2. Romanticism has very little to do with things
popularly thought of as "romantic," although
love may occasionally be the subject of
Romantic art. Rather, it is an international
artistic and philosophical movement that
redefined the fundamental ways in which
people in Western cultures thought about
themselves and about their world.
3. Beginning of Romanticism
Romanticism was arguably the largest artistic movement of
the late 1700s. Its influence was felt across continents and
through every artistic discipline into the mid-nineteenth
century.
It is difficult to pinpoint the exact start of the romantic
movement, as its beginnings can be traced to many events of
the time: a surge of interest in folklore in the early to mid-
nineteenth century with the work of the brothers Grimm,
reactions against neoclassicism and the Augustan poets in
England, and political events and uprisings that fostered
nationalistic pride.
5. Nature
Romantics stressed the awe of nature in art and language and the
experience of sublimity through a connection with nature.
Romantics rejected the rationalization of nature by the previous
thinkers of the Enlightenment period.
The Romantic association of nature and spirit expressed itself in
one of two ways. The landscape was, on one hand regarded as an
extension of the human personality, capable of sympathy with
man's emotional state. On other hand, nature was regarded as a
vehicle for spirit just as man; the breath of God fills both man and
the earth. Delight in unspoiled scenery and in the innocent life of
rural dwellers was a popular literary theme. Often combined with
this feeling for rural life is a generalized romantic melancholy, a
sense that change is imminent and that a way of life is being
threatened.
6. Emotion
Romantics believed that knowledge is
gained through intuition rather than
deduction.
This is best summed up by Wordsworth
who stated that “all good poetry is the
spontaneous overflow of powerful
feelings.”
7. Libertarianism
Many of the libertarian and abolitionist movements of the late
18th and early 19th centuries were engendered by the
romantic philosophy-the desire to be free of convention and
tyranny, and the new emphasis on the rights and dignity of
the individual. The general romantic's dissatisfaction with the
feeling of oppression was frequently expressed in poetry.
Political and social causes became dominant themes in
romantic poetry and prose throughout France and other parts
of Europe, producing many vital human documents that are
still pertinent.
8. Art
Romantics challenged the idea that reason was
the one path to truth, judging it inadequate in
understanding the great mysteries of life. These
mysteries could be uncovered with emotion,
imagination, and intuition. Romantics
emphasized a life filled with deep feeling,
spirituality, and free expression, seeing such
virtues as a bulwark against the dehumanizing
effects of industrialization. They also extolled the
value of human beings, which they believed to
have infinite, godlike potential.
9. Artists of the Romantic Period tried to capture
these ideals in their work. They rejected the
rationalism and rules-driven orderliness that
characterized the Neoclassical style of the
Enlightenment. Like Baroque artists, Romantic
artists hoped to inspire an emotional response in
those who viewed their art; but instead of seeking
to inspire faith as their predecessors had, most
sought to evoke a nostalgic yearning for rural,
pastoral life, the stirrings of life’s mysteries, and a
sense of the power and grandeur of nature. Art of
this period also depicted the romantic ideal of
nationalism.
10. Thomas Jones, The Bard, 1774, a prophetic combination of
Romanticism and nationalism by the Welsh artist
11. Anne-Louis Girodet de Roussy-Trioson, Ossian receiving the
Ghosts of the French Heroes, 1800–02
12. J.M.W. Turner, The Fighting Téméraire tugged to her
last Berth to be broken up, 1839
13. THE CHANCEL AND CROSSING OF TINTERN ABBEY, LOOKING
TOWARDS THE EAST WINDOW, BY JMW TURNER, 1794.
15. Literature
The Romantic Movement in literature is the revival of the past, or rather, the multiple
pasts which preceding centuries had neglected (Peyre, 91). The notion of romantic
love typified in the Middle Ages is restored. For instance, Gustave Flaubert's Madame
Bovary undeniably one of the greatest works of French literature. The heroine in this
novel struggles through the conflict between the ideal of passionate, romantic love
and her unsatisfactory marriage. The novels of adventure and chivalry Emma read in
her adolescene are the direct descendents of the Tristan legend. Through her literary
ideal of the Medieval love, Emma finds disillusionment not only in her marriage, but
also in her adulterous liaisons as well.
