Summary:
The purpose of this paper is to explore the phenomenon of "double music" in 19th-century British pre-Raphaelite paintings, that is, the phenomenon of artists pursuing aesthetic ideals and actively participating in social reform movements. Through the analysis of the artistic practice and social participation of pre-Raphaelite artists, the evolution of their concept of artistic self-discipline and social responsibility are revealed. The article first reviews the historical background and aesthetic concepts of pre-Raphaelite painting, and then focuses on how artists participated in the reform movement of 19th-century British society through their artworks, and how their works echoed the social issues of the time.
I. Introduction
Pre-Raphaelite painting played an important role in the history of British art in the 19th century, and his works are known for their exquisite skills and unique artistic concepts. One of the striking phenomena is that his works often show the characteristics of "double music", that is, on the one hand, the fascination and understanding of music are expressed through the rich and diverse instrumental landscapes, and on the other hand, the use of color brings the painting into a state of "longing to achieve music". This phenomenon of "double music" is not only an interesting phenomenon in the history of art, but also reflects the complex relationship between aesthetic pursuits and social engagement among pre-Raphaelite artists.
The study of this phenomenon is of great academic significance. First of all, by delving into the expression and intrinsic meaning of "double music" in pre-Raphaelite paintings, we can better understand the development of the British art scene in the 19th century, as well as the unique views of artists on music, color and aesthetics. Second, this study helps to reveal the aesthetic pursuit of artistic self-discipline and the attitude of pre-Raphaelite artists towards social transformation. By digging deeper into the ideas and values embodied in his works, he can provide us with new perspectives on the interaction between art and society.
II. Instrumental Landscapes in Pre-Raphaelite Paintings
A. Frequent presentation of the musical landscape
Pre-Raphaelite painting is distinguished by its attention to detail and rich expression of emotion. In these works, the frequent presentation of the musical landscape is a prominent feature. Through paintings, the artists bring to life elements such as concert venues, musical instruments, bands, and musicians' performances. This frequent presentation of the musical landscape reflects the fascination and understanding of music among pre-Raphaelite artists.
In these works, the concert hall is often depicted as a scene full of movement and energy. The audience sat and stood attentively listening to the music, while the musicians played passionately on stage. This kind of scene painting not only shows the atmosphere of the concert, but also deeply expresses the resonance of the artists with the emotions and experiences brought by the music.
B. Emphasis on instrumental performance
In pre-Raphaelite painting, the emphasis on instrumental performance is another striking feature. Through detailed depictions, the artists vividly show the instruments in the hands of the musicians and the movements they play. Whether it is the string vibration of a stringed instrument or the blowing action of a woodwind instrument, it is depicted vividly, making the viewer feel as if they can hear the sound of the music and feel the emotions of the performer.
This emphasis on instrumental performance not only shows the respect and pursuit of musical skill by pre-Raphaelite artists, but also their pursuit of artistic expression. Through the meticulous depiction of instrumental performances, the artists try to capture the emotions and meanings contained in the music and convey them to the audience through paintings, achieving an artistic experience that transcends the senses.
C. The artist's aesthetic pursuit of artistic self-discipline
In pre-Raphaelite painting, the aesthetic pursuit of artistic self-discipline by artists is a striking feature. They not only pursue the mastery of painting skills, but also pay more attention to the expression of emotions and meanings. When depicting musical landscapes and instrumental performances, artists strive to realistically and accurately reproduce the real world, and through the treatment of color, composition and detail, they give their works a deeper meaning and expressiveness.
This aesthetic pursuit reflects the pre-Raphaelite artists' rigorous approach to art and the pursuit of excellence. They believe that art should be a noble pursuit, an exploration and expression of beauty, and should not be disturbed and influenced by the outside world. Therefore, in his works, we can often see a precise grasp of music, color and form, as well as a profound interpretation of emotion and meaning, which is precisely the aesthetic pursuit of artistic self-discipline embodied in pre-Raphaelite painting.
III. Color in Pre-Raphaelite Painting "Aspires to a Musical State"
A. Aesthetic expression of the use of color
The pre-Raphaelite artist's use of color in his paintings shows an aesthetic quest for a musical state. Through the combination and use of color, they try to simulate the emotions and dynamics of music, and push visual art to a new level.
First of all, pre-Raphaelite artists were adept at using sharp contrasts and vibrant colors to create a strong visual impact. This strong color contrast not only enhances the expressiveness of the picture, but also makes the viewer feel as if they can hear the rhythm and rhythm of the music. For example, in John William Waterhouse's Concert, the artist uses bright colors and contrasting blocks of color to allow the viewer to feel the passion and energy of the music.
Second, the pre-Raphaelite artists focused on the fit of color and emotion. They choose different colors and tones to express the emotion and meaning of the work. For example, in Dante Gabriel Rossetti's Beethoven Symphony of Pathétiques, the artist chooses deep tones and textured colors to express the soulfulness and pathos of the music.
B. The artist's moral view of color
In pre-Raphaelite paintings, the artists' use of color also reflects a moral outlook. They believe that colors should be pure and upright, and should not be disturbed by the noise of the world and the outside world. Therefore, they often choose pure, bright colors to express their pursuit of beauty and lofty ideals of art.
