Emily Dickinson lived a large period of her life isolated from the outside world, surrounded by her close family and friends. It is apparent that, with most of her spare time, she wrote poems and letters. The Gothic Movement and her fascination with nature heavily influenced Dickinson’s poems during the 18th century in America, this is exhibited by her continuous use as nature as a source of joy and pain as a theme within her work. Both Dickinson’s curiosity about nature, and the Gothic Movement, influenced the recurring theme in her poems, which is evident in the analysis of “Because I Could Not Stop for Death”. The Gothic Movement heavily influenced Emily Dickinson’s poetry.
“Even as a child, his gift for combining poetry and reality is a rarity in English art, and it enable him to intercept classical myth and legend in a quite extraordinarily convincing way” (Wood 244). His paintings of classical and mythical scenes show a true mix between Neoclassical themes and Romantic style. His art and style will help inspire and develop other artists throughout the 19th century. “Warehouse is a brilliant dramatist of subjects and narratives. He’ll find a composition for a complex narrative subject that gives this powerful interpretation at a glance, even if it’s an unfamiliar story.” (Gunzburg, Darrelyn 71) “Waterhouse's many works extend for over decades.
High romantic artists interpreted things through their own emotions, and these emotions included their social and political consciousness (Benz, “The Mystical Sources of German Romantic Philosophy”). Yet at the same time they withdrew more and more from the confining middle class’s bourgeoisie lifestyle. David Caspar Freidrich’s The Monk By The Sea, defines this divide between the romantic artist and his audience by foregoing traditional practices of perspective and space to communicate a political and spiritual message. Friedrich doesn’t paint a foreground, forcing the audience to look past the monk and focus on the ominous sea, which dwarfs the monk in size. The sea itself is a metaphor for the divine power of nature, and allows the audience to contemplate the natural world, and their place in it.
For someone like Wilde, who as we have seen longed for the acceptance of his contemporise and superiors chose writing as his only true from of expression, a which through which he could fully be himself without the watchful eye of bourgeois Victorian society. Writing surely provided a means of escapism for this sense of loss, and for Wilde throughout his career aestheticism provided the perfect method of expression. So why for The Picture of Dorian Gray did Wilde turn towards the Gothic? Ultimately in The Picture of Dorian and Gray Wilde is writing against the ‘Paterian’ aesthetic of the day (Scheible 2014, 132) because he is using the Gothic tropes of doubling taken from Poe. Wilde’s aestheticism is foundationally different because he is Irish, thus it allows him to disconnect himself from the framework of British aestheticism, which the likes of Pater followed so rigorously.
By examining Dürer’s works of various genres, including still life, landscape, as well as religious paintings and preparatory studies, I argue that he had been pursuing the genuine form of nature throughout his later career with refined textures and details. More importantly, his pursuit of nature as the ultimate goal of art asserted the initiative of artist as creative individual at the time and helped to establish nature as a distinctive subject matter. Dürer’s lively depiction of nature and skilful mastery of
Because of this, he is considered “one of the greatest German painters of his age.” Along with spreading culture, he also created artwork that challenged that of the Renaissance, therefore furthering the cultural development of the fifteenth and sixteenth centuries. Grunewald poured out his emotions into his artwork and inspired others to do the same, creating more dramatic and intense paintings and other pieces of art. Matthias Grünewald’s style of painting relied greatly on Systems of Faith and his Christian beliefs. The Isenheim altarpiece was painted by Matthias Grunewald around 1515 for the Monastery of St. Anthony near Colmar, France. This magnificent painting ties directly to the Bible.
I argue that while Debussy resisted Wagner’s theory of opera, his use of the orchestra, and his operatic practice, we can still see Wagner’s influence on Pélleas et Mélisande through the similarities of the opera’s plot line, the use of symbolism, and symphonic developments. I will discover the reasons behind these questions by researching various books, journal articles and scores to find out the
b. He wanted his paintings to have clear explanations. c. His paintings depicted anxieties, sexuality, and vivid dream imagery. d. Magritte had no personal experiences to draw inspiration from so he used his imagination. e. Placing text over top of an image did not appeal to Magritte.
Rembrandt is widely recognised as the predominant genius of Dutch painting and his broad range of landscape paintings, etchings and drawings have always been appreciated. His landscape works are an important aspect of his career because they developed towards a very unique accomplishment. While his drawings and etchings are very much more carefully observed from nature, Rembrandt used his imagination in creating his extraordinary landscapes. On 29th July 1854, in his journal, Delacroix spoke of the success of Rembrandt’s landscapes: “The landscapes of Rembrandt, Titian Poussin are generally in harmony with their figures. In Rembrandt, and this is perfection, the background and the figure are one and the same.