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Romanticism: Roots of Modernity.


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Romanticism: Roots of Modernity The Romantic Landscape in European Painting Landscape painting before the Romantic period During the Renaissance, landscape often consisted of the representation of nature as a setting for either human or divine action.
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Slide 1

Sentimentalism: Roots of Modernity The Romantic Landscape in European Painting

Slide 2

Landscape painting before the Romantic period During the Renaissance, scene frequently comprised of the representation of nature as a setting for either human or awesome activity. It could tackle typical noteworthiness, particularly as an allegory of heaven. It could likewise strengthen the topic in a depiction by mirroring its mind-set or reverberating the enthusiastic substance of the work.

Slide 3

The Mystic's Altar Lamb by Jan van Eyck, 1425-32

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Detail of the Mystic's Altar Lamb , demonstrating exact and organically precise representations of plants and blossoms. Cautious perception of the whole physical world amid the Renaissance drove specialists to perceive the excellence of nature as a subject corresponding with people, creatures, fanciful figures and awesome creatures.

Slide 5

Isenheimer Altar , 1513-15, by Mathias Gruenewald

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The forsaken scene foundation underscores the execution's sadness and of the body's statement in the tomb. A ghostly light proposes a looming tempest. The collection of Christ on the cross takes after a twisted tree trunk with uncovered branches.

Slide 7

The Tempest by Giorgione, 1505-10 In this artistic creation, the inquisitive gathering of a lady with baby inverse a shepherd enframes the lightning and moving billows of a drawing nearer electrical storm. This is an early case of nature as a subject as opposed to just a setting. In

Slide 8

Landscape with Flight into Egypt by Claude Lorrain, 1663 The regular's representation setting is advocated by the Holy's vicinity Family in the left forefront; yet the scriptural figures are verging on lost in the scene. The artistic creation is generally about the scene.

Slide 9

Romantic painters in the mid nineteenth century in Germany added to another enthusiasm for scene as more than a setting and as more than an aloof specialists inside of the depiction. They started to view scene as the outward indication of the bigger domain of Nature with all its energy, magnificence, many-sided quality, damaging strengths, and other amazing qualities and its excellence. These qualities were regularly subsumed under the term “sublime.” Nature was its most essential expressive vehicle. Among the most vital painters were Philipp Otto Runge (1770-1810), Karl Blechen (1798-1840), and Caspar David Friedrich (1774-1840).

Slide 10

Rest on the Flight into Egypt by Philipp Otto Runge, 1805-06

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Times of Day: Morning by Philipp Otto Runge, 1809 Runge wished to reestablish the guiltlessness of youth with its immaculateness and direct fellowship with Nature. Times of Day was arranged as a moral story of the cycles of nature, human life on earth, and transmutation of matter into soul. He kicked the bucket before he could finish the cycle of works.

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Two Monks in a Cave in the Gulf of Naples by Karl Blechen, 1829 In this work, the figures sit inside of the vault of a shadowy hole that opens to the incomprehensible breadth of the Mediterranean Sea. Is the hollow an illustration? How would you respond to the difference between the dull opening of the hole and the iridescent environment of the ocean?

Slide 13

Ruins of Cloister Oybin by Karl Blechen, c.1830 The order just about appears like what might as well be called the hole close Naples, aside from that it is a human manufacture. The forlornness and separation of the ruin proposes that it is being re-acclimatized into Nature as it deteriorates.

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The artworks of Caspar David Friedrich are portrayed by various commonplace components that bolster Friedrich’s bigger vision of the connected relationship in the middle of people and nature. • Isolated, little figures alone or in gatherings • Humans review, mulling over nature or • Humans in nature yet unaware of it • The utilization of boats to symbolize human life • A feeling of “self-revelatory” hush, frequently because of the scene's setting at sunset or during the evening under moonlight • A feeling of nature rising above all human life, some of the time through unexplained circumstances or even disastrous occasions

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Monk by the Sea by Caspar David Friedrich, 1809

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Winter Landscape with Church by C.D. Friedrich, 1811

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Evening by Caspar David Friedrich, c1820

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The Chalk Cliffs of Rugen by C.D. Friedrich, 1818

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Woman at a Window by Caspar David Friedrich, 1822

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Moonrise over the Sea by C.D. Friedrich, 1822

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Wreck of the Hope is a greatly frequenting and profoundly well known work that exists in two renditions. An unexecuted third form was arranged. The work was motivated by a wreck that was accounted for in the daily paper; it is likewise identified with Friedrich’s interest with the ice's separating on the Elbe River. Also, Friedrich, as a tyke, had watched his sibling suffocate in the frosty waterway, an occasion that left a profound impact on him. Here nature is inseparably bound up with the end of life, the decimation of trusts, the loss of energies, and the devastating force of fate.

Slide 22

The Hope's Wreck by C.D. Friedrich, 1823-24 .:tsl