Landscape - genre visual arts, the main object of which is the image of nature both in its original form and in its modified form by man. In literature, the author uses the image of nature as a figurative expression of his own plan. To better understand the features of the romantic landscape in literature, it is necessary to understand the philosophy of such a movement as romanticism.
Romanticism
Romanticism is an ideological and artistic movement in the culture of the late 18th - early 19th centuries. This direction characterized by the affirmation of the special value of spiritual and creative life personality, depiction of strong and willful characters, the spiritualizing and healing power of nature. In the eighteenth century, everything that could not be explained, was picturesque, and could exist only on the pages of books was called romantic. In the nineteenth century, romanticism was embodied in a new direction, which became the complete opposite of classicism.
Romanticism replaces the Age of Enlightenment and coincides with the beginning of the industrial revolution (the invention of the steam engine, steam locomotive, steamship, photography, and so on). If the previous period of culture was characterized by the cult of reason, then new era approved the opposite - the cult of feeling, of all natural man. Romanticism, which sought to restore the connection between man and nature, became the impetus for the emergence and development of tourism, mountaineering, and picnics.
Romanticism in foreign literature
Romanticism originated in Germany thanks to the circle of writers and philosophers of the Jena School (a group of figures in the Romantic movement). The philosophy of this direction was systematized in the works of F. Schlegel and F. Schelling. Further German romanticism has a special interest in mythological and fairy tale motifs. This received special expression in the works of the Brothers Grimm, Hoffmann and early works Heine.
English romanticism adopted a lot from German. The first English representatives of romanticism are considered to be the poets of the "Lake School" Wordsworth and Coleridge, who established theoretical basis directions, inspired by the works and philosophy of the first romantics. English romanticism is characterized by a special interest in the problems of society: the opposition of bourgeois society to old relations, the glorification of nature and simple feelings. Byron is considered a prominent representative of English romanticism, whose work is imbued with the theme of struggle and protest to the modern world, praising freedom and individuality. English romanticism also includes the works of Shelley, John Keats and William Blake.
Romanticism in Russian literature
It is generally accepted that romanticism first appears in Russian literature in the works of V. A. Zhukovsky. Russian romanticism is distinguished by its freedom from the conventions of classicism, the creation of ballads and romantic drama. Works of this direction affirm a new understanding of the essence and meaning of poets, their creativity; not only independence is recognized, but also a means of expressing the highest goals and aspirations of man.
Russian romantic poets include K. N. Batyushkov, E. A. Baratynsky, and the early A. S. Pushkin. The pinnacle of romanticism in literature is considered to be the work of M. Yu. Lermontov.
Features of a romantic landscape
Landscape in the literature of romanticism not only serves as a means of creating a world opposite to reality, but also corresponds to the character of the main character, full of suffering, melancholy, hope and rebellion. Moreover, the depiction of nature in literary works early nineteenth century serves as a means of expression central theme ideological- artistic direction- the struggle between dreams and reality. It is also a symbol of mental shock and to some extent highlights the character’s internal state.
A striking example The use of a romantic landscape as a means of expression can serve as a poem by M. Yu. Lermontov “Mtsyri”.
The main character runs away from the monastery during a thunderstorm - evidence of the character's freedom-loving aspirations. The nature of the Caucasus serves as a reflection of the hero’s world, his character; it is also unbridled, unshakable, and free.
The use of thunderstorms to describe landscapes in Romantic literature is a symbol of freedom and steadfastness.
For the main character of the poem, escape is not only deliverance from monastic captivity, but also the beginning of the embodiment of his goals - returning home, finding peace of mind. Although he does not manage to return home, the young man knows freedom for the first time in his entire life. Wounded by a leopard and on his deathbed main character does not regret his fate, because he was able to escape from the gray walls of his cage, to experience the beauty of the world around him, nature, momentary, but still independence.