For example, in the works of Dante Gabriel Rossetti, we can often see that he uses pure and bright colors, such as deep red and light blue, to express the purity and nobility of the emotions that the work wants to convey. This moral contemplation of color makes pre-Raphaelite painting not only visually beautiful, but also contains a kind of spiritual purification and sublimation.
C. The integration of musical imagery and musical concepts in painting
In pre-Raphaelite paintings, artists often incorporate musical imagery and musical concepts into their works in order to achieve a deeper artistic expression. Through the use of color and the shaping of form, they transform the emotions and meanings contained in music into visual images, so that the audience can feel the emotions and shocks brought by music through vision.
For example, in John William Waterhouse's Beethoven Symphony, the artist uses nuanced colors and compositions to bring out the grandeur and passion of Beethoven's symphonies. The viewer seems to be able to hear the sound of the symphony and feel the emotional impact of the music, achieving an artistic experience that transcends the senses.
IV. Early Aesthetic Thought in Pre-Raphaelite Painting
A. The background of the formation of the idea of aestheticism
Early aesthetic ideas in pre-Raphaelite painting were formed in the context of British society in the mid-19th century. During this period, the impact of the Industrial Revolution brought great changes and challenges to British society. Urbanization has accelerated, industrialization has brought pollution and environmental damage, and profound changes have taken place in social structures and values.
In this context, some artists and intellectuals began to reflect on the problems and realities brought about by the process of industrialization. They are full of dissatisfaction and antipathy towards the traditional industrial society, believing that industrialization destroys the natural environment and deprives people of their freedom and dignity. This critique and reflection on reality led to the formation of the idea of aestheticism.
B. The artist's embrace of aestheticism
During this period, pre-Raphaelite artists showed a strong embrace and identification with the idea of aestheticism. They opposed the mechanization and materialization brought about by the process of industrialization, and advocated a return to nature and the pursuit of spiritual purity and nobility.
This embrace of aestheticism is embodied in their artistic practice. Pre-Raphaelite paintings often use natural and humanistic themes as their material, emphasizing reverence for nature and the pursuit of the humanistic spirit. Through their delicate depictions and delicate colors, they express a pursuit of beauty and a yearning for an ideal society.
C. Reflection and Criticism of Aestheticism
However, the pre-Raphaelite artists did not blindly follow and blindly follow the ideas of aestheticism, but also reflected on and criticized them. They are aware of a certain romanticism and idealistic tendency contained in the idea of aestheticism, and try to explore more realistic artistic expressions through artistic practice.
For example, John Everett Millais often depicts rural life and natural landscapes in his works, but he does not limit himself to a simple depiction of nature, but tries to reflect the class and political problems in real society through his observation and reflection on peasant life. His works not only have the emotion and artistic conception of aestheticism, but also incorporate the concern and criticism of the real society, reflecting a profound reflection on the idea of aestheticism.
V. The transcendence of the concept of artistic self-discipline and social participation
A. The evolution and development of the concept of self-discipline in the arts
The concept of artistic self-discipline in pre-Raphaelite painting has undergone evolution and development, from the initial emphasis on the inner pursuit of the individual artist to the understanding of social responsibility and participation. In the mid-19th century, artists began to reflect on the traditional concept of artistic self-discipline, realizing that art should not only be an individual aesthetic pursuit, but should assume a greater social responsibility.
B. The participation of pre-Raphaelite painting in the project of social transformation
Pre-Raphaelite painting was actively involved in a series of social transformation projects in British society in the mid-19th century. They are not limited to the scope of artistic creation, but also try to change the status quo of society through the power of art. For example, they focused on the social problems brought about by the Industrial Revolution, and called on society to pay attention to the rights and welfare of workers by depicting the life and labor scenes of the working class. At the same time, they also actively participated in social reform movements, such as opposing child labor and promoting education reform, and contributed to the cause of social reform as artists.
C. The revolutionary power and social impact of artists
Pre-Raphaelite painting shows the revolutionary power and social impact of the artist. Through their artworks, they convey their attention and criticism of social reality, and stimulate the public's attention and thinking about social issues. Their works are not only artistic expressions, but also calls and guides for social change. Through their efforts, some social problems have been improved, some social reforms have been promoted, and artists have demonstrated the social power and influence of art.
VI. Conclusion
Through the discussion of the phenomenon of "double music" in pre-Raphaelite paintings, this paper reveals the evolution and development of the concept of artistic self-discipline and the artist's participation in social transformation projects. The main findings include: First, the concept of artistic self-discipline of pre-Raphaelite painting artists has undergone a transformation from individual aesthetic pursuit to social responsibility and participation. Second, they actively participated in a series of reform movements in 19th-century British society, calling for social attention and improving the living conditions of the working class through their works of art. Finally, their works are not only artistic expressions, but also concern and criticism of social reality, showing the revolutionary power and social influence of artists.
Author: Lu Xilin
Bibliography:
Prettejohn, Elizabeth. The Art of the Pre-Raphaelites. Princeton, NJ: Princeton University Press, 2000.
Bennett, Mary. The Cambridge Introduction to Pre-Raphaelitism. Cambridge: Cambridge University Press, 2012.
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