1. Chapter Seventeen The Romantic Era
Culture and Values, 6th Ed.
Cunningham and Reich

3. The Concerns of Romanticism
Expression of personal feelings
Emotionality, subjectivity
Individual creative imagination
Mystical attachment to nature

5. The Intellectual Background
Immanuel Kant ( )
Transcendental idealism
Critique of Judgment (1790)
Art reconciles opposites
Friedrich Hegel ( )
Synthesis of thesis, antithesis
Optimistic “World Spirit”

6. The Intellectual Background
Arthur Schopenhauer ( )
Dominating world power is evil
The World as Will and Idea (1819)
Despondency, pessimism, gloom
Karl Marx ( )
Universal proletariat, revolution
Artistic realism: social and political
Anti-capitalism

7. Industrial Development, Scientific Progress
Railroads, factories
“a wilderness of human beings”
Physics, chemistry
Louis Pasteur ( )
Charles Robert Darwin ( )
Theory of evolution, natural selection
“Social Darwinism”

8. Music in the Romantic Era: Ludwig van Beethoven (1770-1827)
Pioneer of musical Romanticism
Pathétique
Rooted in classical principles
Autobiographical emotionality
Eroica
“… the memory of a great man”
Classical structure + Romantic elements

9. Music in the Romantic Era: Ludwig van Beethoven (1770-1827)
Fidelo
Love of liberty, hatred of oppression
Triumph over fate
Pastoral
“Ode to Joy”
Universality of individual emotion

10. Music in the Romantic Era: Instrumental Music After Beethoven
Hector Berlioz ( )
Fantastic Symphony
Franz Schubert ( )
Personal emotion
More than six hundred Lieder (songs)
Unfinished Symphony

11. Music in the Romantic Era: Instrumental Music After Beethoven
Johannes Brahms ( )
Conservative Romanticism
Symphony No. 1, intermezzo
Anton Bruckner ( )
Catholicism, mystical vision
Symphony No. 8, adagio

12. Music in the Romantic Era: The Age of the Virtuosos
Frédéric Chopin ( )
Mazurkas, polonaises
“the soul of the piano”
Franz Liszt ( )
Hungarian folk tunes
Faust, Dante
Nicolò Paganini
Violin virtuoso, Romantic exaggeration

14. Music in the Romantic Era: Musical Nationalism
Modest Moussorgsky ( )
Boris Godunov (1874)
Russian folksongs, religious music
Bedrich Smetana ( )
Antonin Dvorák ( )

15. Music in the Romantic Era Opera in Italy: Verdi (1813-1901)
Bel canto
Gaetano Donizetti ( )
Vincenzo Bellini ( )
Dramatic, psychological truth
Contemporary life issues
La Traviata (1853)
Otello (1887)

16. Music in the Romantic Era Opera in Germany: Wagner (1813-1883)
Gesamtkunstwerk
Wagnerian characteristics
Musical flow
Elimination of virtuosity
Emphasis on orchestra
Leitmotiv
Universal drama, universal emotion
The Ring of the Nibelung ( )
Tristan and Isolde (1865)

17. Romantic Art: Painting at the Turn of the Century
Jacques-Louis David ( )
Conceptual vs. personal emotion
Francisco Goya ( )
Execution of the Madrileños (1814)
No idealization
Persuasive emotionality
Personal commitment, vision

20. Romantic Art: Painting & Architecture in France
Géricault’s Raft of the Medusa (1818)
Romantic art of Delacroix ( )
Use of color to create form
Violent, emotional scenes
The Death of Sardanapalus (1826)
Ingres’ defense of classicism
La Comtesse d’Haussonville (1845)

24. Romantic Art: Painting & Architecture in France
French Realists
Honoré Daumier ( )
Gustave Courbet ( )
French architecture
Classical forms, ornamentation
Riot of confusion

26. Romantic Art: Painting in Germany and England
Landscape as Romantic device
Friedrich’s Cloister Graveyard (1810)
Constable’s Hay Wain (1821)
Turner’s Slave Ship (1840)

29. Nineteenth-Century Literature: Goethe (1749-1832)
Clarity, balanceabtruse symbolism
Sturm und Drang
Nature, emotion, anti-authority
Sufferings of humanity
Demonic forces
Eternal Feminine

30. Nineteenth-Century Literature: Romantic Poetry
William Wordsworth ( )
Founded Romantic movement
“Emotion recollected in tranquility”
Lord Byron ( )
Tormented Romantic hero, Byronic
Personal liberty, freedom

31. Nineteenth-Century Literature: Romantic Poetry
Percy Bysshe Shelley ( )
Atheism, anarchy
Perfectability of humanity
Unification of extreme emotions
John Keats ( )
Tragedy of existence, peace of death

32. Nineteenth-Century Literature: The Novel
To entertain and instruct
Hugo’s Les Misérables (1862)
Romanticism + social conscience
Flaubert’s Madame Bovary (1856-7)
Realism, naturalist depictions
Balzac’s The Human Comedy
Contemporary social, political issues
Artistic unity

33. Nineteenth-Century Literature: The Novel
George Sand ( )
Issues of gender, moral equality
Tolstoy’s War and Peace (1863-9)
“Natural person” vs. civilization
Female novelists, social critics
Charles Dickens ( )
Social justice, evil institutions

34. The Romantic Era in America: American Literature
European influences+individuality
Transcendentalists
Unity of humans with nature
Emerson, Thoreau
Walt Whitman ( )
Importance of the individual, freedom
Humanity united with the universe

35. The Romantic Era in America: American Literature
Emily Dickinson ( )
Balance of passion, reason
Psychology, faith, skepticism
Hawthorne’s The Scarlet Letter (1850)
Evil in society
Melville’s Moby Dick (1851)
Profound moral issues
Search for truth, self-discovery

36. The Romantic Era in America: American Painting
Significance of landscape painting
Natural beauty=moral beauty
Hudson River School, Luminists
Winslow Homer ( )
Realism, naturalism, drama
Thomas Eakins ( )
Scientific accuracy, objective truth

40. Chapter Seventeen: Discussion Questions
In what ways did Romantic art alienate the artist? How did it serve to create a more national artistic identity? Explain.
Explain how the industrial, technological, and scientific developments of the nineteenth century functioned as catalysts for the Romantic movement. Cite specific examples that illustrate your answer.
Consider the role of the landscape in nineteenth-century painting. What psychological and philosophical statements are prevalent during this period with regard to humanity and nature? How is this relationship different from earlier centuries? Explain the this change in perspective.