- (French paysage, from pays country, area) image of pictures of nature. Functions of landscape in work of art determined by his method, genre tribal affiliation, style. Rubric: composition and plot View: lyrical landscape,... ... Terminological dictionary-thesaurus in literary studies
Scenery- the image of nature in literature and painting, otherwise the image of nature in a work of art (the word P. comes from the French pays country, locality). From the area spatial arts the term "P." switched to literary criticism. Historians... ... Literary encyclopedia
Landscape in the works of L.- Landscape in the works of L. LANDSCAPE in the works of L. V early period L. cared little about the specificity of the artist. images, his P. usually gravitated towards the conventionally romantic. symbolism. Several stand out. types of symbolic P. Firstly, allegorical. P., successor... ... Lermontov Encyclopedia
Scenery- A.K. Savrasov. “The Rooks have Arrived”, 1871 Landscape (French Paysage, from pays country, area) woman ... Wikipedia
Romanticism- (French romantisme) ideological and artistic direction in European and American spiritual culture of the late 18th and 1st half of the 19th centuries. French romantisme traces its ancestry to Spanish romance (as Romances were called in the Middle Ages... ... Great Soviet Encyclopedia
In Memory of a Teacher (exhibition)- In memory of the teacher. Exhibition of St. Petersburg artists students of the workshop of A. A. Osmerkin ... Wikipedia
Antipova, Evgenia Petrovna- Evgenia Petrovna Antipova Date of birth ... Wikipedia
Spanish-American literature- SPANISH AMERICAN LITERATURE. The concept of Spanish American literature covers literary production (in Spanish) on the territory of the central and south American republics, which in the past constituted the area of colonial possessions of Spain... ... Literary encyclopedia
Korolenko Vladimir Galaktionovich- Korolenko, Vladimir Galaktionovich outstanding writer. Born on July 15, 1853 in Zhitomir. His father is from an old Cossack family, his mother is the daughter of a Polish landowner in Volyn. His father, who served as a district judge in Zhitomir, Dubna, Rivne, ... ... Biographical Dictionary
Romanticism- (French romantisme), ideological and artistic movement in European and American culture at the end of the 18th century half of the 19th century centuries Originated as a reaction to the rationalism and mechanism of the aesthetics of classicism and the philosophy of the Enlightenment,... ... Art encyclopedia
Books
- Perth Beauty, Walter Scott. "Perth Beauty" belongs to the "Scottish" cycle historical novels, which begins the work of Walter Scott the prose writer ("Waverley", "The Puritans", "The Legend of Montrose"). Written... Buy for 290 RUR
- In Karelia. Photo album, . Stone - water - forest. Combining with each other, these three elements create the Karelian landscape. How unique and harmonious their combinations are! How solemn in their epic sound......
Romanticism outside of France is our last "European" theme this year. Here we conclude our conversation about the art of the first half of the 19th century and begin our virtual “trip around the world.”
There are now two main characters - the German romantic Caspar David Friedrich and the English landscape genius William Turner.
Turner for me is from the category of incomprehensible masters, looking at the originals of which you think: how, how did he do it? How did he manage to transform flowing water, sometimes only slightly illuminated with watercolors, into rocks, lakes and rainbows? Like from a mishmash oil paints, which, according to the recollections of his contemporaries, he chaotically smeared with a palette knife on the canvas, the flames of fires were born, the dazzling radiance of dawn and sunset suns, the fiery glow of volcano lava or the wet flowing light over the river?
Turner (like Friedrich) never depicted a clear summer day or a peaceful idyllic night. Storms, snowstorms, a shimmering haze of rain, a blinding sunset simultaneously with the rising moon... Excitement, anxiety, tension, and sometimes disaster - the essence of Turner's landscape, and this, in fact, distinguishes the romantics. Their paintings cannot be an impartial reflection of the world; they always reflect a certain state of mind - whether the hero, the author or the customer, but they do not leave anyone indifferent. 
This is the kind of complex, “moody” landscape that the children and I tried to draw. Moreover, it was done in watercolor, which made the task even more difficult. We are as far from Turner as we are from China, but “Turner” still resonates in many drawings - and not only in the colors of the dawn sky.
