#romantic movement

[northernxxxlights]

Romantic Encounter - Mihály von Zichy

[life-imitates-art-far-more]

Caspar David Friedrich (1774-1840) "The Cemetery Entrance" (1825) Oil on canvas Romanticism Located in the Galerie Neue Meister, Dresden, Germany

[periodinteriors]

Frederic James Shields, William Blake's Workroom and Deathroom, c. 1880, watercolor.

[misscromwellsmonocle]

Anatomical Pieces (1819) by Théodore Géricault

[artemlegere]

The Bard

Artist: Benjamin West (American, 1738–1820)

Date: 1778

Medium: Oil paint on oak

Collection: Tate Britain, London, United Kingdom

Description

Thomas Gray's poem ‘The Bard’, published in 1757, was based on the now-discredited tradition that Edward I ordered the massacre of the Welsh bards; Gray describes how the sole surviving bard stood on Snowdon and cursed king Edward before throwing himself into the Conway river beneath. It is one of the earliest literary treatments of passionate and heroic action in a wild natural setting which link the sublime with the Romantic movement. It inspired many artists, including Benjamin West, de Loutherbourg, Blake, Fuseli, Turner, and John Martin. Here, the bard holds a harp, associated with the bardic tradition and a symbol of Wales.

[rambleonwithrosie]

FMK - Romantic Poets Edition

Fuck Byron, Marry Shelley, Kill Keats

Fuck Shelley, Marry Byron, Kill Keats

Fuck Keats, Marry Shelley, Kill Byron

Fuck Shelley, Marry Keats, Kill Byron

Fuck Byron, Marry Keats, Kill Shelley

Fuck Keats, Marry Byron, Kill Shelley

Voting ended onApr 5, 2024

[annariadne]

‘Her tender touch was all but a dream;

Unfurl sweet rosebud, holding morning dew,

By night the rose is gilded by frost’s gleam

What dawn proposes, dusk demeans’

[galleryofart]

The Bard

Artist: John Martin (English, 1789–1854)

Date: circa 1817

Medium: Oil on canvas

Collection: Yale Center for British Art, New Haven, Connecticut, United States of America

Description

Painted around 1817, at the height of the Romantic movement, John Martin’s version of The Bard unites the drama of the poem by Thomas Gray, published in 1757, with a vision of sublime landscape. The Bard stands amid an overwhelming and powerful landscape with ominous clouds, a raging river, and dramatic cliffs evoking the sublime, a combined sense of awe and terror, in the viewer. The Bard’s disproportionate size, particularly in comparison to the advancing troops of Edward I below, makes him seem an element of the landscape, a landmark in his own right.