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Books : Arts & Photography : Schools, Periods & Styles : Romantic
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Fascinating, insightful, and wholly engrossing, The Peabody Sisters is a landmark biography of three women who made American intellectual history.Though theirs may not be household names, Elizabeth, Mary, and Sophia Peabody had an extraordinary influence on the thought of their day, the movement of intense creative ferment known as American Romanticism. Megan Marshall adeptly brings to life the sisters and the men they loved and inspired, including Ralph Waldo Emerson, Horace Mann, and Nathaniel Hawthorne. In a work filled with startling revelations, Marshall presents a vivid and nuanced psychological portrait of a sisterhood rife with shifting loyalties yet founded on enduring affection.
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Renowned artist M.C. Escher is not a surrealist drawing us into his dream world, but an architect of perfectly impossible worlds who presents the structurally unthinkable as though it were a law of nature. Weird, beautiful, finely detailed illusions.
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"Splendid monograph, the first of major proportions in nearly thirty years….ever thoughtful, opening the door to Friedrich's world that much wider."—Chicago Tribune
Werner Hofmann vividly demonstrates Caspar David Friedrich's extraordinary ability to reproduce the natural world in faithful detail, while at the same time imbuing it with spiritual and religious significance. Caught between the near and the distant, the finite and the infinite, his human figures find a space in which to engage in the thoughtful contemplation of nature and the divine.
Carefully placing the artist in a wider context, Hofmann examines contemporary judgments and influences on Friedrich's work. The beautiful illustrations include many of Friedrich's drawings and watercolors as well as over ninety of his works in oils. 193 illustrations, 150 in color.
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Harmony between man and nature In a revolt against Rationalism, Romanticism was characterized by a return to nature and belief in the goodness of humanity, with the artist considered to be a profoundly individual creator. Beginning in the early 19th century, Romantic ideals developed largely in opposition to entrenchment in the traditions of Greco-Roman antiquity, and advocated an open-ended and progressive?that is, modern?view of the age. Yet Romantic artists, searching perhaps for unattainable ideals, also turned back to the late medieval and Renaissance periods for nostalgic themes from the Judeo-Christian heritage; with the aid of these themes, they believed that a politically and intellectually enlightened utopia could be achieved. Romantic styles and subjects varied widely throughout Europe and America, ranging from tranquil contemplative scenes to spectacularly staged events, and it is precisely this diversity that lends Romantic art its fascination and lasting influence. Artists featured among others: Albert Bierstadt, George Bingham, William Blake, Carl Gustave Carus, Frederic Edwin Church, Thomas Cole, John Constable, Peter von Cornelius, Jean-Baptiste Camille Corot, Eug?ne Delacroix, Carl Philipp Fohr, Caspar David Friedrich, Henry Fuseli, Fran?ois G?rard, Th?odore G?ricault, Francisco Jos? de Goya, Antoine-Jean Gros, Jean Auguste Dominique Ingres, Friedrich Overbeck, Franz Pforr, Pierre-Paul Prudhon, Ludwig Richter, Carl Rottmann, Philipp Otto Runge, Karl Friedrich Schinkel, Carl Spitzweg, William Turner
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Romanticism was 'a way of feeling' rather than a style in art. In the period c.1775–1830, against the background of the French Revolution and Napoleonic Wars, European artists, together with poets and composers, initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation, and in the process, the Romantics transformed the idea of art, seeing it as an instrument of social and psychological change. In this comprehensive volume, David Blayney Brown takes a thematic approach to Romanticism, relating it to the concurrent, more stylistic movements of Neoclassicism and the Gothic Revival, and discussing its relationship with the political and social developments of the era. He not only looks at how artists as diverse as Goya, Delacroix, Friedrich and Turner responded to landscapes or depicted historical events, but also examines artists such as David and Ingres who are not usually considered Romantics. As a result, the reader is given a clear understanding of a complex movement that produced some of the greatest European art, literature and music.
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These substantial volumes on art periods vividly portray the most important achievements from the areas of European architecture, sculpture, and painting. The impressive photographs of works from all visual arts movements are at the center of these richly illustrated volumes. The books successfully provide an overview of the artistic diversity of the individual periods, and they couldn't have been written and illustrated any more clearly. The informative and interesting texts have been written by renowned authors from the fields of history, architecture and art history, providing a multifaceted view of each period. These books are a real pleasure for anyone with an interest in art.
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More than 40 full-color reproductions of some of their greatest paintings illustrate this historical overview of the Hudson River School of landscape painting and the lives and works of artists Thomas Cole, Frederic Church, Asher Durand, Sanford Gifford, Albert Bierstadt, Jasper Cropsey, Worthington Whittredge, William Merritt Chase, Martin Johnson Heade, John Frederick Kensett, George Inness, and other American landscape painters who created a new and quintessentially American style of art in the early and mid-19th century. Inspired first by the pastoral Hudson River Valley and the rugged wilderness of the Catskill Mountains, many of these artists then ventured forth to capture unspoiled scenes of the American West, New England, or South America. This critical history and intimate look at the lives of the artists features a foreword by Kevin Avery, Associate Curator of American Paintings and Sculpture at the Metropolitan Museum of Art, and is set in a beautifully designed oversized volume.