Juniors - 6-8 years old
Bukhonova Nastya 
Tarasova Varya 
Piryutko Varya 
Gazarova Eva 
Shulpekova Zhenya 
Tugusheva Sonya 
Palshina Anya 
Seniors - 9-11
Bykova Vasilisa 
Akchurina Marina 
Ivanova Nastya 
Kachyan Ira 
Dikun Masha 
Schumann Zhora 
Vorobyova Masha 
Bukharova Nastya 
Niyazmatova Adele 
And here it’s nothing other than the influence of Gericault. Also romanticism, yes.
Kayutin Artem 
Of course, when showing Friedrich to the children, I was selective and almost didn’t show the most depressing thing - the cemeteries, crosses and graves for which this author is best known. But even without them, the entire early period of his work is achingly sad: a person is almost always alone among majestic mountains or dense forests, in snowy darkness or on the shore of a gloomy sea... 
The intonation changes after marriage: now, against the backdrop of the still boundless and incomprehensibly beautiful nature - a married couple or even a family with children, everything is much more lyrical, but also more thinking about the meaning of life. 
Friedrich is very recognizable precisely by these figures in the landscape with their backs to us, who always admire the same view as the viewer. 
And writing based on it is easy and pleasant. And it can be interpreted in any way.
Juniors, 6-8 years old
Stepanova Nastya 
Ponomareva Olesya 
Akaemov Seraphim 
Tsvetkova Marina 
Mukhina Lisa 
Seniors, 9-11
Alexandrova Vika 
Chernopyatova Alina
In literature, many works have been created on Russian romanticism and the specifics of the romantic landscape. Has this topic exhausted itself in the 21st century?
The purpose of this article is to highlight the specifics of the Russian romantic landscape in Russian literature of the 19th century. Since, in this regard, they stand out primarily theoretical aspects, then the field of view included, first of all, generalizing literary works in which Russian romanticism is presented comprehensively. Research on the individual pictorial worlds of the romantics is involved only for the purpose of clarifying any general theoretical aspects.
The undying interest in the topic of “Romanticism” and its insufficient development represent the relevance of this work. The review of issues related to this topic is of both theoretical and practical significance.
The artistic works of romantic poets were studied by literary scholars. The following people studied romanticism: A.N. Veselovsky, G.A. Gukovsky, I.I. Zamotin, V.A. Nikolsky, A.N. Sokolov, V.Yu. Trotsky, M.N. Epstein. Book by A.N. Veselovsky about Zhukovsky in 1904, “The Poetry of Feelings and “Heart Imagination”” is a proper poetic study of Russian romanticism as a whole. A series of monographs by G.A. Gukovsky “Pushkin and the Russian Romantics” of 1946, “Pushkin and the problems of realistic style”, “Gogol’s Realism” of 1959 - describes the movement of literature towards realism. I.I. Zamotin in the book “Romanticism of the Twenties XIX century in Russian Literature" covers the entire Russian romantic movement of the 20s of the 19th century in two volumes. In the monograph by V.A. Nikolsky “Nature and Man in Russian Literature of the 19th Century” 1973 contains important information about the types of landscape and the forms of its existence in the work. Modern research in the field of romanticism they strive for consistency. In this sense, the final work of A.N. is characteristic. Sokolov "On the debate about romanticism." Articles by V.Yu. Troitsky "Romantic landscape in Russian prose and painting of the 20-30s of the 19th century" 1988 considers the interpretation of the theme within the framework of the artistic movement. M.N. Epstein made a useful attempt to systematize images of nature, types of landscapes in Russian poetry and artistic means their creation in the book “Nature, the world, the hiding place of the universe: A system of landscape images in Russian poetry” 1990.
