The Adam style is an 18th-century neoclassical style of interior design and architecture, as practised by three Scottish brothers, of whom Robert Adam and James Adam were the most widely known. Commonly and mistakenly known as Adams Style, the term for this style of architecture and furniture is the Style of the Adam Brothers. The Adam style found its niche from the late 1760s in upper-class and middle-class residences in 18th-century England, Russia, the style was superseded from around 1795 onwards by the Regency style and the French Empire style. Speculative building was rife, with some developers focussing on high speed, the cities of Edinburgh and Dublin were all expanded and modernised. Birmingham was described in 1791 as being the first manufacturing town in the world and Liverpool each saw their population triple between 1760 and 1800. New towns, like Bath, were constructed around natural spas, the Neoclassical style was all the vogue throughout the 18th century, and many style guides were published to advise builders how their finished properties should look.
Architects, cabinet makers and craftsmen all publishing books and style guides to advertise their ideas. The work of the Adam brothers set the style for domestic architecture and James Adam travelled in Italy and Dalmatia in the 1750s, observing the ruins of the classical world. On their return to Britain, they set themselves up with their brother, John. Robert and James published a book entitled The Works in Architecture in instalments between 1773 and 1779 and this book of engraved designs made the Adam repertory available throughout Europe. The Works in Architecture illustrated the main buildings the Adam brothers had worked on and crucially documented the interiors and fittings, a parallel development of this phase of neoclassical design is the French Louis XVI style. Artists such as Angelica Kauffman and Antonio Zucchi were employed to paint classical figurative scenes within cartouches set into the interior walls, so many able designers were working in this style in London from circa 1770 that the style is currently more usually termed Early Neoclassical.
It was typical of Adam style to combine decorative neo-Gothic details into the classical framework, so-called Egyptian and Etruscan design motifs were minor features. Classical Greek architecture, which was known in Britain through publications such as James Stuart & Nicholas Revetts book The Antiquities of Athens published in 1762. Interest in the Adam style was revived in the late Victorian and Edwardian eras, reproduction furniture in the general Regency Revival style, to which the Adam revival was closely linked, was very popular with the expanding middle classes from circa 1880 to 1920. They were attracted to the light and elegant designs, as a contrast to the heavier, the revival competed with the Arts and Crafts style, which continued to be popular in Britain up to the 1930s. The Adam and Regency revivals, lost mainstream momentum after World War I, being replaced by Art Deco in popular taste
Renaissance Revival architecture
The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. The movement grew from scientific observations of nature, in human anatomy. Neo-Renaissance architecture is formed by not only the original Italian architecture, in England the Renaissance tended to manifest itself in large square tall houses such as Longleat House. Often these buildings had symmetrical towers which hint at the evolution from medieval fortified architecture and this is particularly evident at Hatfield House built between 1607 and 1611, where medieval towers jostle with a large Italian cupola. If this were not confusing enough, the new Neo-Renaissance frequently borrowed architectural elements from the succeeding Mannerist period and Baroque being two very opposing styles of architecture. Mannerism was exemplified by the Palazzo del Te and Baroque by the Wurzburg Residenz, as a consequence a self-consciously Neo-Renaissance manner first began to appear circa 1840.
By 1890 this movement was already in decline, the Hagues Peace Palace completed in 1913, in a heavy French Neo-Renaissance manner was one of the last notable buildings in this style. Charles Barry introduced the Neo-Renaissance to England with his design of the Travellers Club, the style is characterized by original Renaissance motifs, taken from such Quattrocento architects as Alberti. These motifs included rusticated masonry and quoins, windows framed by architraves and doors crowned by pediments, if a building were of several floors the uppermost floor usually had small square windows representing the minor mezzanine floor of the original Renaissance designs. However, the Neo-renaissance style came to incorporate Romanesque and Baroque features not found in the original Renaissance architecture which was more severe in its design. Like all architectural styles the Neo-Renaissance did not appear overnight fully formed but evolved slowly, one of the very first signs of its emergence was the Würzburg Womens Prison, which was erected in 1809 designed by Peter Speeth.
