"Who says romance says modern art, that is, intimacy, spiritual, color, inspiration, aspiration towards the infinite, expressed by all means present in the arts." In this phrase
Charles Baudelaire it summarizes the essence of the impressive cultural movement that shook Europe at the beginning of ell'ottocento and the accompanying in its history for several decades. Literature and art are never so related as romantic era.
Romanticism is the son of the North, and North is color and the dreams and spells are the children of the mist. In England that is home to the vibrant colors. Flanders, one half of France, are mmersi in the fog ... in return the South is natural, because nature here is so beautiful and bright man who, having nothing to be desired, finds nothing more beautiful to invent other than what he sees.
The entry into use of the term Romanticism states in Europe around 1830, appearing with different characteristics from country a nazione.
Charles Baudelaire it summarizes the essence of the impressive cultural movement that shook Europe at the beginning of ell'ottocento and the accompanying in its history for several decades. Literature and art are never so related as romantic era.
Romanticism is the son of the North, and North is color and the dreams and spells are the children of the mist. In England that is home to the vibrant colors. Flanders, one half of France, are mmersi in the fog ... in return the South is natural, because nature here is so beautiful and bright man who, having nothing to be desired, finds nothing more beautiful to invent other than what he sees.
The entry into use of the term Romanticism states in Europe around 1830, appearing with different characteristics from country a nazione.
Francesco Hayez (Venezia, 
10 febbraio 1791 Milano, 26 novembre 1882)
è stata una pittore italiano,
massimo esponente del romanticismo storico.
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Francesco Hayez the "photographer of celebrities of the nineteenth century and the painter of the most famous paintings dedicated to innamorati.Il kiss is an oil on canvas 112 x 88 cm, by Francesco Hayez in Milan in 1859 and kept in the Pinacoteca di Brera . The kiss and 'certainly one of the paintings more' famous: the love between Romeo and Juliet, seen as endless love struggling against all odds and that not even death can 'to end, and' perfectly represented in this framework. The author, in this work, brings together the main characteristics of romanticism Italian, or an absolute focus on the concepts of naturalness and sense (individual love), but mainly towards the ideals of the Risorgimento (the love of country).
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His art, based on excellent skills as a designer, is not without a certain coldness and artificiality. His romanticism has always been considered more formal than it sostanziale.La his best artistic production is considered one of the portraits he made some of the most famous men of his time: Gioacchino Rossini, Ugo Foscolo, Alessandro Manzoni, Antonio Rosmini , Massimo d 'Azeglio and Cavour.L' list of works by Hayez is often not easy because not signed or dated. Often the date indicated in the text is not really the date of production, but is to donate. Also painted the same subjects several times with minor variations, or sometimes without modification. For decades the Middle Ages to the subject continues to provide so-called historical romance, that is the painting that draws on examples of national glory to inspire confidence as a continuous positive continuity in the present.
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This interpretation takes the field especially in Italy, where artists of the Academy will embark on an extensive production of works requested by Mazzini, who, firmly convinced of the role of art as a social mission, said that "in the continuity of historical tradition, Italy has to draw on the aspirations and forces to found the new nationality is read The Kiss Episode giovinezza.Costumi of the fourteenth century The years of World War II. The work, in the seductive embrace of love contains an implicit political message allusive the departure of volunteers for the front, will have an immediate success when it is exposed to Brera, in Milan, which expects at any moment the arrival of Vittorio Emanuele.
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Francis Hayez Rinaldo and Armida ,
1813, Venice, Galleria dell'Accademia
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Hayez 's work, dating from the early nineteenth century, emphasizes the arts very seductive of Armida. The picture reveals the inclination of the elegiac and heroic classicism of anti Hayez. Note the clean lines and clear, warm atmosphere, the bright and sensual nude Armida. His figure shows the fascination with which the magician seduces the rider. The landscape is reminiscent of a romantic garden.
Armida is an opera by Gioacchino Rossini.
John Everett Millais
Ophelia-1851-1852.
London Tate Britain
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He just twenty two years the artist, a young and promising member of the Pre-Raphaelite group, when he began to paint this tela.Soggetto, dall'Amleto stretch of Shakespeare (IV, 7), is the tragic death of Ophelia, drowned in a river after being mad when his father, Potonio Amleto.Per was killed by the setting of the framework follows closely Millais text (IV, 5) the princess already in the throes of madness collect or appointment dear flowers, carefully reproduced in the painting.