Before talking about the specifics of the romantic landscape in Russian literature of the 19th century, let us characterize this term. Domestic and foreign researchers have developed more than three dozen definitions of the concept of romanticism. According to the definition from the literary dictionary edited by L.I. Timofeeva, romanticism - (German: Romantik) creative method in literature and art, which developed at the end of the 18th - early XIX century, which became widespread as a direction (current) in the art and literature of most European countries. The basis of the romantic method is the following general principles:
The writer’s subjective position regarding what is depicted;
Commitment to reconstruction real world what is achieved in the works of romanticism with the help of fantasy, grotesque, symbolism and convention;
The main character becomes an exceptional, lonely person, rebelling against the established world order, possessing an unshakable desire for absolute freedom, for an unattainable ideal, at the same time understanding the imperfections of the world around him;
The personality and individuality of a person is declared a value.
Romanticism is characterized not only by a rejection of the real world, of everyday life, but also by an interest in everything exotic, strong, bright, sublime (for example, in the poems of J. Byron and A.S. Pushkin, the action takes place in the southern and eastern countries, in the ballads of V.A. Zhukovsky - in a fantastic, fictitious world, romantic poets almost always transfer the action of their works to the past).
The leading feature of romanticism is a tragic dual world, the experience of discord with reality: the romantic hero understands all the imperfections of the world and people and at the same time wants to be understood and accepted by them.
Romanticism spread in Europe at the end of the 18th and beginning of the 19th centuries. Prominent representatives: J. Byron, V. Hugo and E. T. A. Hoffman.
The heyday of romanticism in Russia occurred in the 10-30s. XIX century And represents the romanticism of V.A.’s ballad. Zhukovsky, lyrics and poems by A.S. Pushkina, M.Yu. Lermontova, A.A. Bestuzhev and K.F. Ryleeva.
As for the landscape, according to E. Aksenova’s definition, landscape (French: Paysage) is an image of pictures of nature that performs in a work of art various functions depending on the style and method of the writer.
There are three key functions of landscape:
1) nature acts as an objective reflection of reality and at the same time serves as the background of the narrative;
2) the landscape plays the role of a specific means in revealing the character of the characters;
3) nature can be depicted as the main character of a literary work.
The romantic poet’s disposition to the theme of nature reflected significant social processes that took place in the 19th century: the rapid expansion and deepening of natural science knowledge and natural philosophy, deep dissatisfaction with the social situation in Western Europe and Russia, a very unclear idea of social and moral ideals, public skepticism caused by the reaction of the 30s and the search for the ideal in the natural world.
M.N. Epstein offers a classification of landscapes in his work, which is devoted to the system of landscape images in Russian poetry. The researcher identifies stormy, dull and ideal landscapes. A stormy, or formidable, landscape is distinguished by its dynamics and expression of the irresistible power of the forces of nature. A dull or gloomy landscape is focused on showing the sad-dreamy motifs that make up genre feature Elegies. The ideal landscape is formed in ancient literature and as a result constantly develops and transforms. The essential components of an ideal landscape are a breeze, a source of water, flowers, trees and birds, together forming a pleasant place.
Along with the aesthetic varieties of landscape M.N. Epstein distinguishes national and exotic landscapes, as well as winter and summer landscapes. Fantastic landscapes convey greatest degree emotional intensity.
A significant achievement of romanticism is the formation of a lyrical landscape. For romantics, it serves as a kind of decoration, which is designed to emphasize the emotional intensity of the action. In the depiction of nature, its “spirituality” was noted, its relationship with fate and the fate of man.
The specificity of the theme of the works of romanticism contributed to the use of a unique lexical expression: a variety of metaphors, poetic epithets and symbols. Thus, the romantic symbol of freedom was the wind and the sea; happiness was personified by the sun; love was personified by roses and fire; at all pink color represented love feelings, and the color black meant sadness. Night symbolized enmity, evil, crime and war. The symbol of endless variability was the sea wave, the symbol of insensibility was the stone; images of a doll or masquerade meant lies, hypocrisy, and insincerity.
Yu.V. Mann compared literature to a huge sea, which arrives every year. And research into social, epistemological and aesthetic foundations Romanticism, the development of romantic forms in literature can be compared with painting, music and other forms of art.
