II. Subject B. Rebellion Romanticism

-Romanticism: rebellion and escape is how you would summarize the art. 1. Against the reason, structure, and morality of Neoclassicism -Rebellion of the restrictions, intellectuality, morality, self sacrifice of the neoclassical. They wanted to live hard and die young, they rebelled against past ideas. All about individual striving to do, feel, and experience all that could be done in that lifetime.

History A. France Romanticism

1. 1814, Napoleon Bonaparte abdicated and the Bourbon King Louis XVIII restored, followed by King Charles X. François Rude, Departure of the Volunteers of 1792 (La Marseillaise), 1835, Arc de Triomphe, Paris - French empire, still legacy of Napoleon, so many countries are dependent on France and everyone is their allies. French used to be the language of culture. French romanticism spreads its ideas all over the world pretty much. - Napoleon he is kicked out of the throne (abdicated) and was replaced by the Bourbon dynasty. 2. 1830, the July Revolution overthrew the Bourbon kings who had replaced Napoleon Got rid of Bourbon dynasty. 3. 1830-1848, the reign of King Louis-Philippe, a constitutional monarch (the "citizen king") He had to get permission from the government for projects and wars, so the power was curtailed to be like England. 4. 1848, the February Revolution overthrew Louis-Philippe; the Second Republic established under the leadership of Louis Napoleon, a nephew of Napoleon I The French didn't like this much, did not want a King at all. 5. 1852, Louis Napoleon (Napoleon III) crowned emperor They wanted a Republic and brought back Napoleon III and now he's emperor of France, what were they thinking, they cannot choose emperor or democracy. 6. 1870, Napoleon III abdicated, followed by the Commune and the Third Republic Commune (communist) government. All class distinctions was abolished.. This did not last very long either. But anyways this inspired the rebellion art of Romanticism. Period of great destabilization. The motto of Romanticism was any place but here, any time but now. Let's rebel against people and ideas.

History C. England Romanticism

1. After the loss of the American colonies, England and its constitutional monarchy, under the rule of Queen Victoria (1837-1901), turned its attention to colonizing the world (India, Africa, and Asia). - Only place that was fairly stable. (Victoria the Queen Series) Victoria ruled for a long time. She was thrust as a young woman into the role of being Queen and this era was the strongest England has ever been. - They did have a constitutional monarchy. They're great power lay in colonial ambitions, became rich and powerful from the many imports. Victoria is the ancestor of our current English royal family, had 9 children all of whom married to various other royal family so power was spread out.

I. Ideas of Realism D. Social Activism

1. Continued agitation by women for suffrage, the right to education, and legal representation.

History B. America Romanticism

1. Fractured by the Civil War (1861-1865) and subsequent reconstruction of the nation. - Midst of Romanticism, Lincoln was President of the 100 year period of Romanticism. -USA had its Civil War during this time. Thousands of people killed. Same destabilization, fear, and lack of a moral force like France did.

Romanticism II. Artistic Style G. Escape

1. Nature as bucolic escape - Escape from the realities of women demanding more power. The fairy land.

Women Romanticism

1. Women openly argued for voting and legal rights. Many were imprisoned for demonstrating openly. - 19th C woman were very much working for equal rights to education, equal jobs, and the right to vote. They had to pay taxes but they were not allowed to vote and say how they wanted their tax money spent. - First meeting was Seneca Falls 1848. They protested, rounded up, went to jail, one killed herself running in front of the horse. -Time for awareness.

III. Subject Matter Romanticism

A. The Sublime (of such excellence, grandeur, or beauty as to inspire great admiration or awe; a mixture of fear, dread, and excitement) - Sublime was a term invented by Edmund Burke. Sublime as an emotion, mixture of dread, fear and excitement. And that's what Romantics fixed on. We want fear but excitement and sexual appeal. Just scaring people in our art. Invention in Romantic culture was a Roller Coaster. A way of getting that thrill, speed. Horses could go 15 mph, people did not know what it felt like to go fast, this went 30 mph and people lined up for this. It scared people but it was fun, exciting. And this is the feeling trying to be seen in Romantic painting.

