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From its very inception in the late eighteenth century, Romanticism's celebration of euphoria and sublimity has been dogged by its equally intense fascination with melancholia, insanity, crime, the grotesque and the irrational. In 1930, the famous literary theorist Mario Praz named this strain in literature "Dark Romanticism," but its equivalent in art has never been thoroughly assessed in art history. This volume is the first to examine a current that runs from Goya's war etchings through Symbolism and up to Surrealism, presenting Romanticism as an intellectual position that was embraced throughout Europe and that endured into the twentieth century. Among the artists included are Henry Fuseli, William Blake, Caspar David Friedrich, Victor Hugo, Arnold B�cklin, Gustave Moreau, Odilon Redon, F�licien Rops, James Ensor, Max Klinger, Edvard Munch, Hans Bellmer and Max Ernst.
- Sales Rank: #2058617 in Books
- Published on: 2013-01-31
- Original language: English
- Number of items: 1
- Dimensions: 1.00" h x 9.30" w x 11.20" l, 3.95 pounds
- Binding: Hardcover
- 304 pages
Review
Most studies of Romanticism stress its exaltation of nature, its discovery of the imagination, and the ecstatic identification of the artist/poet with both. As this exhibition catalogue's title suggests, the curators of this exhibition from Frankfurt are more interested in the irrational, nether side of human nature that the Romantics unearthed. Their survey is encyclopedic, beginning in the 18th century with the ghoulish images of Goya and the Anglo-Swiss painter Fuseli, and ending with the nightmarish paintings of German surrealist Max Ernst. Of the 13 essays, the first 3 are prefatory in nature. The catalogue takes up the next seven essays, which are chronologically arranged and lavishly illustrated. [...] Equally important are the three last essays, which are devoted to exploring the grisly themes of decadence and death in opera, literature, and cinema. (L.R. Matteson Choice 2013-08-01)
Most helpful customer reviews
46 of 46 people found the following review helpful.
Gripping Exhibition, Quality Reproductions, and Superb Essays
By Hexameron
[[VIDEOID:mo2UQG7965G1AJJ]]Here is an exhibition catalogue with a theme like no other: the "dark side" of Romantic art. What makes the scope of this exhibition unusual is that it's not limited to the 19th century. As the subtitle implies, the book traces the legacy of the darker side of Romanticism from its origins to its influence on surrealism. This coffee table book highlights the work of 70 artists and contains 200 plates and dozens of additional illustrations to the text. Some of the plate reproductions are postcard size, but most tend to fill the page, and all of them are printed in high quality.
Thirteen essays are interwoven throughout and explore various topics and groups of artists. Each essay looks into a special aspect of Romanticism, and collectively they identify the recurring imagery of "dark Romanticism": apparitions, demons, pain, madness, nocturnal moods, dreams, the macabre, and intense psychological states. One essay, "Uncanny Images", surveys the visual arts around the turn of the 19th century, paying particular attention to Goya and Fuseli, but also Friedrich, G�ricault, and Turner. Another essay, "Nightmare, Anxiety, Apocalypse" studies the essence of horror in the work of Goya, the nightmare depicted by Fuseli, catastrophic imagery of John Martin, grisly dramas of G�ricault and Wiertz, and lastly the pessimistic visions of the symbolists; Klinger, Redon, Stuck, and Kubin are emphasized.
The catalogue reproductions are divided into seven sections: 1) Goya, 2) Fuseli and British Art, 3) French Romanticism, 4) Dark Romanticism in German Painting, 5) Decadence in French and Belgian Symbolism, 6) Dark Romantic Symbolism, and 7) Romanticism and Surrealism. Each section is preceded by a short essay that introduces the subject and offers interpretations of the plates. These essays are accessible to the layman and should be equally insightful to the scholar. I found it refreshing that nearly all 200 plates are cited and analyzed in some way over the course of these essays. At the tail-end of the catalogue are three supplemental essays which shed light on dark Romanticism as it appears in literature, opera, and film. The essay on literature is the weakest of the three, but the one on film is very engrossing and fascinating, as it compares German Expressionist film stills with actual Romantic paintings.