However, due to the rising faith in religion, the literature based love on marriage more
and more. Marriage was the ultimate goal instead of love but marriage involve
romantic love as well. Although the Romantics revived the notion of romantic love,
they also modified it as well. Adultery is considered sinful and abstinence is put on the
pedestal. Similar to the Middle Ages, Romanticism placed woman on the pedestal. In
Les Miserables, a woman is described as "the angel spirit….we feel the approaching
warmth [of woman], and, with [her] coming, serenity, our gaiety and estacy
overflowed; we [men] are radiant in our darkness." (Hugo, 162).
16. • Some of the best regarded poets of the time were in fact
women, including Anna Barbauld, Charlotte Smith, and
Mary Robinson.
• Many writers of the period were aware of a pervasive
intellectual and imaginative climate, which some called "the
spirit of the age." This spirit was linked to both the politics
of the French Revolution and religious apocalypticism.
• Wordsworth influentially located the source of a poem not
in outer nature but in the psychology and emotions of the
individual poet.
• Romantic poems habitually endow the landscape with
human life, passion, and expressiveness.
• Although we now know the Romantic period as an age of
poetry, the prose essay, the drama, and the novel flourished
during this epoch.
17. Writers
• Hawthorne, Nathaniel
(1804-1864)
• Whitman, Walt (1819-1892)
• Poe, Edgar Allen (1809-
1849)
• Shelley, Mary (1797-1851)
• Shelley, Percy Bysshe
(1792-1822)
• Wordsworth, William
(1770-1850)
• Coleridge, Samuel Taylor
(1772-1834)
• Melville, Herman (1819-
1891)
• Blake, William (1757-1827)
• Lord Byron (1788-1824)
• Keats, John (1795-1821)
• Bryant, William Cullen
(1794-1878)
• Cooper, James Fenimore
(1789-1851)
• Longfellow, Henry
Wadsworth (1807-1882)
• Irving, Washington (1783-
1859)
• Lowell, James Russell
(1819-1891)
• Whittier, John Greenleaf
(1807-1892)
22. The Camera
In 1835 Alexander Wolcott patented the
design for the first camera
23. Jewellery
After the tremendous expansion of human knowledge, science and technology that
happened by the end of Renaissance, jewellery received one of the largest
expansions of style and influence during the reign of English Queen Victoria. Her
pensionable love toward her husband, art and jewellery managed to sway
traditions and change fashion styles several times during her long reign from 1837
to 1901. One of the largest contributors to the expansion of jewellery during those
times can be found in the effects of Industrial Revolution, which enabled growth of
the middle class that could afford to buy and use cheaper jewellery on daily basis.
Great intake in production of industrially made jewellery (often produced from
cheaper materials and gemstone substitutes) enabled faster adoption and quicker
reaction to fashion changes. Higher class however did not stand idle, and
demanded creation of more technically superior and artfully made jewellery items
made from precious metals and popular gems.
Influence of Queen Victoria contributed to the three distinct fashion changes that
had great impact on jewellery production in Europe and America.
24. • Romantic Period (1837 - 1860) - Under the influence of newly created
organized archaeological work, public became fascinated with the ancient
treasures and fashion styles from the Medieval and Renaissance periods.
This period that lasted over 20 years can easily be described with its use of
romantic motifs - hearts, anchors, snakes and crosses.
• Grand Period (1861 - 1885) - Jewellery from this period was much more
sombre, dramatic and heavy. Often replicating patterns designs found in
older styles (renaissance, gothic), this era was also remembered for the
introduction of "mourning" jewellery. Before that time mourning periods
demanded that all jewellery must be removed, but under the influence of
Queen Victoria this changed by introduction of jewellery made from jet,
onyx and black glass.