Richard Wagner, Siegfried's Funeral March Romanticism

D. Conscious influences and relationships among artists, composers, and writers a. The gesamtkunstwerk ((German, "total artwork") a term coined by Richard Wagner to describe the synthesis of all the arts (music, poetry, drama, visual spectacle) in his late operas) (total artwork) combines music, art, and literature into a unified form (a "music drama")

Beethoven, Sixth Symphony (The Pastoral) Romanticism II. Artistic Style G. Escape

He got caught in a thunderstorm and was trying to represent that in this piece of music.

Nature as Sublime Romanticism Albert Bierstadt, Landers Peak, 1863 Sublime: is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. -This painting is the major work that resulted from the artist's first trip to the West. His intention to create panoramic views of the American frontier was apparent by December 1858, just before he embarked on the trip. In early 1859 he accompanied a government survey expedition, headed by Frederick W. Lander, to the Nebraska Territory. By summer, the party had reached the Wind River Range of the Rocky Mountains in what is now Wyoming. Bierstadt dubbed the central mountain in the picture Lander's Peak following the colonel's death in the Civil War. This was one of a number of large works painted after Bierstadt's return from these travels. It was completed in 1863, exhibited to great acclaim, and purchased in 1865 for the then-astounding sum of $25,000 by James McHenry, an American living in London. Bierstadt later bought it back and gave or sold it to his brother Edward. Sublime: is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.

MISSED IN CLASS SO CHECK

Nature as Sublime Romanticism Frederic Church, Niagara, 1857 oil on canvas -Niagara's tremendous success both in the United States and abroad secured Frederic Edwin Church's reputation as the most famous American painter of his time. -In the 19th century, many American artists attempted to capture the power and beauty of Niagara Falls. Widely considered the nation's greatest natural wonder as well as a symbol of its youthful vigor and promise, the site was also deemed far superior to any natural phenomenon in Europe. Church's majestic 1857 canvas reveals the vista from the Canadian shore, based on oil and pencil sketches he had made during several visits to the site in 1856. He was the first to render the spectacle on such a grand scale, with such fine detail, naturalism, and immediacy. He heightened the illusion of reality by selecting a non-traditional format of canvas with a width twice as wide as its height to convey the panoramic expanse of the scene. Moreover, he pushed the plane of the falls nearest the viewer significantly downward to reveal more of the far side as well as the dramatic rush of water. Most notably, he eliminated any suggestion of a foreground, allowing the viewer to experience the scene as if precariously positioned on the brink of the falls. As one writer enthusiastically noted, "this is Niagara, with the roar left out!" - Critics and public alike marveled at the painting, which debuted in a one-painting exhibition at a New York City gallery shortly after its completion. The 25-cent admission allowed each visitor to view the monumental canvas, sometimes using binoculars or other optical aids to enhance the experience. The admission price also included a pamphlet reprinting critics' praises of the canvas and offered exhibition-goers the opportunity to purchase a chromolithograph of the painting. Within two weeks, Niagara had lured 100,000 visitors to glimpse what one newspaper critic described as "the finest oil picture ever painted on this side of the Atlantic." Following its phenomenal success in New York, the painting was exhibited in major cities along the eastern seaboard, made two tours of Britain, and was included in the 1867 Exposition Universelle in Paris. Sublime: is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.

MISSED IN CLASS SO CHECK

Nature as Sublime Romanticism Friedrich, Monk by the Sea, 1809, oil on canvas Sublime: is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. He was Hitler's favorite artist so he was cursed with that label There is some debate as to who that strange figure, curved like a question mark, actually is. Some think it Friedrich himself, others the poet and theological Gotthard Ludwig Kosegarten who served as a pastor on Rügen and was known to give sermons on the shore. Kosegarten's writings certainly influenced the painting. Von Kleist, for example, refers to its "Kosegarten effect". According to this pastor-poet nature, like the Bible, is a book through which God reveals Himself. Similarly, stripping it of any literal Christian symbolism, Friedrich instead concentrates on the power of the natural climate and so charges the landscape with a divine authority, one which seems to all but subsume the figure of the monk. With nothing but land, sea and sky to measure him by, his physical presence is rendered fragile and hauntingly ambiguous. Napoleon's army was occupying Prussia when the painting was completed and art historians have naturally looked to read the painting and its companion, which depicts of a funeral procession in a ruined abbey, as a comment on the French occupation. It would have been dangerous to be openly critical of Napoleon's forces so the paintings' political messages are subtly coded. The presence of death is certainly felt in The Monk by the Sea, though in the monk's resolute figure we also find a source of spiritual strength, defiance even, standing, like that gothic abbey and those German oaks in its pendant, as much perhaps a symbol of the resolve of the nation against the foreign military rule, as of the individual faced with his mortality.

