It was at its height between and But it came later in some countries, such as Italy, Spain, and the United States. It occurred first in art and literature and later in music.
The theorizers of romanticism in Germany, England, and France—especially Germany—discovered in Spanish literature, as they imperfectly knew it—chiefly the Don Quixote, the ballads, and the theatre of Calderon—ammunition for their critical and anticlassical campaign, while the creative writers of these countries found in the land and its people, their history, legends and letters, a new and rich store of themes and settings, made as if to order in response to the demand of the moment for the picturesque and the passionate, the chivalresque and the medieval.
The Spanish spirit and Spanish letters are individualistic, but not subjective; extrovert, not introvert. The epic and the dramatic, especially the dramatic, predominate over the lyric, and form, or rather expression, over sentiment and feeling. The original Spanish Don Juan is completely extrovert, as is the rebellious Cid of the ballads.
The romantic exaltation of Don Quixote as the rebellious dreamer, started in Germany and England and carried to its zenith by Unamuno as late as in his Vida d: Quijote y Sanchois a one-sided distortion, and has served to obscure, until quite recently, the essential genius of his creator.
Literary romanticism comes late to Spain, later even than to Italy. Hostile and naive, not to say ignorant, as this article is in its conception of romanticism, it is nevertheless representative of the critical attitude prevailing at the time in Spain.
It also reveals how little the latter, either in precept or in practice, was understood or even known in Spain as late as The political upheavals—foreign invasion, civil strife, anarchy, and bloody repression—which had racked the country since had arrested, if not destroyed, that notable revival of learning and letters which had taken place in the last decades of the eighteenth century.
Intellectual intercourse with the rest of Europe was largely cut off. The debate over the neoclassic esthetic in its relation to Spanish literature, which since had raged intermittently for nearly a century, was largely stilled. But again the paradox the pseudoAarchaeological novel proved alien to the Spanish temper, precisely because of its antiquarianism, and dragged out a feeble existence in the thirties and forties.
The belated and limited, yet sound and solid, renaissance of culture in eighteenth-century Spain was in its literary aspects almost exclusively the work of two generations symbolized by the Moratins, father and son of writers and scholars imbued with the patriotic desire to reform and restore Spanish letters on the basis of the neoclassic precepts, to the failure to observe which they attributed the shortcomings of the national literature, particularly the theatre, of the seventeenth century and its subsequent decadence.
This prestige was political as well as literary.
But during and after the War of Independence the reforma dare: Imprisonment, exile, and even death was the portion of many of them in the reactions of —20 and — And then only in part. Thus it was that the patriotic impulse, which had animated both the eighteenth-century neoclassicists and their opponents, although to opposite ends, worked before against the introduction of romanticism, just as after that date it was to further its conditional acceptance and its adaptation to national soil and literary traditions.
Philippe II, played at the Porte-St. Martin in June of This, by the way, is by no means the only instance of literary composition in French, or in English, by the Spanish emigrados. The romantic drama in Spain, afterperhaps its year of greatest vitality, represents a cross between the French drama ramantiquc and the Spanish comedia of the seventeenth century, but stressing the elements present in the latter: In lyric poetry the course of events was slower, but much the same.
The years —41 also saw the appearance of numerous other volumes of the leyenda and ballad type.The Romantic period was the first time in history that art focused on teaching people to care about each other. In this sense, Romanticism was “art with a heart.” Romantic artists were also concerned with promoting individual liberty, ending slavery, and supporting democratic and independence movements, like the Greek war for independence.
Romanticism (also the Romantic era or the Romantic period) is an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and was at its peak in the approximate period from to Inventions in the Romantic Era () It is interesting to find more about the inventions in the Romantic era and how they affected the society of the past and the present - Inventions in the Romantic Era () introduction.
Some of these inventions were electric motor, steam power and gas lighting. We will write. During The Romantic Era (), when the concept of a technology driven economy had not yet been introduced, society relied on the outburst of art, culture and .
The most direct influence of Romanticism was Neoclassicism, but there is a twist to this. Romanticism was a type of reaction to Neoclassicism, in that Romantic artists found the rational, mathematical, reasoned elements of "classical" art (i.e.: the art of Ancient Greece and Rome, by way of the Renaissance) to confining.
Not that they didn't borrow heavily from it when it came to things like . Art of this period also depicted the romantic ideal of nationalism, but for reasons of length, we will focus on landscapes in this post.
Examples of Romantic Art: The Chancel and Crossing of Tintern Abbey, Looking Towards the East Window, by JMW Turner,