To summarize, we summarize all of the above that a romantic landscape has its own distinctive features: serves as a means of creating something amazing, in some cases, fantasy world, contrasted with true reality, and the multitude of colors makes the landscape emotional, hence the exclusivity of its details and images, often invented by a romantic. This kind of landscape traditionally corresponds to nature romantic hero- a person who suffers, dreams, rebels, fights; it reflects one of the main themes of romanticism - the discord between dreams and life itself, symbolizes mental turmoil, and highlights the emotional state of the heroes.
Bibliography:
- Vainshtein O.B. "The Language of Romantic Thought". – M., 1994. – P. 7.
- Voronin R. A. “Types and functions landscape descriptions in literature / Philology and linguistics in modern world: materials of the I International. scientific conf." M.: Buki-Vedi, 2017. - pp. 1-4.
- Grigoryan K.N. “Towards the Study of Romanticism” // “Russian Literature” – 1967. – No. 3. – P. 136 – 137.
- Lipich V.V. "Methodological features of the study of romanticism." Moscow. 2008. – p. 472.
- Mann Yu.V. "Dynamics of Russian Romanticism." - M.: Aspect Press, 1995. - 384 p.
- Mikhailov A.V. “Dialectics of the literary era. The transition from romanticism to realism in the literature of Europe." – ADD. – M., 1989. – P. 34.
- Pushkin A.S. “Full. collection cit.: In 17 volumes. M.: Resurrection", 1996. – T. XIII. – P. 184
- Sakharov V.I. "Romanticism in Russia: era, schools, styles." – M., 2004.
- Timofeev, L.I. " Brief dictionary literary terms» / L.I. Timofeev, S.V. Turaev. - Second edition, revised. – M., Education, 1985 – P. 64.
- Fedorov F.P. "Romantic art world: space and time". – Riga, 1998.
- Khodanen L.A. Myth in the works of Russian romantics. – Tomsk, 2000.
- Epstein M.N. “Nature, the world, the hiding place of the universe... The system of landscape images in Russian poetry” - M., “ graduate School"1990. – P.303.
- Yuhanson Ch. “The Face of Gogol.” – M., 1993.
"Battle of Trafalgar" Canvas. Oil. Tate Britain, London, UK.
Created in 1808, the “Battle of Trafalgar” belongs to one of the best works related to historical events. Although the death of the famous British naval commander Horatio Nelson, which happened on board the Victoria, is depicted here, even the most cursory glance leads to the idea that the event and the people are not the main thing here.Masts and sails, with contrasting light transitions, as well as the clearly felt confrontation of the ship's rigging, magnetically attract attention.
The painting belongs to the category of works that brought the artist the greatest popularity.
"Battle of Trafalgar" Canvas. Oil. National maritime museum, Greenwich, England.
William Turner "The Last Voyage of the Brave (Fearless)"
Canvas. Oil. London National Gallery, London, UK.
The painting was painted by William Turner in 1839. Its full name is “Frigate Fearless: Towed to its last station to be destroyed.” Experts believe that the artist’s goal was to create a painting that would immortalize the legendary ship of the Battle of Trafalgar, during which the British fleet won important victory over the Franco-Spanish flotilla, while the task of creating a finished work was of secondary importance.It was after this battle that Napoleon came to terms with the superiority of the British at sea.
In the creative environment, opinions about the work are quite controversial, because the appearance of the once famous frigate clearly pales in comparison to the proud outlines of the tugboat. It was especially hard on critics who considered the simultaneous depiction of the moon and the sun, as well as a number of individual moments, to be unthinkable. It is believed that in this way the transition from the Old World to the New is symbolically depicted.
By the time the artist was over 60, he had reached such a level of skill that the water and air elements in his works were felt almost on a physical level.
“Eruption of Vesuvius” Paper, watercolor. Yale Center for British Art, New Haven, Connecticut, USAMany turned to this tragic-pathetic plot. But only on the canvas of William Turner the main actor a volcano appears, which the artist admires rather than demonizes. Turner was the harbinger of impressionism, on the achievements and experiments of which more than one generation of future creators of “impressionable” painting grew up.