MISSED IN CLASS SO CHECK

Romantic ballet Romantic feminine ideal Romanticism

Romantic idea of the delicate, fragile woman dancing en pointe (on the tips of their shoes) (an artistic dance form performed to music, using precise and highly formalized set steps and gestures; characterized by light, graceful movements and the use of pointe shoes with reinforced toes; also the music written for the performance) - Get ballet out of this on point; it's very hard but looks so easy and airy romantic. Started with Louis XIV the classical ballet and in the 19th C shortened skirts (scandal) and worked on the top of their feet to look more feminine, dainty technique. i. Projects a "mood" of melancholy and escape. ii. Les Sylphides (music of Chopin) One of the most famous 19th C ballet pieces. Very feminine. Delicite

Bram Stoker, Dracula, 1897

Romanticism E. Madness i. Seductive, intelligent, and fatal evil ii. The figure of the "vampire" who drinks blood was inspired by real scientific enquiry into the possibility of blood transfusions on the battlefield - 19th C novel about a hero, Dracula who drinks people's blood and commits murder which makes him strong because he prays on the world and gets more powerful. Very attractive Dracula he's supposed to seduce people. Destructive seducing. - Direct of scientific concern and social phenomenon of the time. At this time medicine is investigating the whole idea of what blood is and the transfusion of blood: bringing people new blood especially on the battlefield. Soldiers used to take sheep with them so they could use Sheep blood, didn't work but they were experimenting with what blood was. End 19th C they realized there was blood types and you need to match them. - Anti-hero still same today, sexy, charismatic but evil.

Hector Berlioz, Symphonie fantastique

Romanticism - Composer and musician, it's a story about a mythical composer that ODs on heroin, and his hallucinations are recreated in the music. He also used all things of the industrial revolution to enhance the sound of everything. He used cannons and gunshots in his symphonies and his orchestras were huge, though size and sound had no limits, he broke all rules of musical forms and this is his life a dream and hallucination of his life. - He wrote this after he broke up with his famous actress girlfriend, this symphony is about his dream, he's looking for Harriet, he sees her with another man, and he is jealous and kills her, and goes to her grave and sees witches dancing on her grave, and he is condemned for murder and is killed. Celebrity of his time. (you can here his head being cut off and his head bouncing down) - Gigantic symphony i. Autobiographical inspiration ii. Created the symbolic musical motif, the idée fixe ((French, "fixed idea) a term used by Berlioz for a recurring theme in his symphonic works)-- That symbolized his girlfriend Harriet anytime she came up iii. Program music intended to describe in sound a literary program iv. "March to the scaffold" depicts the march of the symphony's hero to his execution, the dropping of his head from his body, and the cheering of observers v. Used masses of instruments to create an overwhelming combination of orchestral colors and timbre.

Mary Shelley, Frankenstein, 1818

Romanticism - She was 18 when she wrote this book, had a hard time getting it published because she was a woman, but her husband was a great poet and she was eventually allowed to publish and it became a great novel of Romanticism. The bizarre and weird Romanticism, really just timeless. - Frankenstein takes on the power of God and makes life, this is a responsibility. The DR is so appalled at what he has done the monster goes on his own and discovers life like a child without the guidance of a god or creator so he runs amuck and doesn't know life. The creator should of guided him. You need to be responsible to your creation, own up to it - The creation of electricity of this time is like the spark of life, which it kind of is i. One of the first "Gothic novels," a work of horror and imagination, was published anonymously in 1818 because of the gender of its author. ii. Presents the Romantic anti-hero as "the modern Prometheus," after the mythical character who stole fire from the gods, and was eternally punished iii. Dr. Frankenstein creates life from parts of human corpses, fashioning his creation into a monster that is initially innocent, but which becomes corrupted by association with reality. iv. The novel questions the limits of genius, the existence of God, and the responsibilities of creativity.

