LANDSCAPE PAINTINGS : Painting Romanticism With Allegory

An orphan in the Cemetery

Eugene Delacroix: Painting Romantic Realism: Every painting is a visual replica of the mental image an artist visualizes in his or her mind. At that stage of imagination, that mental image can be incomplete, not in an ordered fashion, or even not fully communicating. The artist gives a definite form to it. What an artist desires can be summed just I one word: expression.

Yes, when an artist stands before a blank canvass with a bunch of brushes and the blobs of colours on the palate, he or she desires to express the very thing that is pleasant to see, and perhaps which is stirring the artist to let it come out.  

French romanticism artist Eugene Delacroix had done the same. He had allowed coming out all the passions he had and expressed it on canvases. Though Delacroix was a romantic French painter and weighed the passion much for the depiction of art, he tried painting as realistically as possible. In the painting Orphan on the Cemetery, he had not spared any effort to be realistic. Expression of passion does not mean showing violent gestures on faces while doing the figurative painting or the bold brush-strokes used with pure colours in landscape painting. On a canvas, the treatment of the space covered by subsidiary figures and proportions of every article contributes to making a painting depicting the beauty of art. 

The harmony of colours and also their conflicting effects sometimes would impress upon the minds of the viewers. And the artist’s work is to appeal to the heart of the viewers, too. The infusion of the sensation of the moments on the face of the characters painted would create a lasting effect on the part of the art lovers and viewers.   

How an Artists Communicates by Symbols: Under the technique of symbolism, a painter uses the symbols for the ideas; say a tiny man standing in the vastness of land depicts the feebleness of the importance of humans before nature. Such symbolism owns its importance in the paintings carrying a religious message or describing a mythological scene. Now a day it helps in the field of psychoanalysis, too. It is very much useful in diagnosis, too, while the painter uses symbols of dream imagery for pictorial presentation of his or her thoughts. Such paintings, carrying symbolic meanings, are in a way a visual language of the soul of the artist. We can witness such symbolism and allegorical meaning in the paintings of Friedrich. 

The artists who often use symbols in their paintings believe in a principle that the art should catch more and more truth in its absolute form. This is sometimes impossible to depict in a straightway or through the simple depiction of objects; so they take help of the symbols carrying different meaning from what the objects physically represent. When the painters, or sculptures, do their work with the help of one or another symbol, they try telling through the meaning-clad symbols. The subjects of paintings could be from nature or any human activity in the real world. But they all carry with them the highly metaphorical and suggestive elements, leading the viewers to think beyond what they see through their eyes. The people and the art lovers like to see such paintings, as sometimes they love to see the artworks full of mystery and hidden meaning. For example, we like to see the scenes where a king’s elephant or horse is attacked, as it symbolises a challenge offered to the power of the oppressor. Or we like to see the paintings were a king is on horseback denoting his control over the situation and his ability to provide security to his people. The paintings done with symbolism provide this class of art lovers with particular images or objects carrying esoteric attractions.

Carl Rottmann  The island of Delos
Staatliche Kunsthalle  KarlsruheGermany.

Theme: Landscape Paintings are the Best Examples of The Pantings of Romanticism. 

The landscape paintings throw us on the vastness of land and sea. The flowing rivers make us believe that nature would provide for our food forever, and the upright mountain challenges us to be brave and innovative. When the artists, a pinter takes a brush in his or her hand and stands before a blank canvass with an idea to depict these natural object; the idea in his or her mind is to reflect our attitudes towards the natural world, the beauty of Mother Earth.

The colours the artists spread on canvass or a piece of paper animate the picture that has formed in the psychic of the artists. We should take it granted that the final outcome is not the photograph of what the eyes of the artists have visualised. It is the artist memory of what was before his or her eyes blended with artistic imagination. When the painters who were contaminated with the artistic germs of romanticism blended their art and the romanticism movement, the result was bound to be unique in every sense of understanding. 

The above painting is by Carl Anton Joseph (1797 - 1850), a German landscape painter, who belonged to the circle of artists around the Ludwig, I, the king of Bavaria Carl Anton Joseph painted large landscape paintings for the king. Carl Anton Joseph’s landscape paintings are is best known for mythical landscapes. The colours of the painting are wet with romanticism and the visual perspective of the painting a little bit chaotic.

The soul of the painting forces us to believe that we are standing in the midst of the real landscape. But the organization of the objects led us to believe that the whole landscape is tilted in one side, going outward from the spot we are standing. It is because artists while painting such a romantic scene, tends to believe that his or her entire self is being poured out. [All the images are in Public Domain, Taken from Wikimedia Commoms]

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