This building foreshadows similar effects in the work of the American architect Henry Hobson Richardson whose work in the Neo-Renaissance style was popular in the USA during the 1880s, richardsons style at the end or the revival era was a severe mix of both Romanesque and Renaissance features. This was exemplified by his Marshall Field Warehouse in Chicago, while the beginning of Neo-Renaissance period can be defined by its simplicity and severity, what came between was far more ornate in its design. This period can be defined by some of the opera houses of the Europe, such as Gottfried Sempers Burgtheater in Vienna. This ornate form of the Neo-Renaissance, originating from France, is known as the Second Empire style. By 1875 it had become the style in Europe for all public and bureaucratic buildings. In England, where Sir George Gilbert Scott designed the London Foreign Office in this style between 1860 and 1875, it incorporated certain Palladian features. In Austria, it was pioneered by such names as Rudolf Eitelberger
Neoclassical architecture is an architectural style produced by the neoclassical movement that began in the mid-18th century. In its purest form, it is a style derived from the architecture of classical antiquity, the Vitruvian principles. In form, Neoclassical architecture emphasizes the wall rather than chiaroscuro, Neoclassical architecture is still designed today, but may be labelled New Classical Architecture for contemporary buildings. In Central and Eastern Europe, the style is referred to as Classicism. Many early 19th-century neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée, the many graphite drawings of Boullée and his students depict spare geometrical architecture that emulates the eternality of the universe. There are links between Boullées ideas and Edmund Burkes conception of the sublime, the baroque style had never truly been to the English taste. The most popular was the four-volume Vitruvius Britannicus by Colen Campbell, the book contained architectural prints of famous British buildings that had been inspired by the great architects from Vitruvius to Palladio.
At first the book featured the work of Inigo Jones. Palladian architecture became well established in 18th-century Britain, at the forefront of the new school of design was the aristocratic architect earl, Richard Boyle, 3rd Earl of Burlington, in 1729, he and William Kent, designed Chiswick House. This House was a reinterpretation of Palladios Villa Capra, but purified of 16th century elements and this severe lack of ornamentation was to be a feature of the Palladianism. In 1734 William Kent and Lord Burlington designed one of Englands finest examples of Palladian architecture with Holkham Hall in Norfolk, the main block of this house followed Palladios dictates quite closely, but Palladios low, often detached, wings of farm buildings were elevated in significance. This classicising vein was detectable, to a degree, in the Late Baroque architecture in Paris. This shift was even visible in Rome at the redesigned façade for S, by the mid 18th century, the movement broadened to incorporate a greater range of Classical influences, including those from Ancient Greece.
The shift to neoclassical architecture is conventionally dated to the 1750s, in France, the movement was propelled by a generation of French art students trained in Rome, and was influenced by the writings of Johann Joachim Winckelmann. The style was adopted by progressive circles in other countries such as Sweden. A second neoclassic wave, more severe, more studied and more consciously archaeological, is associated with the height of the Napoleonic Empire, in France, the first phase of neoclassicism was expressed in the Louis XVI style, and the second in the styles called Directoire or Empire. The Scottish architect Charles Cameron created palatial Italianate interiors for the German-born Catherine II the Great in St. Petersburg, neoclassicism made a discovery of the genuine classic interior, inspired by the rediscoveries at Pompeii and Herculaneum. These had begun in the late 1740s, but only achieved an audience in the 1760s
Romanesque Revival architecture
Romanesque Revival is a style of building employed beginning in the mid-19th century inspired by the 11th- and 12th-century Romanesque architecture. Unlike the historic Romanesque style, Romanesque Revival buildings tended to feature more simplified arches, an early variety of Romanesque Revival style known as Rundbogenstil was popular in German lands and in the German diaspora beginning in the 1830s. By far the most prominent and influential American architect working in a free Romanesque manner was Henry Hobson Richardson, in the United States, the style derived from examples set by him are termed Richardsonian Romanesque, of which not all are Romanesque Revival. In Scotland the style started to emerge with the Duke of Argyl’s castle at Inverary, started in 1744, and castles by Robert Adam at Culzean, Dalquharran and it was at this point that the Norman Revival became a recognisable architectural style. In 1817 Thomas Rickman published his An Attempt to Discriminate the Styles of English Architecture from the Conquest To the Reformation and it was now realised that ‘round-arch architecture’ was largely Romanesque in the British Isles and came to be described as Norman rather than Saxon.
The start of an archaeologically correct Norman Revival can be recognised in the architecture of Thomas Hopper and his first attempt at this style was at Gosford Castle in Armagh in Ireland, but far more successful was his Penrhyn Castle near Bangor in North Wales. This was built for the Pennant family, between 1820 and 1837, the Norman Revival did catch on for church architecture. It was Thomas Penson, a Welsh architect, who would have been familiar with Hopper’s work at Penrhyn, Penson was influenced by French and Belgian Romanesque architecture, and particularly the earlier Romanesque phase of German Brick Gothic. At St David’s Newtown, 1843–47 and St Agatha’s Llanymynech,1845, he copies the tower of St. Salvators Cathedral, other examples of Romanesque revival by Penson are Christ Church, Welshpool, 1839–1844, and the porch to Langedwyn Church. He was an innovator in his use of Terracotta to produce decorative Romanesque mouldings, during the 19th century the architecture selected for Anglican churches depended on the churchmanship of particular congregations.
