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German Romanticism

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  Later Nazarenes    After the death of Pforr, they became preoccupied with the revivial of religious  painting Peter Cornelius, Reconciliation of Joseph and his Brothers, 1817    Wanted to return religious painting to its former glory (like during the Renaissance) o   To do this, they brought back mural painting  because of their size and scope    These fresco murals were about the story of Josephthey took art from the high Renaissance (classical setting, costumes, sculptural elements) instead of the medieval times and early Renaissance (Shulamit and Mary) Cornelius, Last Judgment, 1836-39    Many references to Michelangelo, but inspiration from other Masters as well    Wanted to build on the tradition of painting but make something new o   It is less focused on creating illusion o   More symbolism to bring out religious aspects o   Ordinary poses and gestures were used o   Colors were symbolic instead of aesthetic Schnorr von Carolsfeld, The Death of Siegfried, 1827-67    German story equivalent of Iliad and Odyssey    Epic poem that was a compilation of old legends    Centered on the love affairs and quarrels of several  princes who all end up dead    This is symptomatic of German Romanticism and German Nationalism (brought out during Napoleonic era)    Shows the cowardly Hagan about to kill Siegfried    (Nazarenes were important of German Romanticism, though this is not pure German Rom.) Pure German Romanticism vs The Nazarenes    the country was policitally fragmented    led to several diffrerent training academies for German students    the only thing in common was the importance of religion to all these artists Phillip Otto Runge, The Rest on the Flight to Egypt 1805-06    Pure German Rom    Influenced by Jacob Bohme o   Protestant mystic o   Fusion of Lutheran theology with Renaissance mysticism  o   Believed the highest expression of divine in art is from nature (this influence Runge)    He was one of the first 19 th  century artists to see the landscape as the future: saw as the only way for moderns to surpass the ancients    Though he painted few pure landscapes, all had  pivotal role in his works    Essence of Christianity in his landscapes     Naked Jesus reaches hands out to the dawn  —  direct connection to infancy of Christ and a new day/era    Flowering tree: tree of knowledge in paradise. No snake but two angels  —  one with trumpet other with lily (purity, Madonna)    Sky: blue, yellow and reddish pink o   Bohme: colors connected to trinity o   Blue=God, red=Son, yellow=Spirit Runge, Morning, 1808-09    Sketch for a series he intended to be his legacy    Gesamtkunstwerk=work of art combining several different art forms (wanted to have also music and  poetry readings)    Sketches show the srcinality of his work o   Symmetrical and stylized plants o   Flowers representing states of awareness (Bohme)    Morning: lily flower is central and carried by Aurora (goddess of the dawn). She is at the center of an orb of golden light defined by putti    Below, a baby lies in meadow, surrounded by putti    Series of connections of themes: dawn, light, purity (lily), spring, birth, Christ, love o   Shows everything is somehow related and fits in a divine scheme    Religious message is enhanced by the frame o   Earth is blackened by sin (2 putti reaching out to two others imprisoned by earth) o   Sides: putti coming out of flowers  —  souls were redeemed by the passion of Christ o   Lilies: new formed purity o   Cyclical nature of life likened to the time of day    Inspiration from Raphael    Personal reworking of traditional Catholic themes of the Assumption Runge, Huelsenbeck Children, 1805-06     Older kids pull chubby sibling in cart    Masculine and feminie roles have been defined  —  girl  protectively reaches towards baby, boy holds a whip    Landscape: lush meadow, sunflowers, tree  —  reaffirm health and wellbeing of children    Villiage: aimple, uncomplicated lifestyles, wholesome upbringing    Chubby babies bursting with life    Landscape was more than just a background, but never carried the full meaning
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