Art Turns, Three Times
Romanticism breaks with Neoclassicism
- Romanticism broke with Neoclassical forms of artistic representation and with rationalism, placing more emphasis on intuition and emotion.
- Romantic artists and composers broke from classical artistic forms to emphasise emotion, nature, individuality, intuition, the supernatural, and national histories in their works.
- Six emphases listed — and national histories ties the art directly to 7.2's nationalism.
Select all the emphases the CED lists for Romantic artists and composers.
National histories ties the art directly to 7.2's nationalism.
Writers, responding to two revolutions
- Romantic writers expressed similar themes while responding to the Industrial Revolution and to various political revolutions.
- So the literature is not only an aesthetic movement — it is a reaction to unit 5 and unit 6.
- That gives an easy, accurate connection between the cultural thread and the other two.
Select both moves Realism made.
The objectivity pole arriving in art.
Realism turns to ordinary lives
- Realist and materialist themes and attitudes influenced art and literature as painters and writers depicted the lives of ordinary people and drew attention to social problems.
- Two moves: a change of subject (ordinary people) and a change of purpose (drawing attention to social problems).
- This is the objectivity pole arriving in art, in step with 7.5's positivism.
Romanticism, Realism, or Modern art?
Sort each artistic development.
Select all three modern movements the CED names.
Neoclassicism is what Romanticism broke with.
The objection is part of the content. The CED says modern art often provoked audiences that believed that art should reflect shared and idealised values, including beauty and patriotism — so an answer that describes only the new styles has left out the conflict the CED wrote into the sentence.
Select both values the provoked audiences expected art to reflect.
The objection is part of the content.
Modern art moves past representation
- Modern art, including Impressionism, Post-Impressionism, and Cubism, moved beyond the representational to the subjective, abstract, and expressive and often provoked audiences that believed that art should reflect shared and idealised values, including beauty and patriotism.
- The CED names the movements, the direction, and the objection — audiences expecting beauty and patriotism.
- So the conflict is part of the content: modern art is defined partly by the reaction to it.
Put the three turns in the CED's order.
The continuity is the argument about what art is for.
Continuities and changes
- The objective is the continuities and changes in European artistic expression from 1815 to 1914.
- Change: three turns — away from classical form, toward ordinary life, then past representation itself.
- Continuity: art keeps arguing about the same question 7.1 named — whether it reports the world or expresses a self.
Three canvases, one century apart at each step: a hero in a classical pose, a laundress at a tub, and a face assembled from angles that no eye ever met at once. Each was a break, and each was accused of failing the duty of the last.
Romanticism broke with Neoclassical forms and with rationalism, emphasising intuition and emotion — artists stressed emotion, nature, individuality, intuition, the supernatural, and national histories, and writers responded to the Industrial Revolution and various political revolutions. Realist and materialist themes turned to the lives of ordinary people and social problems. Modern art — Impressionism, Post-Impressionism, Cubism — moved beyond the representational to the subjective, abstract, and expressive, provoking audiences who expected beauty and patriotism.