Some of the examples of this Romanesque architecture is seen in Non-conformist or Dissenting churches. A good example of this is by the Lincoln architects Drury and Mortimer, after about 1870 this style of Church architecture in Britain disappears, but in the early 20th century, the style is succeeded by Byzantine Revival architecture. Two of Canadas provincial legislatures, the Ontario Legislative Building in Toronto, University College, one of seven colleges at the University of Toronto, is a chief example of the Romanesque Revival style. The building, designed by Frederic Cumberland and William G. Storm, was intended to be Gothic in style but was rejected by the governor general. Construction of the design began on 4 October 1856. The facade of University College has thick walls, incorporating layers of both stone and brick. The building possesses a number of round arches characteristic of the Roman Revival style, the arches are configured in arcades, most notably on the south side of the building.
There is a deal of ornamentation on both the interior and exterior of University College
A legally defined class of the Middle Ages to the end of the Ancien Régime in France, that of inhabitants having the rights of citizenship and political rights in a city. This bourgeoisie destroyed aristocratic privilege and established civic equality after the French monarchy collapsed, the aristocracy crumbled because it refused to reform institutions and financial systems. An affluent and often opulent stratum of the class who stand opposite the proletariat class. In English, bourgeoisie identified a social class oriented to economic materialism and hedonism, since the 19th century, the term bourgeoisie usually is politically and sociologically synonymous with the ruling upper class of a capitalist society. The 18th century saw a partial rehabilitation of bourgeois values in such as the drame bourgeois and bourgeois tragedy. The bourgeoisie emerged as a historical and political phenomenon in the 11th century when the bourgs of Central and this urban expansion was possible thanks to economic concentration due to the appearance of protective self-organisation into guilds.
Guilds arose when individual businessmen conflicted with their feudal landlords who demanded greater rents than previously agreed. In English, the bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes, a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers, petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, the petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations. It usually starts with a trade or craft, and by the second and third generation, the petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class and this class would include artisans, small traders and small farm owners.
They are not employed, but may not be able to afford employees themselves, the moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations, some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes, the grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations. Members of these tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades, the names of these families are generally known in the city where they reside, and their ancestors have often contributed to the regions history.
These families are respected and revered and they belong to the upper class, and in the British class system are considered part of the gentry
Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Cologne, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire.
After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD.
The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
Egyptian Revival architecture
Egyptian revival is an architectural style that uses the motifs and imagery of ancient Egypt. It is attributed generally to the awareness of ancient Egyptian monuments generated by Napoleons conquest of Egypt. Napoleon took an expedition with him to Egypt. Publication of the work, the Description de lÉgypte, began in 1809 and was published as a series through 1826. However, works of art and architecture in the Egyptian style had made or built occasionally on the European continent. The most important example is probably Gian Lorenzo Berninis obelisk in the Piazza Navona in Rome, others may be found at Belan, County Kildare, and Dangan, County Meath. The Casteltown Folly in County Kildare is probably the best known, Egyptian buildings had been built as garden follies. The most elaborate was probably the one built by Frederick I and it included an Egyptian bridge across which guests walked to reach an island with an elaborate Egyptian-influenced bath house. Designed by the court architect, Jean Baptiste Kleber, the building had a billiards room.
New after the Napoleonic invasion was a increase of the number of works of art. In France and Britain this was at least partially inspired by successful war campaigns undertaken by each country while in Egypt, according to David Brownlee, the 1798 Karlsruhe Synagogue, an early building by the influential Friedrich Weinbrenner was the first large Egyptian building to be erected since antiquity. According to Diana Muir Appelbaum, it was the first public building in the Egyptian revival style, a street or passage named the Place du Caire or Foire du Caire was built in Paris in 1798 on the former site of the convent of the Filles de la Charité. In 1828 a building with Egyptianizing detail including large Hathor heads, among the earliest monuments of the Egyptian revival in Paris is the Fontaine du Fellah in Paris, built in 1806. It was designed by François-Jean Bralle, a well-documented example, destroyed after Napoleon was deposed, was the monument to General Louis Desaix in the Place des Victoires was built in 1810.
It featured a statue of the general and an obelisk. Another example of a still standing site of Egyptian Revival is the Egyptian Gate of Tsarskoe Selo, one of the first British buildings to show an Egyptian revival interior was the newspaper office of the Courier on the Strand in London. It was built in 1804 and featured a cavetto cornice and Egyptian-influenced columns with palmiform capitals, Egyptian revival architecture enjoyed considerable popularity in other countries as well. The most notable Egyptian structure in the United States was the Washington Monument, begun in 1848, the South African College in the then-British Cape Colony features an Egyptian building constructed in 1841, the Egyptian revival building of the Cape Town Hebrew Congregation is still standing
The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. The Industrial Revolution began in Great Britain and most of the important technological innovations were British, aided by these legal and cultural foundations, an entrepreneurial spirit and consumer revolution drove industrialisation in Britain, which would be emulated in countries around the world. A change in marrying patterns to getting married made able to accumulate more human capital during their youth. The Industrial Revolution marks a turning point in history, almost every aspect of daily life was influenced in some way. In particular, average income and population began to exhibit unprecedented sustained growth, mechanised textile production spread from Great Britain to continental Europe in the early 19th century, with important centres of textiles and coal emerging in Belgium, and in France. Since industrialisation has spread throughout much of the world, the precise start and end of the Industrial Revolution is still debated among historians, as is the pace of economic and social changes.
