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Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850
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Partly a reaction to the Industrial Revolution,[1] it was also a revolt against the aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature
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embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and the natural sciences.[5]
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effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, its long-term effect on the growth of nationalism was probably more significant
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The movement validated intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities: both new aesthetic categories
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r, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape
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made spontaneity a desirable characteristic
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argued for a "natural" epistemology of human activities, as conditioned by nature in the form of language and customary usag
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Romanticism embraced the exotic, the unfamiliar, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape
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elevated folk art and ancient custom to a noble status
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the events of and ideologies that led to the French Revolution planted the seeds from which both Romanticism and the Counter-Enlightenment sprouted
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in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism
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Romanticism assigned a high value to the achievements of 'heroic' individualists and artists, whose pioneering examples, it maintained, would raise the quality of society
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In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of
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The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law"
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vouched for the individual imagination as a critical authority allowed of freedom from classical notions of form in art
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the influence of models from other works would impede the creator's own imagination, so originality was absolutely essential
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The concept of the genius, or artist who was able to produce his own original work through this process of "creation from nothingness", is key to Romanticism, and to be derivative was the worst sin
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romantic originality.
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a strong belief and interest in the importance of nature. However this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone
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In contrast to the usually very social art of the Enlightenment, Romantics were distrustful of the human world, and tended to believe that a close connection with nature was mentally and morally healthy
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in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves"
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by the middle of the 18th century "romantic" in English and romantique in French were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern English usage but without the implied sexual element
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only from the 1820s that Romanticism certainly knew itself by its name, and in 1824 the Académie française took the wholly ineffective step of issuing a decree condemning it in literature
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Romanticism is not easily defined, and the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought
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Margaret Drabble described it in literature as taking place "roughly between 1770 and 1848"
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In other fields and other countries the period denominated as Romantic can be considerably different; musical Romanticism, for example, is generally regarded as only having ceased as a major artistic force as late as 1910, but in an extreme extension the Four Last Songs of Richard Strauss are described stylistically as "Late Romantic" and were composed in 1946–48.[23] However in most fields the Romantic Period is said to be over by about 1850, or earlie
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early period of the Romantic Era was a time of war, with the French Revolution (1789–1799) followed by the Napoleonic Wars until 1815. These wars, along with the political and social turmoil that went along with them, served as the background for Romanticism
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t was part of the Counter-Enlightenment, a reaction against the Age of Enlightenment, is generally accepted
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ts relationship to the French Revolution which began in 1789 in the very early stages of the period, is clearly important, but highly variable depending on geography and individual reactions
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ost Romantics can be said to be broadly progressive in their views, but a considerable number always had, or developed, a wide range of conservative views
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In philosophy and the history of ideas, Romanticism was seen by Isaiah Berlin as disrupting for over a century the classic Western traditions of rationality and the very idea of moral absolutes and agreed values, leading "to something like the melting away of the very notion of objective truth",[27] and hence not only to nationalism, but also fascism and totalitarianism
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The painter, the poet, the composer do not hold up a mirror to nature, however ideal, but invent; they do not imitate (the doctrine of mimesis), but create not merely the means but the goals that they pursue; these goals represent the self-expression of the artist's own unique, inner vision, to set aside which in response to the demands of some "external" voice — church, state, public opinion, family friends, arbiters of taste — is an act of betrayal of what alone justifies their existence for those who are in any sense creative
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An earlier definition comes from Charles Baudelaire: "Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling."
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The end of the Romantic era is marked in some areas by a new style of Realism, which affected literature, especially the novel and drama, painting, and even music, through Verismo opera
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movement was led by France, with Balzac and Flaubert in literature and Courbet in painting; Stendhal and Goya were important precursors of Realism in their respective media
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In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of "sensibility" with its emphasis on women and children, the heroic isolation of the artist or narrator, and respect for a new, wilder, untrammeled and "pure" nature
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Joseph maintained that invention and imagination were the chief qualities of a poet
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1774 novel The Sorrows of Young Werther had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament
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Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism
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Important motifs in German Romanticism are travelling, nature, and Germanic myths
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The later German Romanticism of, for example, E. T. A. Hoffmann's Der Sandmann (The Sandman), 1817, and Joseph Freiherr von Eichendorff's Das Marmorbild (The Marble Statue), 1819, was darker in its motifs and has gothic elements
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The significance to Romanticism of childhood innocence, the importance of imagination, and racial theories all combined to give an unprecedented importance to folk literature, non-classical mythology and children's literature, above all in Germany
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The first collection of Grimms' Fairy Tales by the Brothers Grimm was published in 1812
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Unlike the much later work of Hans Christian Andersen, who was publishing his invented tales in Danish from 1835, these German works were at least mainly based on collected folk tales, and the Grimms remained true to the style of the telling in their early editions, though later rewriting some parts