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The exhibition’s take on the subject was geographically and chronologically comprehensive, thereby shedding light on the links between different centres of Romanticism, and thus retracing complex iconographic developments of the time. The art works speak of loneliness and melancholy, passion and death, of the fascination with horror and the irrationality of dreams.Īfter Frankfurt the exhibition, conceived by the Städel Museum, traveled to the Musée d’Orsay in Paris. In the 20th century artists such as Salvador Dalí, René Magritte or Paul Klee and Max Ernst continued to think in this vein. The works on display by Goya, Johann Heinrich Fuseli and William Blake, Théodore Géricault and Delacroix, as well as Caspar David Friedrich, conveyed a Romantic spirit which by the end of the 18th century had taken hold all over Europe. Using outstanding works in the museum’s collection on the subject by Francisco de Goya, Eugène Delacroix, Franz von Stuck or Max Ernst as a starting point, the exhibition also presented important loans from internationally renowned collections, such as the Musée d’Orsay, the Musée du Louvre, both in Paris, the Museo del Prado in Madrid and the Art Institute of Chicago. In the museum’s exhibition house this important exhibition, comprising over 200 paintings, sculptures, graphic works, photographs and films, will present the fascination that many artists felt for the gloomy, the secretive and the evil. It was the first German exhibition to focus on the dark aspect of Romanticism and its legacy, mainly evident in Symbolism and Surrealism.
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From Goya to Max Ernst“ was on view from September 26th, 2012 until January 20th, 2013. But all these books were sold in very small numbers, copies of each edition differently compiled and coloured.The Städel Museum’s major special exhibition “Dark Romanticism.
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Further small books, Los, Urizen, and Ahania, retellings of the Old Testament, were full of strong images, and 12 large individual prints, with some of his most famous images such as Newton, followed in the mid-1790s. Visions of the Daughters of Albion, America and Europe, three further books of prophecy from 1793 to 1794, were based on Blake's views that the French and American Revolutions were the precursor of the Final Judgement of mankind and that America was the embodiment of political and spiritual liberty. Songs of Innocence was followed by The Book of Thel, one of Blake's works of prophecy, and in 1790 by The Marriage of Heaven and Hell, an attack on the Christian mystic Swedenborg and an account of Blake's own spiritual and artistic struggles. Here are the title pages for Songs of Innocence and of Experience /LWnLxTwAzF William Blake was born #onthisday in 1757. The first successful work of this kind was the Songs of Innocence (1789), to which was later added Songs of Experience (1794). The death of Blake's father allowed him time to develop a printing technique that enabled him to combine his visionary texts and images on one printing plate. A continuing theme of his work was the conflict between rulers and their people, a radicalism that coincided with the period of the French Revolution.
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Blake shared the artistic establishment's view that art should address great historical, religious and philosophical subjects. In the 1780s he also exhibited several apocalyptic subjects at the Royal Academy. There he befriended some of the leaders of the neoclassical movement, such as John Flaxman and Thomas Stothard.īlake's personal artistic vision clashed with his work as a reproductive engraver and he was beginning to achieve a reputation as poet – Poetical Sketches was published in 1783. William Blake (1757–1827) Paintings Collectionīlake entered the Royal Academy schools in 1779, but he disliked life drawing, preferring classical sculptures and Greek vase paintings. Our Lady with the Infant Jesus Riding on a Lamb with Saint John