Definition and Explanation
Romanticism was first recognized as a style in literary criticism around 1800, but it really took off as an artistic movement in France and Britain during the early 1800s and continued to thrive until about the middle of the century. This movement focused on imagination and feelings, arising as a reaction to the disappointment with Enlightenment ideals of reason and structure that followed the French Revolution in 1789.
The term sublime refers to art/photography that has the capability to terrify or overwhelm the viewer. Edmund Burke asserts that the feelings of the sublime are triggered by extremes – vastness, extreme height, difficulty, darkness or excessive light. Sublime paintings/photography typically focus on extreme environments such as jagged mountains or rough, stormy seas which invocate feelings of fear as well as excitement.
“Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.”
The Industrial Revolution and its Impact on Romanticism
The Industrial Revolution had a profound impact on the Romantic movement, shaping its themes, concerns, and artistic expressions. The loss of connection with nature, the alienating effects of urbanization, and the critique of industrial capitalism all influenced the works of Romantic poets and artists.
Many English intellectuals and artists in the early 19th century considered industrialism inhumane and unnatural and revolted – sometimes quite violently – against what they felt to be the increasingly inhumane and unnatural mechanization of modern life. To a large extent, English Romantic intellectuals and artists felt that the modern industrial world was harsh and deadening to the senses and spirit. These intellectuals called for a return, both in life and in spirit, of the emotional and natural, as well as the ideals of the pre-industrial past.
Romantic Artists
JMW Turner
Joseph Mallord William Turner (23 April 1775 – 19 December 1851), known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings. He left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.
John Constable
John Constable (11 June 1776 – 31 March 1837) was an English landscape painter in the Romantic tradition. Born in Suffolk, he is known principally for revolutionising the genre of landscape painting with his pictures of Dedham Vale, the area surrounding his home – now known as “Constable Country” – which he invested with an intensity of affection. “I should paint my own places best”, he wrote to his friend John Fisher in 1821, “painting is but another word for feeling”.
Constable’s most famous paintings include Wivenhoe Park (1816), Dedham Vale (1828) and The Hay Wain (1821). Although his paintings are now among the most popular and valuable in British art, he was never financially successful. He was elected to the Royal Academy of Arts at the age of 52. His work was embraced in France, where he sold more than in his native England and inspired the Barbizon school.
Constable’s father was a land owner and the early industrial revolution was perceived to threaten jobs, creating a contextual link which is relaxed and not portraying the tension associated with the industrial revolution at the time. The typical landscape before this focused on classical landscapes, e.g. Arcadia or fictional landscapes which this painting is defying – most notably with the large amount of canvas dedicated to the sky (since Constable had studied meteorology, shown by him capturing a specific time of day in the painting) and fields, also making the painting more personal as it relates to the landscapes Constable grew up in and is fond of. The painting is also intentionally not ‘finished’ with rough textures and brushstrokes creating more emphasis on the grass and light reflecting off the water.