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At the height of the Napoleonic Wars, a new generation of painters led by the precociously talented David Wilkie took London's art world by storm. Their novel approach to the depiction of everyday life marked the beginning a trajectory that links the art of the Age of Revolution with the postmodern culture of today.
What emerged from the imagery of Wilkie and other early 19th-century British genre painters—among them William Mulready, Edward Bird, and the controversial watercolorist Thomas Heaphy—was a sense that common people were increasingly bound up with the exceptional events of history, that traditional boundaries between country and city were melting away, and that a more regularized and dynamic present was everywhere encroaching upon the customary patterns of the past.
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In an age of increasing mobility and dissolving social bonds, the yearning for intimacy and security grows steadily stronger in western society. Plagued by uncertainty in the face of turbulent social and political systems and a sense of vulnerability generated by endless reports of war and horrific images of terror, many people are turning away from reality in search of safe havens and newly hopeful perspectives. Ideal Worlds explores the parallel reflection of this social trend in contemporary visual art. A new spirit of Romanticism is being revived in earnest by a number of young artists, from painters to new media practitioners, each of them in search of beauty, paradise lost, and the fictional world of fairytales. In some works, an emphasis on the individual and individual feelings goes hand in hand with a re-awakening interest in the landscape and its symbolic qualities. New Romanticism in Contemporary Art presents the work of some 15 artists, among them Justine Kurland, Catherine Opie, Laura Owens, and Christian Ward.
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A cofounder of the Pre-Raphaelite brotherhood, Dante Gabriel Rossetti (1828-1882) has become well known to many through the widespread reproduction of his work on posters, cards, and prints.This sumptuous survey of his colorful, romantic art includes major works from all periods of his life in every media including watercolors from the 1850s; paintings of the female figure from 1859 on; representations of artists and their models; studies of Elizabeth Siddall, his wife; late paintings on themes from Dante and the Arthurian legends; the monumental decorative projects at Llandaff Cathedral and at the Oxford Union; and his contributions to the decorative arts (book bindings and illustrations, stained glass, furniture, and picture frames).
Published to accompany an exhibition at the Walker Art Gallery in Liverpool and the Van Gogh Museum, the book complements recent scholarship and will stimulate further research on Rossetti. The book and exhibition mark a landmark in Rossetti studies, providing an unprecedented opportunity to view the entire range of his achievement. The contributors include Edwin Becker, exhibition curator at the Van Gogh Museum; Liz Prettejohn, Professor of Art History at Plymouth University; and Julian Treuherz of the National Museums and Galleries on Merseyside. 330 illustrations, 130 in color.
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The mythical artist, heroic and rebellious, isolated and suffering, is the creation of late-18th-century Romanticism. Throughout the 19th century this powerful myth influenced the way people thought and wrote about artists and, more importantly, the way artists thought about––and depicted––themselves.
Covering the period from the French Revolution to World War I, from Romanticism to the avant-garde, this catalogue considers how artists responded to this myth. The focus is on key artists and groups who self-consciously forged distinctive identities: the Nazarenes, Delacroix, Courbet, Manet, Van Gogh, Gauguin, the Nabis, and Schiele. The book includes an introduction, a chronology, and an overview of the myth of the artist in literature, as well as a beautifully illustrated catalogue section arranged according to such themes as Bohemia; Dandy and Flâneur; Priest, Seer, Martyr, Christ; and Creativity and Sexuality.
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A facsimile edition of the only surviving sketchbook by this visionary Romantic painter.
Child prodigy Samuel Palmer was just fourteen years old when he first exhibited at London's Royal Academy in 1819. A delicate and withdrawn child, he experienced intense and disturbing visions as a boy, while developing a love of the Bible and poetry that remained a lifelong inspiration for his art. Influenced by William Blake and John Linnell, he became the most visionary and mystical landscape painter of the Romantic era in England.
Previously issued in a special limited edition, this volume reproduces the only sketchbook by Palmer in existence, now at a reduced price. Its pages vividly illustrate the crucial period when Palmer, a nineteen-year-old in the grip of religious fervor, first experienced his revelatory vision of a divinely ordered heaven on Earth located in the landscape of rural Kent. No other source provides such an intimate record of Palmer's artistic and spiritual struggles.
All of the sketchbook's 162 surviving pages are presented in their original sequence and at their actual size. Martin Butlin provides page-by-page commentaries, notes, and an introduction to Palmer's life, while William Vaughan places the sketchbook in the context of the art and aesthetic of its time. 163 color illustrations.