As for the art selection, it is quite spectacular. One could quibble over the absence of some artists, but the art assembled for this exhibition is generally powerful, distinctive, and haunting. Again, 70 artists make an appearance. Some of the best work by major Romantic artists are on display, while many second-tier and lesser-known works are spotlighted as well. Every medium is represented, from paintings and etchings to sculptures and photographs. Some notable rarities include Victor Hugo's drawings and sculptures by Jean-Joseph Carri�s, Paul Dard�, George Minne, and Christian Behrens. Fans of symbolist art will find many pleasant surprises here: L�on Fr�d�ric, Julien Adolphe Duvocelle, Eug�ne Laermans, Georges de Feure, and Oskar Zwintscher. Likewise the large quantity of Carus, Catel, Blechen, Lessing, and Oehme plates will impress devotees of German Romanticism.
Bottom line: I cannot imagine a better exhibition catalogue for a subject like this. Both the text and reproductions are immensely satisfying. There is nothing comparable to this in print at the moment, so if the darker elements of Romantic art appeal to you, this is the definitive book. See also Gothic Nightmares: Fuseli, Blake and the Romantic Imagination and Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century America.
2 of 2 people found the following review helpful.
Out of the Dark
By EisNinE
This fascinating monograph examines the darkest aspects of romanticism and it's influence on subsequent styles and movements; from the Symbolists to the Surrealists. As the subtitle indicates, Goya figures prominently in this beautifully produced volume, focusing on the exquisitely morbid and haunting 'black paintings', with their supernatural and mythological themes, as well as his celebrated portfolios -- 'Los Caprichos' and 'The Disasters of War', the latter of which has lost none of it's horrific power to shock. His Swiss-born English contemporary, Henry Fuseli, is also well-represented, a hugely influential artist whose painting 'The Nightmare' could be used as the quintessential representation of Dark Romanticism. The innovations of the German contribution, the proto-Symbolist landscapes of Caspar David Friedrich and his lesser known peers, are acknowledged for their melancholic beauty and power, even if their influence is hard to guage; Friedrich was all but forgotten by the late 19th century, as incredible as it seems today.
Arnold Bocklin is another artist whose work is an integral part of the transition between Romanticism and Symbolism, and his painting 'The Island of the Dead' could be seen as the first and strongest example of a nascent Symbolism. He exerted a powerful influence on many of the artists who would help define not just Symbolism, but Art Nouveau and Surrealism as well. One of these acolytes, Max Klinger -- who would go on to match Bocklin's prodigious talent and originality -- is well represented here, with a good selection of his stunning, dream-inspired imagery making clear just how much the Surrealists owed to his work.
The scope of this book is ambitious, but the editors and writers who contributed to this excellent monograph succeeded in producing a scholarly, but very accessible look at some of the most important art produced in the 19th century, art that has been largely overlooked by Modernist critics. While Dark Romanticism and Symbolism have been dismissed as historical 'dead ends' by many, the New Objectivists, the Futurists, Pittura Metafisica, and the Surrealists are all indebted to the sometimes forgotten artists included here. At about 9" x 11.25" and 300+ pages long, publisher Hatje Cantz has once again produced a top-quality art-book that will be read and re-read, a haunting and beautiful gallery of art that has too often been ignored.
0 of 0 people found the following review helpful.
"The Angel of the Odd. Dark Romanticism from Goya to Max Ernst" - an excellent and unique exhibition
By William E. Johnston
This book is the catalogue for the eponymous German exhibition.
I saw the exhibition at Mus�e d'Orsay, and it was an excellent and unique exhibition.
The book is a very good catalogue for and commentary on the exhibition.
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