• Aesthetic Period (1880 - 1901) - Again returning to more cheerful themes
of love, designs from Aesthetic period featured hearts, stars, crescent
moons, insects, reptiles and animals.
25. Mourning jewellery in the
form of a jet brooch, 19th
century
Brooch with a female figure, c1903
René Lalique, French, 1860–1945
Gold, enamel, and diamond,
courtesy Museum of Fine Arts,
Boston
26. Love Jewellery in the V &
A Museum at London
Bow Brooch in the Garland Style
by Cartier
27. Victorian Agate and Silver
Scottish Brooch.
Victorian Algerian Knot Motif
Brooch.
30. Queen Victoria provides inspiration of a gentler, more
romantic era. After her husband, Prince Albert passed, she
only wore black jewellery made of jet or onyx. Today’s
Victoriana adds crystals into the mix.
31. Delicate necklaces of varying lengths with romantic
charms are layered. Another layering effect consists of
adjustable bracelets in various metal colours.
40. Inspired by the timeless romanticism of the Elizabethan era,
Cake and Lace gathered on a retired cattle ranch in
Cottonwood, California, in order to capture the essence of
Ophelia.
43. The Arts and Crafts movement was an international
movement in the decorative and fine arts that began in
Britain and flourished in Europe and North America
between 1880 and 1910 emerging in Japan in the 1920s. It
stood for traditional craftsmanship using simple forms,
and often used medieval, romantic, or folk styles of
decoration. It advocated economic and social reform and
was essentially anti-industrial. It had a strong influence on
the arts in Europe until it was displaced by Modernism in
the 1930s and its influence continued among craft makers,
designers, and town planners long afterwards.
44. The term was first used by T. J. Cobden-
Sanderson at a meeting of the Arts and Crafts
Exhibition Society in 1887, although the
principles and style on which it was based had
been developing in England for at least twenty
years. It was inspired by the ideas of architect
Augustus Pugin (1812–1852), writer John
Ruskin (1819–1900), and designer William
Morris (1834–1896).
45. Characteristics
F Those involved in the Arts and Crafts Movement, promoted
simple items (furniture, ornaments etc...) manufactured
through good craft techniques.
F they believed that industrially manufactured items lacked the
honesty of traditional craft work.
F The Arts and Crafts Movement supported economic and social
reforms as away of attacking the industrialised age. Many Art
and Craft associations sprung up in this period such as Home
Arts and Industries Association. This association aimed to
support and promote rural handicrafts.
F Arts and Crafts movement believed that the industrial
revolution had made man less creative as ‘his’ craft skills had
been removed from the manufacturing process. One aim of the
movement was to put ‘man’ back in to the design and
manufacturing process, Craft skills and good honest design
would again be central to the manufacturing process.
46. A.W.N Pulgin
Some of the ideas of the movement were anticipated by
A.W.N. Pugin (1812–1852), a leader in the Gothic revival
in architecture. For example, he, like the Arts and Crafts
artists, advocated truth to material, structure and
function. Pugin articulated the tendency of social critics
to compare the faults of modern society (such as the
sprawling growth of cities and the treatment of the
poor) unfavourably with the Middle Ages, a tendency
that became routine with Ruskin, Morris and the Arts
and Crafts movement.
48. William Morris
Morris, the towering figure in late 19th
century design, was the main influence on
the Arts and Crafts movement. The
aesthetic and social vision of the Arts and
Crafts movement derived from ideas he
developed in the 1850s with a group of
students at the University of Oxford, who
combined a love of Romantic literature
with a commitment to social reform.
Morris began experimenting with various
crafts and designing furniture and
interiors. He was personally involved in
manufacture as well as design, which was
to be the hallmark of the Arts and Crafts
movement.
51. Art and craft architecture
E Built of natural materials: Craftsman homes are typically built
of real wood, stone and brick.
