Characteristics of Romanticism in the History of Art. Essay

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Characteristics of Romanticism in the History of Art.

To characterise Romanticism within the fine arts one must consider the historical background from which this movement manifested, as it plays such an influential role in the Romantic artist's development of subject matter and style. The movement itself began around the beginning of the 19th century, and is often dated
1775 – 1830 it is important to note that this was a period of change and revolution in human rights, and the main countries this movement manifested in were Germany, Britain and in France during the French
Revolution of 1789. This political and cultural revolution had a major affect on all of the arts as well as the visual arts; as artists began to revolt
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As well as the literary elements and pure imagination, which inspired his subject matter,
Blake's portrayal has many other features that link it to the Romantic mood. For example, and most stunningly, Blake's use of vivid, exotic reds, oranges and yellows contrasted with the blacks and grays of the threatening and ominous storm clouds used to display Natures ferocity and supremacy over mankind. Another characteristic that featured in
Blake's work, and indeed also appealed to the inward and imaginative minds of the Romantics, was their use of form when depicting the human body or almost any object, this stems from a wish to look back to the simplicity of the Medieval artists and create forms that emphasize the mood they wish to communicate.

This unusual and individual depiction of his type of God figure stems mainly from Blake's own beliefs about the creator of the world being an evil spirit because he thought the world is such a cruel place to live, again reinforcing the theme of individual vision and idea. Blake's use of intense colour and powerful composition to display the domination of his God-like figure and Nature over human beings can also be observed in the work of J.M.W. Turner (1775-1851) creating the same communication of ideas. When observing, "Snowstorm:
Hannibal and His Army Crossing the Alps", for example, Turner devotes two thirds of the canvas to the fierce, claw-like image of the

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