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Essay / Research Paper Abstract
A 5 page essay that draws on Barbara Novak’s American Painting of the Nineteenth Century in order to answer four specific questions pertaining to American art. Topics addressed include a definition of Romanticism and this was expressed in American art, a definition of Luminism and how light was utilized in the art of this era. No additional sources cited.
Page Count:
5 pages (~225 words per page)
File: D0_khbna19.rtf
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different aesthetic, which early American author Nathaniel Hawthorne indicated by writing about how difficult it was to compose a "romance about a country where there is no shadow, no antiquity,
no mystery, no picturesque and gloomy wrong" (Novak 25). Numerous American artists, such as Washington Allston (1779-1843), shared Hawthornes predilection for "shadow, antiquity, mystery," etc. (Novak 25). Allstons work also
showed another aspect of romanticism, which was referred to as "sublimity," or the "sublime," and this term carried with it a connotation that suggested "overtones of the terrible and fantastic
that belonged more to the Gothic romanticism of the turn of the century in England and Germany," than it did to the French romanticism demonstrated by Delacroix and his
generation in the 1830 (Novak 26). Where was this trait found in the nineteenth century American painting? Allstons "Tragic Figure in Chains" (1800), watercolor on paper mounted
on a panel, shows a full length figure of a man, holding his chain with one hand, his stringy hair blowing gently to the side, a look of pure insanity
on his face. The depiction excites both curiosity, pity, and fear, as the man is clearly dangerous. The dark appeal of Gothic romanticism is clearly indicated. Of Benjamin Wests
"Death on the Pale Horse (1802), oil sketch on canvas, Allstons analysis relates something of his own romantic vision. He writes that on viewing this work, "It is impossible to
conceive of anything more terrible than Death on the white horse, and I am sure no painter has exceeded Mr. West in the fury, horror and despair" that this
work conveys (Novak 26). However, Allstons Gothic vision was only a part of his romanticism, as more significantly "from the standpoint of American romantic tradition," was the close
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