Daisies, floating near his right hand, are mentioned by Ophelia shortly before his death, and since his brother affectionately calls the "rose of May" Millais various places around his body and rose in the hedge on the right, in the same verse is mentioned robin , which appears on a branch on the left, the "sweet robin" of the dirge sung by the young crazy now, his words also recall the despair that Appian violets around her neck, as well as pensèee that Ophelia had gathered camps and are now on her dress. Other plants, such as the poppy-alluding to sleep and death, or the weeping willow that leans out on the background-index-neglect, are added by the painter for their symbolic meaning.
Millais few months working the canvas: the open, near the river Hogmill to Ewell, in Surrey , depicts the vegetation and flowers that frame the scene, but realizes the figure in his study, using a model-the young Elisazabeth Siddall which is wearing a beautiful gown embroidered in silver, bought at a high price in a clothing store usati.Per better achieve the effect of floating Millais had it put in a bathtub full of water, providing heated by oil lamps, but from his letters we learn that the girl was sick too suffered from the cold and that the painter was forced to pay the costs.
Daisies, floating near his right hand, are mentioned by Ophelia shortly before his death, and since his brother affectionately calls the "rose of May" Millais various places around his body and rose in the hedge on the right, in the same verse is mentioned robin , which appears on a branch on the left, the "sweet robin" of the dirge sung by the young crazy now, his words also recall the despair that Appian violets around her neck, as well as pensèee that Ophelia had gathered camps and are now on her dress. Other plants, such as the poppy-alluding to sleep and death, or the weeping willow that leans out on the background-index-neglect, are added by the painter for their symbolic meaning.
Millais few months working the canvas: the open, near the river Hogmill to Ewell, in Surrey , depicts the vegetation and flowers that frame the scene, but realizes the figure in his study, using a model-the young Elisazabeth Siddall which is wearing a beautiful gown embroidered in silver, bought at a high price in a clothing store usati.Per better achieve the effect of floating Millais had it put in a bathtub full of water, providing heated by oil lamps, but from his letters we learn that the girl was sick too suffered from the cold and that the painter was forced to pay the costs.
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Titania's Awakening (1793-1794)
oil on canvas, 135 x 169 cm Zurich, Kunsthaus
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Johann Heinrich Fussli (1741-1825) Fussli , Swiss by birth and, as a young follower of extremism romantic Sturm und Drang (German literary movement that developed between 1765 and 1785 in opposition to the rationalism of the Enlightenment), then stayed for a few years in Italy studying the works of Michelangelo in particular as an extreme example of the artist "inspired", which captures and transmits messages otherworldly. Can be considered the mediator between the artistic culture of German literature and English, having spent most of his life in England (where it is known as Henry Fuseli). Even Fuseli, Blake as , sees art as an entirely spiritual, anti-naturalistic, but the 'sublime' for him in the dream and nightmare rather than in transcendental visions. The classical world, which considers dead, can only be regarded as a ghost in striking contrast to the present. In England he is a painter of ancient history, medieval, Shakespeare, Dante, Milton represented with strong accents or pre-Romantic Romantic.
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Josepf Noel Paton
Reconciliation of Oberon and Titania ,
1847.Edimburgo National Gallery of Scotland.
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Scottish Artist of success since the forties e particolarmente apprezzato dalla regina Vittoria. La tela nel 1847 vince un premio al concorso per la nuova Camera dei Lords . In questi due dipinti l'artista inserisce una marcata componente di sensualità, mitigata, però agli occhi del pubblico da un'atmosfera magica, ricca di dettagli bizzarri e quasi onirici.
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"La lite di Oberon e Titania "
Joseph Noel
1849, Edimburgo-
Le fate di Shakespeare La sconfinata produzione di Shakespeare, ben presto identificato come il precursore dei grandi ideali romantici, la principale fonte di ispirazione di tanti artisti. Sono soprattuto le trame del Sogno di una notte di mezza estate a fornire personaggi e scenari accattivanti, con boschi e foreste popolati da fate, elves, goblins, monsters and fantastic creatures that fascinate the public. Fùslli , at the end of the eighteenth century, which gives a kind of turning in a fantastic sense of painting shakspeariana .
