From the Renaissance to Romanticism

324 Pages·1967·38.163 MB·English

by  Frederick B. Artz

jrom
the
j\^naissance
omanticism
trends
in Style
in art,
literature,
and
music,
1300-1830
A
FrederickB. rtz
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FROM THE RENAISSANCE TO ROMANTICISM
FrOM
FREDERICK ARTZ the
B. /
RENAISSANCE
to
ROMANTICISM
TRENDS IN STYLE IN ART, LITERATURE,
AND MUSIC, 1300-1830
Phoenix Books
THE UNIVERSITY OF CHICAGO PRESS
jCOfc
-*XS CHICAGO & LONDON
This boof{ is also available in a clothbound edition from
THE UNIVERSITY OF CHICAGO PRESS
To my students, past and present,
in History 13and14atOberlin College
TheUniversityofChicagoPress,Chicago&London
TheUniversityofTorontoPress,Toronto5, Canada
©1962byFrederickB.Artz.Allrightsreserved
Published1962.FirstPhoenixEdition1965.
ThirdImpression1967
PrintedintheUnitedStatesofAmerica
PREFACE
Thesechaptersonthehistoryofideasare,insomedegree,acontinuation
of my Mind of the Middle Ages, A.D. 200-1500 (3d ed.; New York,
1958). Their purpose is to trace basic changes in style in art, literature,
and musicfrom about 1300 to 1830,from Niccolo Pisano, Petrarch, and
Landino toDelacroix, Goethe, and Beethoven. Beyond this, in proceed-
ing from a description ofthe styles of the Early and then of the High
Renaissance through those of Mannerism and of the Baroque to con-
clude with the styles of Neo-Classicism and of Romanticism, there are
indicated some cross-relationships in the various arts. The approach is
that of a historian of ideas,not that of a specialist in the history of art,
literature, or music.
The examples are chosen from some of the leading figures of each
period, but no rounded history of art, letters, and music has been es-
sayed. Throughout, some knowledge of each of these is assumed. The
interest is focused on the countries where basic changes in style oc-
curred, but no extended attempt is made to show the ramifications of
a style as it later spread from the place of its origin to influence one
nation after another. For example, the art of the High Renaissance
first showed its fundamental forms in early sixteenth-century Italy,and
attention is centered there. On the other hand, the literature of the
Ageof Mannerism did not have a clearly marked focus, and attention
vi Preface
must be spread across much of western Europe if one wishes to find
the varied forms that Mannerism in letters assumed. So sometimes the
attention is fixed on one country, and sometimes it is dispersed widely,
depending on the nature of what actually happened.
Few attempts have been made to chart such a history of the basic
changes in style in the arts. There are both correspondences and diver-
gencies in the history of art, literature, and music; an effort is made
heretoindicateboth. Thisis apioneeringenterprise, and thediscussion
is inevitably oversimplified. The results of such an inquiry can only
be incomplete and provisional. I am certain to raise as many questions
as I answer, but, at this stage of the study of intellectual history, these
are some of the questions that need raising.
Someofthetitlesin thebibliographyand anumberofthequotations
have been shortened. I have used the commonly employed English
terms for works of art, literature, and music; thus it is "Mona Lisa"
and"TheLastSupper"fortwoworksofLeonardo.Thisisinconsistent,
but it makes for a surer understanding.
The Bibliography, largely of English and French works, makes no
attempt fully to cover the subjects treated herein. I hope, however, it
may prove useful. Many of the works included contain bibliographies.
A few titles appear under several chapter headings. Some entries, such
as encyclopedias and periodicals, are intended to set the reader on the
track of pertinent material.
I am greatly indebted to friends and colleagues whohave read all or
partsofthemanuscript Wolfgang Stechow, HenryA. Grubbs,Donald
:
M.Love,RichardM.Murphy,PaulR. Evans,Mrs. OscarJaszi,Richard
Goldthwaite,andWylieSypher.Beyondthis,Iowemuchtotheauthors
whohave written on these subjects, a debt I have tried to acknowledge
in the bibliographies. I wish, also, to thank the staff of the Harvard
Library and that of the Oberlin College Library for endless assistance.
Finally, Iwishtothankmycolleague and friend BarryMcGillforhelp
on theproofs.
FrederickB.Artz
Oberlin,Ohio
CONTENTS
I INTRODUCTION
II THE EARLY RENAISSANCE, I3OO-I5OO II
III THE HIGH RENAISSANCE, I5OO-I53O AND LATER 58
IV MANNERISM, I53O-160O AND LATER III
V THE BAROQUE, 160O-I75O 158
VI NEO-CLASSICISM AND ROMANTICISM, I75C-183O 219
BIBLIOGRAPHY 283
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