Ludwig Van Beethoven, Fifth Symphony, 1808

Romanticism - Music too, breaking the rules, genius, setting stage for future generations. - He was an anti-hero of Romanticism by setting new bounds for music and orchestra, making great emotional sounds but also he was deaf in a very young age-- he was a composer and musician and he was deaf that's the ultimate sacrifice for his work. But he kept going, he did not set bounds for himself he kept writing, some of his best works he never heard. - This was composed when he knew he would eventually go deaf, so it's emotional, angry, but resilient and not letting people set bounds for him. i. A towering genius, who, though he became deaf in mid-life, continued to compose his greatest works. ii. The Fifth Symphony was composed at a time when Beethoven became aware of his fate, and is a dramatic, emotional statement of human courage. Called it fait knocking at the door.

Romanticism II. Artistic Style

So weird, derailed art, unstable. Style: color lines, opposition and then subject matter (how rebellion idea reflects in painting)

The American Hudson River School Romanticism in America

a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape.

Defined by Edmund Burke, On the Sublime and Beautiful, 1757 Romanticism

a. A mixture of fear, dread, and excitement b. The Sublime (of such excellence, grandeur, or beauty as to inspire great admiration or awe; a mixture of fear, dread, and excitement) - Sublime was a term invented by Edmund Burke. Sublime as an emotion, mixture of dread, fear and excitement. And that's what Romantics fixed on. We want fear but excitement and sexual appeal. Just scaring people in our art. Invention in Romantic culture was a Roller Coaster. A way of getting that thrill, speed. Horses could go 15 mph, people did not know what it felt like to go fast, this went 30 mph and people lined up for this. It scared people but it was fun, exciting. And this is the feeling trying to be seen in Romantic painting.

II. Artistic Style 2. Slavery Romanticism

a. Abolished in England in 1833 and America in 1863 (the 13th amendment to the Constitution) - This and other countries have not always given people freedom and liberty. America did not mean it that everyone was worthy of freedom and liberty. Slavery did not catch up with the Romantic idea of freedom and life, history moved too slow. Because this was business, people needed slaves as a business. - Slavery was abolished in 1833 in England and America 1863 thirty years later. During these thirty years there was immense pressure on America to change it's ways, and we had to fight a civil war in response to slavery.

Women Romanticism Female authors

a. Female authors, such as Mary Shelley, Jane Austen, the Brontë sisters, and Emily Dickinson gained fame, though often under male pseudonyms (George Sand, and George Elliot) - Writing was a profession women could do at the home. Lots of women authors. Many women wrote their books under male names so that people would buy the book.

I. Ideas of Realism D. Social Activism 2. Literature

a. Gustave Flaubert, Madame Bovary (1856) championed equality for women by drawing attention to the tragedy of their unfilled lives. - He wrote about this class of people being killed over Industrial Revolution and he was an advocate for the woman's suffrage. b. Kate Chopin, "The Story of an Hour" (1894) presents the ambivalent feelings of a woman trapped in a repressive marriage. - Writing about how women were trapped in marriages they could not work independent.

I. Ideas of Realism A. Industrialism Invention of the Camera

a. Louis Daguerre invents the daguerreotype in 1839. - Camera was the first kind of industrial think that everyone was available to, you could be poor and have a camera. - He figured out a way for an image to be fixed. Invents camera and the photograph. Took a long time for a photograph to take, 15 minutes of sitting absolutely still to put onto a steel plate. b. Nadar (Caspar-Félix Tournachon) was one of the first professional photographers in Paris. Photographed the city from an air balloon in 1858.

I. Ideas of Realism D. Social Activism 3. Documentary Photography

a. Matthew Brady drew attention to the horrors of the Civil War by photographing the battlefields and hastening its end. -Matthew Brady went out on the Civil War Battlefield and took pictures of the horrific scenes, the outrage to these photos helped end the war and the public out cry for the end to this. Photography becoming an art, he even arranged some of these corpses to better depict the carnage of the battlefield. - Just representing things with a camera, now art is everywhere so what will artists do now that there is a camera. Realism artists are involving themselves politically and infecting the minds of people and how people look at art.