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Francesco Hayez lying-Odalisque (1839) Private collection, Milan
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1480 olio su tela , 69.9 × 52.1 cm Londra, National Gallery @ @ @ @
@ @ @ @ the nineteenth century Eastern Europe. The East in the broadest sense, or rather the attraction it exerts on writers, artists and poets, is one of the most exciting components of the movement Romantico.L 'interest in those distant lands has always been present in European culture. In the Renaissance the civilization of ancient Egypt is the subject of esoteric studies and the Near East is a destination for many artists such as Gentile Bellini, who in about 1840 he went to Constantinople painted the portrait of Sultan Mehmed II
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collects the nineteenth century, therefore, promising a legacy that artists know how to enhance romance, many are enthusiastic to the point of spending long periods in the South or North African, as a painter of great renown, attracted by the new line illustrations but not to the point of addressing the inconvenience of long travel, visit exotic cities and landscapes only in your mind, guided by the atmosphere described in the pages of novels, poems or descriptions of pioneers.
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Jean-Auguste-Dominique Ingres (Montauban, France 0.1780-Paris, 1867)
Odlisca with slave 1839-1840 -Cambridge, Massachusetts, Fogg Art Mueum
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The theme is played by Ingres harem with his usual elegance, enhanced by a sophisticated scoring environment. The blonde odalisque with long flowing hair lying flat on the ground on lightweight fabrics and precious, reiterated in the two pillows and blanket of silk two colors on which rests the feather fan, her pose is sensual, almost sculptural effect of a "versus" voluptuous michelangiolesco.Raffredda component of the scene also studied the development of the eyes: neither the slave who plays next to the young, nor the eunuch on the back of the stage turn their eyes on his body, as if absorbed in other pensieri.Ingres build a room dominated by the color, forms and dispenses wise to combat this form to make a curving line of the fight ' odalisque, the drapery on the right and the red dress suonatrice refined, the series of geometric motifs punctuate the space with fast-paced
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Francesco Hayez-A vase of flowers on the window of a harem
(1881) Pinacoteca di Brera, Milan
-Marie Guillemin-Benoist Portrait of black woman-Paris Musée du Louvre.
In 1800, six years after the abolition of slavery in France and the portrait of black woman presented to the Salon provides additional social dignity to the black population: a seat as any model in a studio, the exotic beauty of women is enhanced by the contrast of the white dress with bare, headgear combined with the bottom of the picture.
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@ @ @ @ Anne-Louis Girodet de Roucy.Trioson, Jean-Baptiste Belley, Member of Santo Domingo-1797, Versailles, Musée du Chateau
The new portrait of the exotic, little by little change the way we represent the characters of color, as shown by the portraits that reveal the gradual creep into the mindset of European concepts of equality and human dignity affirmed by the revolution of 1789. These two beautiful paintings are an example, signed a short distance from French artists. In a Member of Santo Domingo, the artist places a strong political message: Jean Baptiste Belley, born a slave, was sent to represent the colony of Santo Domingo (now Haiti) and the French Republican Assembly in 1794, leading con successo la campagna per l'abolizione della schiavitù. Girodet lo ritrae appoggiato al piedistallo del busto di Guillaume Raynal, filosofo appena scomparso che nel 1770 aveva gettato le basi per la condanna della schiavitù. La figura del deputato si staglia con bellissima evidenza sul fondo smaltato del paesaggio e contro il marmo della scultura, mentre l'abito elegante e la disinvoltura della posa ne confermano l'ormai avvenuta integrazione sociale.
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Jean-Baptiste-Regnault-Deopisizione,1789, Parigi, Musèe du Louvre
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Giambattista Tiepolo, Adoration of the Magi, 1733, Monaco, Alte Pinakothek
Sacred art in the early nineteenth century.
Around the middle of the eighteenth century, sacred art has experienced an era of spectacular bloom and perhaps a little misunderstood. On the threshold of an era cultures, political and economic radically diversa.Nel passage between the world and the new pre-revolutionary cultural landscape at the threshold of the nineteenth century, the art of sacred subject is revealed impreparata.Questo "heel" duraturi.Insomma neoclassical effect, marks the history of sacred subjects to an abrupt halt, after which, according to some commentators, the arts are no longer able to resume the process of expression permanently discontinued.
