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Science and romanticism in art
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Transcript of Science and romanticism in art
![Page 1: Science and romanticism in art](https://reader036.fdocuments.in/reader036/viewer/2022062512/55494c3eb4c905f24e8b4578/html5/thumbnails/1.jpg)
Science and Romanticism in Art
How did representations of nature go from this:
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![Page 3: Science and romanticism in art](https://reader036.fdocuments.in/reader036/viewer/2022062512/55494c3eb4c905f24e8b4578/html5/thumbnails/3.jpg)
…to this:
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1. The artist
• Look at these three images. What do each of them tell you?
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• By the time we get to the last picture, the artist is seen as a romantic figure – someone along in the wilderness, seeking something, whether beauty, knowledge or spiritual enlightenment
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2. Science
• Artists were the first anatomists. Leonardo Da Vinci dissected bodies and made detailed drawings that became the basis for much medical knowledge
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• From then on, the scientist was someone who, like great artists, pushed the boundaries of knowledge and perception.
• What do you notice about these two representations of scientific investigations?
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• How do they compare to this medieval picture?
![Page 16: Science and romanticism in art](https://reader036.fdocuments.in/reader036/viewer/2022062512/55494c3eb4c905f24e8b4578/html5/thumbnails/16.jpg)
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• …and to this nineteenth century painting?
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…or this?
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• The idea of an artificial human that began with Frankenstein took a different turn, again prompted by artistic ideas:
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• Jacob Epstein’s Rock Drill was considered so shocking that eventually the artist dismantled it
• He said he did this because after the mechanised slaughter of WW1 he himself was frightened by his own vision
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• It is still influential today!
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• Other artists who fought in the first world was noticed how men became like machines. David Bomburg produced two versions of the same picture:
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• And film makers have picked up on this theme of the mechanised soldiers, and how they, like the monster in Frankenstein, might rebel against their creators
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• …although for some artists, mechanisation was simply the way of the world now, and a source of beauty. Mondrian based Broadway Boogie Woogie on the grid-like pattern of yellow taxis on the New York streets:
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3. Landscape
• The Garden of Eden was a common subject for paintings. The word Paradise, another way of describing Eden, means Walled Garden in Persian. In the earliest representations, we can see this literally – paradise is a safe, walled garden, where everything is ordered and controlled.
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• But soon the walls disappear – in this painting by Rubens, the garden is human, safe and abundant, but no longer so controlled.
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• The romantic Eden is a different place- grand, rugged, where the humans are tiny in comparison to the grandness of nature:
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• This is the romantic vision of nature – grander than man, and sublime
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4. Composition
• The last element of the transformation into a Romantic visual language was composition. The classical ideals of composition in a picture were geometrical – lines, squares, circles, equal divisions
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• …whereas Romantic painters used natural shapes reminiscent of mountains and waves…
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• So, to return to the two paintings we started with, see if you can identify the ways the romantic world view transformed the visual language. As a clue, both are about time and death – the first is called ‘A Dance to the Music of Time’, and the second is a vision of Judgement Day.
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