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**
*[Marginal note above:]
64C1856[ce]
**[– ibid (Encyclopaedia Britannica 25: 362)]
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**
*[‘An almost reverential affection, animated by the belief that that the divine mind was immanent in nature….’ (ibid, above)
‘—And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man:
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being….’
– William Wordsworth, Lines composed a few miles above Tintern Abbey, on revisiting the banks of the Wye during a tour, July 13, 1798]
**[– ibid (Encyclopaedia Britannica 25: 362)]
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**
*[Marginal note above:]
{
[Cycle diagram as shown above
with CE dates shown at 256 year intervals
on lower semicycle from 512ce to 1536ce]
[Under lower semicycle:] Middle Ages
– Recall & Return?
(In ‘Recall’ the Individual both recalls and is recalled by the past)
}
**[– ibid (Encyclopaedia Britannica 25: 362)]
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*[– ibid (Encyclopaedia Britannica 25: 362)]
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**
*[Marginal note above:]
{cf c[irca]1880-1920[ce]
↓}
**[– ibid (Encyclopaedia Britannica 25:) 362]
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{Romantic Painting}
‘ROMANTICISM (c. 1760-1870[ce])
‘Romanticism is a term loosely used in both a historical and an aesthetic sense to designate numerous changes in the arts during a period of more than 100 years (roughly, 1760-1870[ce]), in reaction against Neoclassicism (but not necessarily the classicism of Greece and Rome) or against what is variously called the Age of Reason, the Augustan Age, the Enlightenment, or 18th-century Materialism. Romantic art therefore reflects a climate of feeling in western culture so abundant and diverse in its forms of expression as to defy any concise elucidation. A question of personal approach, romantic attitudes have been present at all times, but the period that has earned the title Romantic and that stretches roughly from the last decades of the 18th century [ce] until the middle of the 19th century [ce]* saw an unprecedented flow of works, the prime impulse and effect of which derived from individual rather than collective reactions. Its chronological development begins in northern Europe with a rejection of prevailing standards of excellence based on the classical ideal that perfection could and should be sought and attained in art.’
**
*ie narrower than above:
cf Neoclassicism 1780-1850[ce]
64m~|G~1776[ce]
64s~|R~1848[ce]
**– ibid [Encyclopaedia Britannica 25:] 361-362
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(Italy)
‘One of the earliest Neoclassicists and one of the foremost painters of his generation in Italy was Pompeo Batoni. His style blends Rococo with Neoclassical elements….’
*
'Domenico Pellegrini, born near Bassano, travelled widely & was mildly Neoclassical.'**
*
*– ibid [Encyclopaedia Britannica 25:] 361
**(I like the idea of a painter being ‘mildly Neoclassical’)
[Or what about ‘wildly Neoclassical’?]
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‘Anne-Louis Girodet de Roucy, known as Girodet-Trioson, won a Prix de Rome but stopped painting after 1812[ce] when he inherited a fortune & turned to writing.’
*
Can't imagine why.
*[– ibid (Encyclopaedia Britannica 25: 361)]
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(France)
‘The outstanding & most influential of all French Neo-classicists & one of the major artists in Europe was Vien's pupil Jacques-Louis David. David's early works are essentially Rococo, & his late works also revert to early 18th-century [ce] types; his fame as a Neoclassicist rests on paintings of the 1780s & 1790s [ce].’*
**
*2048s~|R~1792[ce]
cf Italian High Renaissance 1495-1520[ce] (2048G~1536) – does the contrary circle come through most strongly at cardinal, and then at diagonal, degrees? <910513>
**– ibid [Encyclopaedia Britannica 25:] 361
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(Great Britain)
‘William Blake, poet & painter, was a Neoclassicist to some extent.’*
**
*[!]
**– ibid [Encyclopaedia Britannica 25:] 361
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*‘Not only did some artists work in both Classical & Gothic styles but they also fused together stylistic elements they found common in both periods – a fusion unique to Neoclassical art. The linear qualities of the antique were blended with what they saw as equally linear elements in 13th- **& 14th-century [ce] art. Some of the most original styles in the decades just before & after 1800[ce]*** are to be found in paintings & drawings that fuse the Classical-Gothic linearity, including the work of Blake, Fuseli, the Dante illustrations of Flaxman, & drawings by the Austrian painter Joseph Anton Koch.’
****
*
**{2048u~|J~1280[ce]}
***2048s~|R~1792[ce]
****– ibid [Encyclopaedia Britannica 25:] 361
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‘Although many of the concepts of Neoclassicism were a continuation of earlier academic theories* – especially the admiration for antiquity & the emphasis laid on idealization – on the important question of Gothic & Quattrocento** art, the Neoclassicists diverged markedly from their predecessors. They made an important contribution to the reevaluation of Gothic & early Renaissance art.’
***
*s~
**(=1400s[ce], ie Early Renaissance)
***– ibid [Encyclopaedia Britannica 25:] 360-361
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*‘Sentiment. Sentiment, of an essentially 18th-century kind, is found in many facial expressions & gestures of Neoclassical works. This sentiment is itself un-Classical and forms an important ingredient of the style, removing many works from the possible criticism of being pastiche.’
**
*R~
**– ibid [Encyclopaedia Britannica 25:] 360
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