The British artist has always admired nature and the manifestations of its powerful forces, making the landscape either the main character or a picturesque setting in canvases where people are present. However, these majestic scenery-landscapes only emphasized the imperfection of man and the greatness and inevitability of the elements.
“The eruption of Vesuvius is a complex fictional landscape inspired by the infamous historical event. The presented canvas is a spiritual response, the personal attitude of the artist, his experiences. The entire dramaturgy of the work is built on the amazing color contrast of brown, dark red and bright white flashes of deadly force, illuminating the sky with a column of ash and lava. The stunning impression is enhanced water surface, which seems to “double” the effect, reflecting the flashes escaping from the mouth of the fatal volcano.
“Dutch fishing boats during a storm” Canvas. Oil. London National Gallery, UK
“The pier is in Calais. French fishermen go to sea; English passenger ship arrives" 1803 National Gallery, London, UK.
An unusually realistic picture. This is connected with the living memories of the master, who himself was caught in a terrible storm on his first trip to France. Having reached Calais, due to the menacing stormy waves, the ship on which Turner was traveling could not moor to the pier, and in impatience the artist moved into a boat, which almost killed him.The picture is a magically attractive landscape - a foamy sea, crests of waves, an overcast sky. All this unimaginable power is just a background for even more amazing things: in the midst of raging waters, ships with sails torn by the wind are trying to reach the saving land. Passengers are huddled together in fear. However, on the pier everything goes on as usual - a man with wine is having some kind of excited dialogue with a woman, fisherwomen are sorting fish.
This striking contrast makes you look more and more closely at the plot to see if your eyes have failed you. This is actually true - no storm can disturb the usual course of life in coastal Calais. In technique, Turner is true to himself - sharp drama achieved by color combinations and light contrasts, dynamism and attention to detail.
“Pantheon, morning after the fire” 1792 Watercolor, London, UK.
William Turner's first trip to Britain, during which he made sketches, primarily of cities, cathedrals, and abbeys, took place in 1792. This year the Royal Academy exhibited his painting “Pantheon, Morning after the Fire.”The Pantheon, which was a rotunda created according to the Roman model, was located on Oxford Street. The local public flocked here, eager for entertainment. Turner, who was hired to work on the building's decorations, received approximately four guineas a week (£400 today), but the main thing was that he gained invaluable experience in painting large-scale paintings.
Six months after the completion of this work, namely on January 14, 1792, the fire element mercilessly destroyed the Pantheon. The next day, Turner made detailed sketches of the burnt structure, and then painted a picture in watercolors, which was exhibited at the Academy.
“Dido, founder of Carthage” 1815 Oil on canvas. London National Gallery, London, UK.
"Lake Buttermere, with rainbow and shower." 1798 Oil on canvas. Tate Britain, London, UK.
The work “Lake Buttermere, with Rainbow and Shower” (1798) is another, quite tangible step in improving his skill.Turner liked to depict the rainbow, but in this painting it is presented with its reflection on the water. Although a rainbow does not take up space in space, and its reflection simply cannot exist, the master, famous for his “artistic self-will,” was not particularly embarrassed by this inconsistency.
For Turner, it was more important to convey an airy perspective and show the subtle transition from one shade to another.
“Heidelberg with a Rainbow” 1840. Watercolor, ink, pencil. Private collection
“Mortlake Terrace, W. Moffatt's estate. Summer Evening" 1826 National Gallery of Art, Washington, USA
Joseph Mallord William Turner 1775-1851 - British painter, master of romantic landscape, watercolorist and engraver.
Turner became the youngest artist to receive the title of Royal Academician. At the same time, the artist continuously worked to improve his technique. In his paintings he creates the new kind landscape, revealing the artist’s experiences and memories. Images of people, almost always found in Turner’s works, emphasize man’s powerlessness before the natural elements.
He was a romantic. His landscapes, bold in color and light-air solutions, are distinguished by extraordinary effects and a colorful phantasmagoria of the forces of nature. It was as if he looked far into the future, and future generations appreciated the amazing discoveries English artist, who helped many see the world as fierce and beautiful.
