Romanticism

Romanticism The word romantic first became current in 18th century English and originally meant "romancelike," that is, resembling the strange and fanciful character of medieval romances. The word came to be associated with the emerging taste for wild scenery, "sublime" prospects, and ruins, a tendency reflected in the increasing emphasis in aesthetic theory on the sublime as opposed to the beautiful. During the 18th century, feeling began to be considered more important than reason both in literature and in ethics, an attitude epitomized by the work of the French novelist and philosopher Jean Jacques Rousseau. English and German romantic poetry appeared in the 1790s, and by the end of the century the shift away from reason toward feeling and imagination began to be reflected in the visual arts, for instance in the visionary illustrations of the English poet and painter William Blake, in the brooding, sometimes nightmarish pictures of his friend, the Swiss-English painter Henry Fuseli, and in the somber etchings of monsters and demons by the Spanish artist Francisco de Goya. A movement in the literature of virtually every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature.

Romanticism in art, European and American movement extending from about 1800 to 1850. Romantic art characteristically strives to express by suggestion states of feeling too intense, mystical, or elusive to be clearly defined. German writer E. T. A. Hoffmann declared "infinite longing" to be the essence of romanticism. In their choice of subject matter, the romantics showed an affinity for nature, especially its wild and mysterious aspects, and for exotic, melancholic, and melodramatic subjects likely to evoke awe or passion.

In France romanticism coincided with the Napoleonic Wars , and the first French romantic painters found their inspiration in contemporary events. Antoine Jean Gros began the transition from neoclassicism to romanticism by moving away from the sober style of his teacher, Jacques Louis David, to a more colorful and emotional style, influenced by the Flemish Baroque painter Peter Paul Rubens, which he developed in a series of battle paintings glorifying Napoleon. German romantic painting, like German romantic poetry and philosophy, was inspired by a conception of nature as a manifestation of the divine. This led to a school of symbolic landscape, initiated by the mystical and allegorical paintings of Philipp Otto Runge. Landscapes suffused with romantic feeling became the chief expression of romantic painting in England, as in Germany, but the English artists were more innovative in style and technique. Samuel Palmer painted landscapes distinguished by an innocent simplicity of style and a visionary religious feeling derived from Blake. John Constable, turning away from the wild natural scenery associated with many romantic poets and painters, infused quiet English landscapes with profound feeling. The major manifestation of American romantic painting was the Hudson River School, which found its inspiration in the rugged wilderness of the northeastern United States. Washington Allston, the first American landscapist, introduced romanticism to the United States by filling his poetic landscapes with subjective feeling. The leading figure of the Hudson River School was the English-born Thomas Cole, whose depictions of primeval forests and towering peaks convey a sense of moral grandeur. Cole's pupil Frederick Church adapted the Hudson River style to South American, European, and Palestinian landscapes.

In literature Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was "I felt before I thought." Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Mцser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst . The authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare. Goethe sought to imitate Shakespeare's free and untrammeled style in his Gotz von Berlichingen a historical drama about a 16th century robber knight. The play, which justifies revolt against political authority, inaugurated the Sturm und Drang movement, a forerunner of German romanticism. Goethe's novel The Sorrows of Young Werther was also in this tradition. One of the great influential documents of romanticism, this work exalts sentiment, even to the point of justifying committing suicide because of unrequited love. The book set a tone and mood much copied by the romantics in their works and often in their personal lives: a fashionable tendency to frenzy, melancholy, world-weariness, and even self-destruction.

The preface to the second edition of Lyrical Ballads (1800), by English poets William Wordsworth and Samuel Taylor Coleridge was also of prime importance as a manifesto of literary romanticism. Here, the two poets affirmed the importance of feeling and imagination to poetic creation and disclaimed conventional literary forms and subjects. Thus, as romantic literature everywhere developed, imagination was praised over reason, emotions

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