This penetrating study of one of the most fruitful epochs in European art presents the Renaissance not simply as the rebirth of classical styles, but also as the period that saw "the invasion of man and his world into the domain of the arts".
After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meanin
The early 19th century was a period in German art in which painting played a significant part in the cultural resurgence commonly known as the Romantic Movement. This Movement and some of its chief exponents are examined against a background of German literature, philosophy and music.
Explores the developing cultural tensions and connections that created a 'sister-art' movement between creative visual art and its literary counterparts.
American Gothic Art and Architecture in the Age of Romantic Literature analyses the influence of British Gothic novels and historical romances on American art and architecture in the Romantic era.
Geography is useful, indeed necessary, to survival. Everyone must know where to find food, water, and a place of rest, and, in the modern world, all must make an effort to make the Earth -- our home -- habitable. But much present-day geography lacks drama, with its maps and statistics, descriptions and analysis, but no acts of chivalry, no sense of quest. Not long ago, however, geography was romantic. Heroic explorers ventured to forbidding environments -- oceans, mountains, forests, caves, deserts, polar ice caps -- to test their power of endurance for reasons they couldn't fully articulate. Why climb Everest? "Because it is there." In this book, the author considers the human tendency -- stronger in some cultures than in others -- to veer away from the middle ground of common sense to embrace the polarized values of light and darkness, high and low, chaos and form, mind and body. In so doing, venturesome humans can find salvation in geographies that cater not so much to survival needs (or even to good, comfortable living) as to the passionate and romantic aspirations of their nature
The modernist aesthetic and, later, Nazi ideology split German Romantic painting into two opposed phases, an early progressive movement, represented by Caspar David Friedrich (1774-1840) and Philipp Otto Runge (1777-1810), and a later reactionary one - epitomized by Friedrich Overbeck (1789-1869) and Peter von Cornelius (1783-1867). In this rich and engaging book, Mitchell Frank explores the continuities between these two phases to reconstruct the historical position that existed in the nineteenth century and to look once again at the Nazarenes - and Overbeck in particular - as a fully integrated part of the Romantic movement. His innovative book is crucial to an understanding of German Romanticism and the legacy of this period in European art.
Indian Renaissance: British Romantic Art and the Prospect of India is the first comprehensive examination of British artists whose first-hand impressions and prospects of the Indian subcontinent became a stimulus for the Romantic Movement in England; it is also a survey of the transformation of the images brought home by these artists into the cultural imperatives of imperial, Victorian Britain. The book proposes a second - Indian - Renaissance for British (and European) art and culture and an undeniable connection between English Romanticism and British Imperialism. Artists treated in-depth include James Forbes, James Wales, Tilly Kettle, William Hodges, Johann Zoffany, Francesco Renaldi, Thomas and William Daniell, Robert Home, Thomas Hickey, Arthur William Devis, R. H. Colebrooke, Alexander Allan, Henry Salt, James Baillie Fraser, Charles Gold, James Moffat, Charles D'Oyly, William Blake, J. M. W. Turner and George Chinnery.
Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.