E Built-in furniture and light fixtures: Built-ins were the
hallmark feature of the Arts and Crafts era. Built-in cabinets
allowed the furnishings to be part of the architecture,
ensuring design unity and economic use of space. Even the
light fixtures are often part of the design.
E Fireplace: A fireplace was the symbol of family in the Arts and
Crafts movement, so most homes feature a dominant
fireplace in the living room and a large exterior chimney.
E Porches: Most homes in the Craftsman style have porches
with thick square or round columns and stone porch
supports.
52. Examples of architecture
E St. Francis Court. In 1909, Sylvanus Marston, an architect
who studied at Cornell, assembled bungalows in Pasadena,
Calif., around a small "courtyard" to solve the density
problem and create the illusion of space.
E Craftsman Farms. Gustav Stickley's retreat in Morris Plains,
N.J., is a perfect example of the Arts and Crafts style. The
entire home is furnished with furniture from Stickley
United Crafts.
E The Gamble House. This 8,200-square-foot Arts and Crafts
icon is in Pasadena, Calif. It was built in 1908 by Charles
and Henry Greene, who obsessively crafted every detail of
the furnishings and art.
53. • Red House - Bexleyheath, Kent - 1859
• YHA Beer - Youth Hostel - Beer, East Devon
• Wightwick Manor - Wolverhampton, England -
1887-93
• Standen - East Grinstead, England - 1894
• Swedenborgian Church - San Francisco, California
- 1895
• Blackwell - Lake District, England - 1898
• Derwent House - Chislehurst, Kent - 1899
• Stoneywell - Ulverscroft, Leicestershire - 1899
• West Court, Fishery Road, Maidenhead - 1899
58. LATER INFLUENCES
The British artist potter Bernard Leach brought to
England many ideas he had developed in Japan with the
social critic Yanagi Soetsu about the moral and social
value of simple crafts; both were enthusiastic readers of
Ruskin. Leach was an active propagandist for these
ideas, which struck a chord with practitioners of the
crafts in the inter-war years, and he expounded them in
his book The Art of the Potter, published in 1940, which
denounced industrial society in terms as vehement as
those of Ruskin and Morris. Thus the Arts and Crafts
philosophy was perpetuated among British craft
workers in the 1950s and 1960s, long after the demise of
the Arts and Crafts movement and at the high tide of
Modernism.
59. British Utility furniture of the 1940s also derived
from Arts and Crafts principles. One of its main
promoters, Gordon Russell, chairman of the Utility
Furniture Design Panel, was imbued with Arts and
Crafts ideas. He manufactured furniture in the
Cotswold Hills, a region of Arts and Crafts furniture-
making since Ashbee, and he was a member of the
Arts and Crafts Exhibition Society. William Morris's
biographer, Fiona McCarthy, detected the Arts and
Crafts philosophy even behind the Festival of Britain
(1951), the work of the designer Terence Conran (b.
1931) and the founding of the British Crafts Council
in the 1970s.
60. Museums
The Museum of the American Arts and Crafts Movement
is under construction in St. Petersburg, Florida,
scheduled to open in 2017.
Asia
In Japan, Yanagi Sōetsu, creator of the Mingei movement
which promoted folk art from the 1920s onwards, was
influenced by the writings of Morris and Ruskin. Like the
Arts and Crafts movement in Europe, Mingei sought to
preserve traditional crafts in the face of modernising
industry.
61. DECORATIVE ARTS GALLERY
Gustav Stickley. Drop front
Desk, ca. 1903 Brooklyn
Museum
Newcomb Pottery. Vase, 1902-
1904. Brooklyn Museum
75. Anna Sui Fall, the American designer
designers’ looking to this era and take inspiration for her designs
76. Burberry Prorsum's Pre-Fall collection is a deep dive into trade The
collection draws inspiration from the Arts and Crafts movement. in the late
19th century, both aesthetically and philosophically -- decorative, William
Morris-style patterning is a central motifitional British craftwork