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The historical novel in Italy.
In 1827, Italy in the first edition of The Betrothed by Alessandro Manzoni is already a "bestseller" and soon became subject of new footage and fashion paintings and decorations within accademico.Una the first evidence is the series of lunettes painted in Florence in the room of Leopold II of Lorraine, in the palace of building Pitti.Nel September 1827 meeting with Manzoni hits a grand duke of Tuscany to the point that a few years later the king decided to dedicate the decoration of a room of his residence to the novel
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Cianfanelli Nicola Lucia and the nameless, 1837, Pitti Firenze.palazzo
Conversion, precisely that one of the most moving pages of the novel, as the conversation between Lucy and the Nameless: Cianfanelli environment in a charming night light that will lead the dialogue ruthless tyrant to be converted, with its imposing silhouette against the light and the lighting instead of imploring gesture Lucia, in order to stress the imminent fulfillment of repentance and conversion. 
In France, the romantic relationship of artists with contemporary literature is well represented by numerous works that draw inspiration from the pages of Francois Rene de Chateaubriand or George Byron. Direct sources of such masterpieces as the canvas created in 1808 by Girodet, describes the tragic conclusion: Chactas, Natchez Indian tribe, desperate cries the death of Atala, a young Christian who committed suicide so as not to break the v 
OTO chastity giving love, helped by Brother Aubry, proceed to the burial. The painting is housed in the Musée du Louvre. 
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Auguste Couder Notre Dame de Paris-Victor Hugo 1833.Maison
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In France, in the Romanticism, the historical novel par excellence is Notre-Dame de Paris Victor Hugo, the day after his 1831 release he immediately sees the book quotes artistiche.Nel throughout the century, this great historical narrative provides subject to numerous paintings. But the most spectacular is the creation of Auguste Couder, a Notre Dame de Paris seen as an ancient altarpiece, which includes ten paintings and a central round table on all of which are in a wooden frame made of a style of fiction, a bit Renaissance . In the top center, a portrait of the author, as if to indicate the divine sovereignty in relation to modern literature, in individual scenes, and especially in the main, the artist takes almost operatic expressiveness, in line with the tone of novel.
aspects that the R, coating 'in politics, and art and in building the policy are closely collegati.Nella R, is the defense and the exaltation of traditional institutions, which are those in which, it embodies the principle infinite: the state, the church, with all that implicano.Nell 'art, it looks for the realization of the infinite in grandiose and dramatic form in which the contrasts are taken to extremes and then reconciled and plan form equally extreme and final.
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in arts are early manifestations of the Romantic style. If it is true that they do in response to the cosmopolitanism affirms its full awakening in the years between the Restoration and the revolutions of the forty-eight, it is true that in the second half of the eighteenth century neo-classical fashion in the name of the individual national traditions, and conformity of artiotico 'Napoleonic empire in the name of freedom, it is true may it reached its heyday in the years of restoration and the revolutions of the forty-eight, it is true that in the second half of the eighteenth century neoclassical fashion more than once forced himself to Artists already substantially oriented in the way of romantic experience romantica.Le roots are sunk in the eighteenth century, e in quel periodo non spetta alla Francia la parte di protagonista.l'istituzione del museo, diffusasi in Europa tra la fine del Settecento e l'inizio dell'Ottocento, incise profondamente sull'evoluzione dell'arte romantica, soprattutto sulla pittura, e non sempre in maniera felice.Comunque il fascino per il Medioevo non si affievolisce in età romantica, anzi, viene ad acuirsi al momento in cui quel lontano passato può fornire le radici storiche di paesi che come la Germania e l'Italia, hanno subito l'invasione straniera delle truppe napoleoniche e rivendicano la propria identità nazionale, Nell'Arte il gusto per la rievocazione del Medioevo assume aspetti diversi,ora di carattere estetico, ora più strettamente contenutistico. Il Medioevo continua per decenni a fornire soggetti al cosiddetto Romanticismo storico, cioè la pittura che attinge agli esempi delle glorie nazionali per infondere la fiducia di una continuità altrettanto positiva nel presente.
Immagini da Google, informazioni sull'Ottocento dal libro. La storia dell'Arte.Volume 14.
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