II. Subject Matter A. The Sublime Romanticism Franz Schubert, Erlkönig (Elf King), 1820

a. The form is a lied ((German, "song") an independent song for solo voice and piano; also known as "art song"), a work for solo voice and piano b. Words from a poem by Johann Wolfgang Von Goethe c. Subject of impending death and the supernatural - They set the stage for music today. Romantic composers were also caught up in using models of contemporary writers, the idea of subline and challenge and rebellion. - Schubert: the lied a song with a piano, which tells a story. The piano makes sound effects that helps the words with the story. Collaboration of musical instrument, literature the words, and the voice the melody of music. 100s of songs taken from German literature. - "The Elf King" such a hard song to play- you have a father on horseback carrying child, full gallop, because the child is so sick. Singer has three parts: the dad, the boy, and the elf king that wants to take the spirit of the little boy; so it's a dialogue between the three of them. Dad trying to say to live and the elf king wants him to die and go with him. It was not a happy ending the son died in his father's arms.

4. Exoticism—Escape to the East Romanticism Idea

a. The invention of the steam engine allowed travel to Eastern lands, whose customs inspired Romantic escapist fantasies.

Edgar Allen Poe, Annabel Lee, 1849 Romantic feminine ideal Romanticism

i. Hymn to the ideal of romantic love and the fascination with the link of love and death - He wrote a beautiful poem Annabel Lee. - Woman dying at the height of her beauty and the other guy spends his life mourning at her tomb. Extension of fatal woman theme, the beauty and fatal power could wound a man, and the beautiful power cannot live in this world.

Thomas Cole, The Course of Empire series, 1833-1836 MISSED IN CLASS

ii. Pantheistic link of the omnipotence of nature in the scope of the history of human kind. Romanticism Nature vs. Civilization Thomas Cole: The American Hudson River School; a group of American landscape painters active from about 1825 to 1875 whose works, influenced by European Romanticism, depict the beauty and grandeur of areas such as the Hudson River Valley, the Catskill Mountains, and Niagara Falls. i. Upstate New York school of painters who captured the uniqueness and sublime nature of the American landscape. With The Course of Empire, Thomas Cole achieved what he described as a "higher style of landscape," one suffused with historical associations, moralistic narrative, and what the artist felt were universal truths about mankind and his abiding relationship with the natural world. In a letter to his patron Luman Reed, Cole wrote enthusiastically of an idea for his first large-scale allegorical series: A series of pictures might be painted that should illustrate the History of a natural scene, as well as be an Epitome of Man—showing the natural changes of Landscape & those effected by man in his progress from Barbarism to Civilization, to Luxury, the Vicious state or state of destruction and to the state of Ruin & Desolation. The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the Savage state to that of Power & Glory & then fallen & become extinct... 1 -They chart the course of human civilization, while at the same time progressing through different times of day and various weather conditions, reflecting man's changing relationship to his environment. -A trip to Europe (1829-32) deeply influenced Cole's work. There he first saw the ruins of ancient civilizations, remnants of a past time that could not be found in America. -The Course of Empire also reflects the growing interest in ancient history among the elite. The title of the series derives from a well-known eighteenth-century poem by the British philosopher Bishop George Berkeley (1685-1753), entitled "Verses on the Prospect of Planning Arts and Learning in America" (1726). The poem alludes to five states of civilization and the implicit prophecy that America would prove to be the next great empire. Cole also read Lord Byron's 1818 work, Childe Harold -The Course of Empire is a five-part series of paintings created by Thomas Cole in the years 1833-36. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is also one that Cole returned to frequently, such as in his The Voyage of Life series. -The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea. The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is precariously situated atop a crag overlooking the valley. Some critics believe this is meant to contrast the immutability of the earth with the transience of man.

Alexander Jackson Davis, The Gothic Cottage, ca. 1865 Romanticism

made the Gothic revival style a popular domestic form made the Gothic revival style a popular domestic form - He invented a smaller, affordable domestic gothic style called the gothic style. a. The 19th century saw revivals of many earlier styles, including the Dutch Baroque and Rococo, in all the arts. b. The most significant was the Gothic Revival (an architectural and cultural movement of the eighteenth and nineteenth centuries in which Gothic architecture was imitated; in novels, stories are characterized by an atmosphere of terror, mystery, and romance), inspired by the Gothic Novel, which emphasized the melancholy and remoteness of medieval times.