Considered by legion historiographers of the art like the most of import English painter for all clip, it demonstrated to be transporting of an unusual endowment from really early age and in 1789, merely by 14 old ages, its male parent, Barber of profession, it registered it in the school of art of the Royal Academy of which it would go on to be effectual member as of 1802.
Its life was signed by a capacity of artistic creative activity without remainder and a entire dedication to the drawing and the picture, in add-on to the legion trips that made until 1845, shortly before its decease, and that was shaped of concrete manner in the set of their plants. Therefore, in 1795 it consecrated one of his first trips to the readying of studies in Wales of the South and the island of Wight. Soon, in 1802, during La Paz of Amiens, one went for the first clip to the alien traversing France until Swiss the Alps and, to its return, one stopped in Paris to contemplate plants of Claude Lorrain, Tiziano and Poussin in the Louvre. Later it crossed Belgium, Holland and the Valley of the Rin and, in 1819, stepped on for the first clip Italian Earth to which it would return in three chances. These reiterated visits had singulars reverberations in their art to which mention will be made more in front.
Although, since it has been said antecedently, Turner prodigiously was equipped, had to contend hard to happen its manner. First from its water-colors of which it is had register day of the months from 1787, when merely it was 12 old ages old ; in 1794 he was already a instructor of the manner and the traditional technique of the landscape treated in pulling and water-color, the ilustrativo-topographic planning. However, as of this minute, a pronounced involvement begins to show itself on the aglow phenomenon and the first indicants of a romantic reading of the nature. Against this background, the work acquires great relevancy that Tuner carried out, in coaction with the watercolourist Thomas Gritin, in the abode of the Dr. Thomas Munro, English picture aggregator, that adjudged to both creative persons the readying of some transcripts and the apogee to them of studies and uncomplete plants of one of the parents of the English paisajismo: J. R. Cozens, that was, in add-on, a recognized watercolourist. Therefore, from a deep contemplation on the work of Cozens and the coaction with Gritin, Turner was able to liberate itself of certain convencionalismos seeing itself favorite, in this manner, the manifestation of a more personal manner in the one than their conditions of colorista were harnessed.
Through present work, it will be tried to set visible radiation on some co-ordinates that, is expected, let to pull up the curious facets of the art worked by the posrrevolucionario romanticism.
Therefore, in the first portion of this monograph they will be exposed, sucintamente, some indispensable features of this motion in which the exigency of the new sensitiveness that found echo, in the artistic creative activity, the entreaty to an unpublished freedom under the archpriest of the individualism and the self-contemplation acquires a cardinal topographic point.
Finally, a path through the recognized work of paisajista English Joseph Mallord will put out William Turner, who managed to determine like few the tragic status of escindido romantic I, a adult male to whom the entree to the enigmas of the nature has been forbidden him and, hence, of its ain being.
Irrationality and I disillusion
the irrational force deployment, that had been folded during the century of the visible radiations, and that characterized to the romantic motion, an heritage of the Gallic Revolution can be considered. Although many coevalss conceived in the revolution a possible reaching to the “ Age of the Reason ” , today we know of the dizzy failure who suffered their ideals and plans. Nevertheless, and as it express H. G. Schenk: “ [ … ] The detonation of the subconscious irrational urges that characterized so many facets of the revolution was the signal of conflict of the romantic 1s against the ground. Therefore, the revolution helped to direct the romantic movement. “
Against this background, it turns out advisable to clear up that the love that the romanticism declares by the irrational facets is non concomitante with the rejection to the ground but with the necessity of its extension taking attention of inquiries marginalized by the hegemonic idea of century Eighteen: sensitiveness, the intuition, the imaginativeness, the dreams, the passion. Therefore, the illustrated, happened undertaking in scientific political orientation of rationalisation – proficient of the universe, he was questioned by the desatencion which one was put under an indispensable portion of the human nature.
The romanticism and, accordingly, the art that east motion practiced are born like reply to this conjuncture: the victory of the dehumanised scientific construct of the universe and its purpose of rule of the adult male and the nature to which the defeat as opposed to the licking of the radical ideals must be added, source of the Restoration of a new tragic clip.
The defeated romantic adult male notices that a clip lives that in the unfastened leaves Gods them have left it, that have been expelled from the harmoniousness with the nature. It feels that his I one is escindido in two: head and psyche, and will hanker for a fabulous rapprochement, that is to state, the return to a “ Aureate age ” , identified with the old Greece, in which the myth was linguistic communication of the creative activity of the universe and beginning of reply to the indispensable inquiries of the adult male which they can non be solved from the scientific reason. In blunt rejection to division of Fieldss of cognition, romantic contemplates to Greece archaic, in that truth, beauty and nature formed an all merely one to which the adult male acceded, like the minute where it materializes yearned for ideal of brotherhood of poesy and scientific discipline. As it will be exposed more in front, great portion of the anguish and devastation of the romantic adult male is based in the scruples of which such rapprochement is, in truth, impossible.
The revolution of the art
Numerous historiographers maintain that the artistic creative activities of the radical period do non present/display inventions at stylistic degree but that, on the contrary, remain within the canons of the old clasicismo the Rococo. Nevertheless, in a specific sense, it is possible to talk of a radical art since although these pictural plants present/display a continuity with the ain manner of the clasicismo, during this historical phase it dominates the authoritative forms a new content and a new sense to him. Therefore, as it express Arnold Hauser, with the revolution the art becomes a confession of political religion that finds its motor in the persecution of the societal transmutation.
The importance of “ the revolutionist ” art is based non every bit much in the art that practiced but for that laid the the foundations: the romantic motion. The stylistic inventions were supeditadas to the flowering of a new society, a new construct of the universe and the adult male that were materialized, shortly, in the posrrevolucionario art.
The mark of the romanticism
As it is known, the romantic term is highly multipurpose. The usage of this word ( derived from love affair ) is registered, primigeniamente, in the England of century XVII. In merely a short clip, the term romantic peyorativamente began to be used by the rationalism. Was used to depict it that distant thing of the world or that had antic features, strange, unlikely, false it. At the same clip the word was used romantic to touch to natural landscapes that presented/displayed unreal facet, antic, immense.
These intending stayed throughout the half undermentioned century and, small by small, they were taking a more positive shadiness. Finally, she was Rousseau who carried out a reinterpretacion of the term that, this manner, happened to bespeak the qualities of an object to bespeak the feelings of the topic.
This rousseauniana reading of the romantic term was inserted rapidly in Germany where it was incorporated like the aesthetic class that corresponded with the new sensitiveness that was being developed in Europe.