Collection: PART 1

Research

11/09 Brainstorm

ROMANTICIZM

-company

-behaviour(hug, kiss, hand in hand, etc.) 

-miss

-love letter(love story/poetry)

-warmly emotion

PLASTER

-water+powder(liquid)

-solid(shaped)

-soft to hard(process)

-grey

-fissue

LETTERPRESS

-letter(word)

-stamper

-contact

-machine

-broken(lost some letters)

 

IDEAS

1.A story about love, there is the beginning, the happening and the ending.

Wolter(water) meet Potter(powder) in London, they send letter to each other from the diffierent place, they fall in love(mixed), follow the time flys(soft), they have a happy ending(solid/hard).

 

2.Time Freezing

The romantic moment be freezed, like hug freezed, kissing freezed, hand in hand freezed,  etc. used love/warmly words to make the shape of arms, lips, mouths, etc.

 

3.love broken by the force majeure or something

People fall in love, but they can't stay with each other. They missing each other, like part of life has missed. <Titanic>, <Romeo and Juliet>

 

4.keep going on.......

 

 

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12/09 New Brainstorm

Fix the mistake in understanding of the Romanticism.

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Romanticism

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Plaster

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Letterpress

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12/09 Research of Romanticism

Source from Wikipedia

Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, musical and intellectual movement that originated in Europe toward the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was partly a reaction to the Industrial Revolution,the aristocratic social and political norms of the Age of Enlightenment, and the scientific rationalization of nature—all components of modernity. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, and the natural sciences. It had a significant and complex effect on politics, with romantic thinkers influencing liberalism, radicalism, conservatism and nationalism.

The movement emphasized intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that experienced in confronting the new aesthetic categories of the sublimity and beauty of nature. It elevated folk art and ancient custom to something noble, but also spontaneity as a desirable characteristic (as in the musical impromptu). In contrast to the Rationalism and Classicism of the Enlightenment, Romanticism revived medievalism and elements of art and narrative perceived as authentically medieval in an attempt to escape population growth, early urban sprawl, and industrialism.

Although the movement was rooted in the German Sturm und Drang movement, which preferred intuition and emotion to the rationalism of the Enlightenment, the events and ideologies of the French Revolution were also proximate factors. Romanticism assigned a high value to the achievements of "heroic" individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism. The decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism.

 

In the visual arts, Romanticism first showed itself in landscape painting, where from as early as the 1760s British artists began to turn to wilder landscapes and storms, and Gothic architecture, even if they had to make do with Wales as a setting. Caspar David Friedrich and J. M. W. Turner were born less than a year apart in 1774 and 1775 respectively and were to take German and English landscape painting to their extremes of Romanticism, but both their artistic sensibilities were formed when forms of Romanticism was already strongly present in art. John Constable, born in 1776, stayed closer to the English landscape tradition, but in his largest "six-footers" insisted on the heroic status of a patch of the working countryside where he had grown up—challenging the traditional hierarchy of genres, which relegated landscape painting to a low status. Turner also painted very large landscapes, and above all, seascapes. Some of these large paintings had contemporary settings and staffage, but others had small figures that turned the work into history painting in the manner of Claude Lorrain, like Salvator Rosa a late Baroque artist whose landscapes had elements that Romantic painters repeatedly turned to. Friedrich often used single figures, or features like crosses, set alone amidst a huge landscape, "making them images of the transitoriness of human life and the premonition of death."

 

The genre development of Romanticism

The trend  of thought in European Romanticism depended on the people are disappointed in the enlightenment "Rational Kingdom", and the disillusionment of bourgeois revolution in the "freedom, equality and fraternity". Writers at that time were dissatisfied with reality and tried to find ways to solve social contradictions. Because of the different class position and political attitude of writers, there were  two opposing genres in Romanticism, one is positive romanticism and negative romanticism. The former is the trend of society's progress, which leaded people to look forward. The latter is a reactionary, which leaded people to look back. This difference was essentially caused by two distinct reaction to the French Revolution and the enlightenment.

 

 

 

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Das Kreuz an der Ostsee / The cross on the baltic, 1815

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Caspar David Friedrich - Morning in the Riesengebirge

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J.M.W. Turner - The fighting Temeraire

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12/09 The world of Anna Sui

Anna Sui

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Luv-me Production

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Editorial photo for Anna Sui Spring 2002 by Steven Meisel

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