Economic historians are in agreement that the onset of the Industrial Revolution is the most important event in the history of humanity since the domestication of animals and plants. The term Industrial Revolution applied to change was becoming more common by the late 1830s. Friedrich Engels in The Condition of the Working Class in England in 1844 spoke of an industrial revolution, although Engels wrote in the 1840s, his book was not translated into English until the late 1800s, and his expression did not enter everyday language until then. Credit for popularising the term may be given to Arnold Toynbee, some historians, such as John Clapham and Nicholas Crafts, have argued that the economic and social changes occurred gradually and the term revolution is a misnomer. This is still a subject of debate among some historians, the commencement of the Industrial Revolution is closely linked to a small number of innovations, beginning in the second half of the 18th century. By the 1830s the following gains had been made in important technologies, Textiles – mechanised cotton spinning powered by steam or water greatly increased the output of a worker, the power loom increased the output of a worker by a factor of over 40.
The cotton gin increased productivity of removing seed from cotton by a factor of 50, large gains in productivity occurred in spinning and weaving of wool and linen, but they were not as great as in cotton. Steam power – the efficiency of steam engines increased so that they used between one-fifth and one-tenth as much fuel, the adaptation of stationary steam engines to rotary motion made them suitable for industrial uses. The high pressure engine had a power to weight ratio. Steam power underwent an expansion after 1800. Iron making – the substitution of coke for charcoal greatly lowered the fuel cost for pig iron, using coke allowed larger blast furnaces, resulting in economies of scale. The cast iron blowing cylinder was first used in 1760 and it was improved by making it double acting, which allowed higher furnace temperatures
It was one of many Revival styles of the mid to late 19th century, and just one among several concurrent modes of Classicism. Neo-Grec was eclectic, abstracted and sometimes bizarre and its treatment was intentionally dry and linear. Its vignettes and repeating patterns lent themselves to stencilling, typical Neo-Grec color harmonies were rich and harsh, black motifs and outlines against Pompeian red, powder blue and puce and olive drab might be combined in a single decor. Lions heads and feet and eagles talons, although an old ornament, were now everywhere to be found again, the British fancy was carried captive, journeys were taken, explorations were set on foot, measurements were made and at last the Elgin Marbles came to England. Mr. Flaxman, and representing Aurora visiting Cephalus on Mount Ida, round the bottom of the room still reign the emblems of night. In the rail of a marble table are introduced medallions of the god of sleep. The bird consecrated to the latter deity perches on the pillars of a marble mantelpiece.
The broad band which girds the top of the room contains medallions of the goddess and of the Phrygian youth intermixed with the instruments. It maintained its supremacy briefly before other fashions came to the top in France, in architecture the Neo-Grec is not always clearly distinguishable from the Neoclassical designs of the earlier part of the century, in buildings such as the Church of the Madeleine, Paris. Not only was the Neo-Grec popular in France, but in Victorian England and especially in the United States, the architectural historian Neil Levine has explained the style as a reaction against the rigidity of classicism. According to Levine, Neo-Grec was a looser style, which replaced the rhetorical form of classical architectural discourse by a more literal. It was meant to be a readable architecture, in painting, the Neoclassical style continued to be taught in the French Academy des Beaux-Arts, inculcating crisp outlines, pellucid atmosphere, and a clear, clean palette. However, a formal Neo-Grec group of artists was created in the mid 19th century after growing interest in Ancient Greece and Rome, and especially the excavations at Pompeii.
Gérôme gained fame from this exhibition, and in the year formed the Neo-Grec group with Jean-Louis Hamon. The Neo-Grec group took Gleyres style and interests, but adapted it from use in painting as in Gleyres work. Because they were inspired by discoveries at Pompeii, they were called néo-pompéiens. The paintings of the Neo-Grecs sought to capture everyday, anecdotal trivialities of ancient Greek life, in a manner of whimsy and charm, and were realistic, sensual. For this reason they were called anacreontic after the Greek poet Anacreon, alfred de Tanouarn describes one of Hamons paintings as clear and natural, the idea, the attitudes and the aspects
Art Nouveau is an international style of art and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, fabrics, ceramics including tableware, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900.
It was sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris.
Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
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 embodied most strongly in the arts and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It 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. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist.
The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves.
In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier