Romanticism Vs. Realism Essay, Research Paper
Romanticism vs. Realism
Artistic motions in the nineteenth century were direct reactions towards ( or against ) political and societal state of affairss during the clip. Romanticism was a motion against the thoughts of the Enlightenment that had been ingrained into European people since the early 1700s. The Enlightenment emphasized ground and unvarying ideals in the humanistic disciplines. Romanticism can be seen as a direct rebellion against the Enlightenment. Romantic creative persons invariably strived for alone and different thoughts, whereas the minds of the Enlightenment valued uniformity. ( Art Time periods: Romanticism ) Realism, in contrast to Romanticism, showed an aim, unemotional position of the universe. The end of Realist creative persons was to enter an impartial position of the thoughts of Gallic society in the nineteenth century. The major subscriber to the development of Realism was the societal and political agitation in Europe in 1848. The Gallic painters reacted to the three-day revolution in February of that twelvemonth. At the terminal of the revolution, Louis-Philippe resigned, which led to several back-to-back disorganized authoritiess that attempted to decrease the terrible unemployment jobs. Realism began to picture ordinary workers and farming communities in scenes of mundane life. The pictures from this period are really true to life without any flourishes. ( Rosenblum, pg.218 )
An exceeding illustration of a Romantic picture is The Hay Wain by John Constable. ( Rosenblum, pg. 157-158 ) It is a image that conveys the Romantic thought that nature is the incarnation of all possible feelings. ( category notes ) The Hay Wain won a gold decoration at the Salon of 1824 and was advanced because of Constable & # 8217 ; s usage of a pallet knife to use pigment. A major lending factor in the mastermind of Constable & # 8217 ; s work is that he painted his plants outdoors, as a portion of nature, instead than in a studio. ( Rosenblum, pg.158 ) In this peculiar picture, every bit good as most of his others, he had a personal connexion to the site that he was painting. It was created as a image of his boyhood place in the Stour Valley and it is impossible to see it as an indifferent work because the creative person & # 8217 ; s feelings are so apparent. The Romantic compulsion with nature as stand foring truth and pureness is portrayed at its best in this picture. In many ways it could be compared to a Garden of Eden, when put in the context of 19th century industrial London. ( Rosenblum, pg.158 )
Although the scene is of the working category, the adversities of the category are non seen. Farmers working in the hot Sun are hardly seeable in the picture. It is, above all, a landscape painting meant to demo the beauty of nature and to arouse feelings from the spectator, non a picture meant to demo the unfairness forced on the working categories. The Hay Wain shows Constable & # 8217 ; s affinity for the topographic point where he grew up, non admiting the adversities that must hold been a big portion of farm life. ( Rosenblum, pg.157-158 ) In Constable & # 8217 ; s missive to Rev. Fisher from 1821, he explains his grounds for painting the topographic points that he does. & # 8220 ; Still I should paint my ain topographic points best ; picture is with me but another word for feeling, and I associate & # 8216 ; my careless boyhood & # 8217 ; with all that lies on the Bankss of the Stour ; those scenes made me a painter & # 8230 ; & # 8221 ; ( Holt, pg.115 ) His remark about painting being synonymous with feeling is a perfect illustration of the chief beliefs of the Romantic Movement.
The method of painting The Hay Wain was alone in that the pigment was partly applied with a pallet knife, but it was besides different because the brushwork was speckled and the colourss were so energetic that single inside informations were hard to pick out. ( Rosenblum, pg.158 ) In another missive to Rev. Fisher from 1825, Constable writes about other creative person & # 8217 ; s sentiments of his brushwork and colour. & # 8220 ; & # 8230 ; Thought that as the colourss are unsmooth, they should be seen at a distance. They found
the error and now acknowledge the profusion of texture, and attending to the surface of things. They are struck with their vivacity and freshness, things unknown to their ain pictures…it is worse that they make painful surveies of single articles singly, so that they look cut out, without belonging to the whole. And they neglect the expression of nature wholly, under its assorted changes.” ( Holt, pg.116 ) This idea of brushwork and colour to portray nature and evoke feelings is cardinal to the beliefs of the Romantic painters.
In contrast to the Romantic genre scene by Constable, The Stonebreakers by Courbet is a perfect illustration of a Realist picture. The existent picture itself was lost during World War II, so all that remains of its being are reproductions, largely from history books. It is a word picture of a existent event that Courbet witnessed on the route to Maizieres. He saw two stonebreakers on the side of the route and had them travel to his studio in Ornans to present for him. As is built-in in Realist art, there is no emotion put into the picture. It is merely a straightforward diversion of a minute in clip. There is, nevertheless, a mention to the ceaseless rhythm of work for this category of people. By seting an old adult male and a immature male child in the same image, he emphasizes the fact that the old adult male has been making this difficult labour all of his life and besides implies that the immature male child is destined to populate the same life. ( Rosenblum, pg. 224 )
There are inside informations in the image that emphasize the hardship in the on the job category society, but they are shown in an indifferent and passionless manner. For illustration, the loose-fitting bloomerss, lacerate sock, and worn places all show the adversities of this category of people, but it is shown as merely a fact, non to arouse feelings as in Romanticism.
The ideas of Courbet are the exact beliefs of the Realist Movement. In a missive to a group of pupils in 1861, he writes his footing for his thoughts in art. & # 8220 ; I deny that art can be taught & # 8230 ; art is wholly single & # 8230 ; art or endowment to an creative person can merely be ( in my sentiment ) the agency of using his personal modules to the thoughts and the objects of the clip in which he lives & # 8230 ; art in picture can merely dwell of the representation of objects that are seeable and touchable to the creative person & # 8230 ; I believe that the creative persons of one century are wholly unqualified when it comes to picturing the objects of a preceding or future century, in other words, to paint either the yesteryear or the future. & # 8221 ; ( Holt, pg.351 ) Courbet & # 8217 ; s pictures were judged as non suit for exhibition in France on political evidences. ( Time magazine ) These thoughts of Courbet & # 8217 ; s are cardinal to the wide beliefs of Realism, although Courbet did non see himself to be of any peculiar motion. & # 8220 ; I am Courbetist, that & # 8217 ; s all. My picture is the lone true 1. I am the first and alone creative person of the century ; the others are pupils or drivellers. & # 8221 ; ( Time magazine ) Realism does non endeavor for flawlessness, as in Romanticism. It accepts the natural beauty of things, even if they are imperfect.
Both of these images are characteristic of the clip periods they come from. They have more similarities than is evident at first, nevertheless. The fact that the pigment on both images was applied in portion with a pallet knife is an of import similarity. The intents of this technique, nevertheless, were really different. The Hay Wain had pigment applied in this manner in order to arouse feelings from the spectator, while The Stonebreakers was done in this manner to do the image look less like a picture and more realistic. Both pictures besides had the end of happening Truth, but in Romanticism, truth was embodied by nature, in Realism truth was found in mundane events and normalcy. Although both of these pictures are of the working category, they make the spectator experience really different, which is what distinguishes the two periods.