1/18/2024 0 Comments Romantic landscape paintings![]() The above shows that painting from the first half of the 19th century was also profoundly influenced by this. The romantic penchant for the past and glorification of nature manifested itself as a political, social and cultural phenomenon. In addition to historicizing 17th-century scenes, later living styles can be found in Romanticism in paintings of rococo, neoclassical or Biedermeier interiors. Saenredam and Emanuel de Witte were painted. But also church interiors à la Pieter Jansz. ![]() The 17th century also served as an example here: peeks into Old Dutch bourgeois houses, with figures in ditto clothing, strict wooden furniture, black and white tiled floors and stained glass windows. Interior scenes reflected the bourgeois conservatism of this time. In English and French Romanticism, painters sometimes turned the beach into a scene of drama and agony, where shipwrecks took place in a flying storm, in Dutch Romanticism the quieter beach scenes predominated, with ships safe on dry land and the everyday activity of fishermen. This was also found in the beach scene, for example. Springer was also loved for his realistic details and lively upholstery, borrowed from everyday life. By depicting the 16th and early 17th century buildings, he responded to the growing interest of buyers in their own past. In doing so, he embellished reality somewhat through changes in the composition and the omission of disturbing, contemporary elements. From about 1875 he painted meticulous city portraits with a town hall or rich merchant houses in the Dutch Renaissance style at the center of the image, often furnished with figures in 17th-century clothing. One of the most important interpreters of the cityscape was the Amsterdam Cornelis Springer. The historicizing Dutch cityscape was very popular in the 19th century, both at home and abroad. As far as one can now ascertain, cityscapes were sometimes topographically correct, but usually the painters tinkered with a composition until a beautiful whole was obtained. Painters in other genres also worked according to this ideal. Beauty and decency were considered important, a painting had to be pleasant to look at and surpass reality in beauty. Painters made studies on their journeys, often spontaneous impressions, which they used in the studio to create idealized images. To this end, nature had to be studied and sketched. It appears to be painted deceptively true to nature, but is in fact a composite of the most beautiful parts of reality. The romantic landscape painting is not an exact representation of nature as it presented itself to the painter. Koekkoek and his students are evidence of this. Large-scale panoramic views, such as those of Andreas Schelfhout, and forest views with impressive voodoo oaks by B.C. Landscape painting focused on the insignificance of man in relation to the overwhelming nature. But the quiet, untouched nature could also touch him deeply: mysterious moon nights, almost empty ice plains in the late afternoon sun and idyllic mountain landscapes at a "golden" sunset. Raging storms, threatening thunderstorms, harsh frost and sometimes shipwrecks triggered strong emotions in the artist. The landscape painter was struck by its greatness, by its serene beauty, but also by its whimsical and sometimes devastating power. ![]() The romantic feeling and thinking focused on nature. The romantic attitude to life was a reaction to the rationalist thinking of the 18th century Enlightenment. The Romantic painters were inspired by subjects that were popular in the 17th century, such as interior, landscape, cityscape, seascape and genre painting. In search of their own identity, people looked back with pride on the Golden Age, a period of great prosperity: Holland ruled the oceans, artists such as Rembrandt and Frans Hals painted their most famous canvases and the oversized Town Hall (later Palace) was built on Dam Square, as a symbol of the power and prosperity of the Republic. In addition, there was a growing nationalism in our country, fed by the French Napoleonic rule (1795-1813) and reinforced by the secession from Belgium in 1830. On the one hand, this was the result of the appreciation at home and abroad for Dutch 17th-century masters. Painting from this period was initially strongly inspired by that of the Golden Age. The first half of the 19th century was the heyday of Romanticism.
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