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1. What can you say about the Romantic Sculptures?
2. What are the characteristics of the Romantic Sculptures?
3. How does the artist convey their ideas to their artworks?​


Sagot :

1.What can you say about the Romantic Sculptures?

2. What are the characteristics of the Romantic Sculptures?

3. How does the artist convey their ideas to their artworks?

1.) 1.There is so much to learn about romantic sculpture. I believe it was a more nuanced art than most because it evoked feelings similar to passion. I believe it was the best, because it was shaping a heart.

2.) Romantic art based on various thoughts, feelings, and moods, such as faith, fantasy, suspense, and fervor. Landscapes, philosophy, revolt, and peaceful beauty were among the topics included.

3.) Artists can express their concepts through feeling and form in their work. They will employ a variety of shapes, colours, depth, viewpoint, and lines.

  • From early Etruscan periods to the present, Romantic sculptures and monuments have long graced homes and palaces. With this sculpture series of romantic sculpture,

SCULPTURE

  • In attempting to define Romanticism in sculpture, we are struck by one very extraordinary fact: unlike the abundance of theoretical writings that accompanied Neoclassical sculpture from Winckelmann on, there exists only one piece of writing that sets out a general theory of sculpture from the Romantic point of view: Baudelaire's 1846 essay, "Why Sculpture is Boring," whi In reality, Baudelaire is more concerned with the shortcomings of sculpture as a medium than with the state of French sculpture at the time, which he regards as deplorable.
  • To him, there can be no Romantic sculpture because any piece of sculpture is a "fetish" whose empirical nature forbids the artist from transforming it into a tool for his subjective vision of the world, his own sensibility. It can overcome this restriction only if it is used in the service of architecture, strengthening a greater whole, such as a Gothic cathedral, but if removed from this sense, sculpture reverts to its primitive status.
  • Fortunately, neither artists nor patrons accepted Baudelaire's theory at face value, but it does highlight the trouble Romantic sculptors (or at least those who thought of themselves as part of the Romantic movement) had in creating a self-image they could deal with. Indeed, the peculiar character of sculpture—its strong, space-filling truth (its "idol" nature)—was unsuitable for the Romantic disposition.
  • Romanticism's rebellious and individualistic impulses may be expressed in raw, small-scale drawings, but they scarcely survived the laborious phase of turning the sketch into a permanent, completed monument.

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