The cultural landscape of the late 1970s and early 1980s, particularly in music, witnessed a significant shift. Following the politically charged folk music and the raw, hyperrealistic energy of punk, a new wave of romanticism emerged, prioritizing emotion, beauty, and escapism over reason and intellect. This ”New Romanticism,” as it came to be known, found expression in bands like Ultravox, Spandau Ballet, and Lustans Lakejer, who embraced aesthetics of elaborate costumes, makeup, and synthetic sounds. This era resonates strongly with those who came of age during this time, marking a departure from the dominant musical narratives of the preceding decade.
A visit to the Nationalmuseum’s exhibition, ”Romanticism – A Way of Seeing,” provides a striking new perspective on this period. The exhibition reveals unexpected parallels between the New Romantics of the 1980s and the Romantic artists of the 19th century, such as Peder Balke, Caspar David Friedrich, and Eugène Delacroix. Like their musical counterparts, these artists rebelled against the prevailing rationalism and societal norms of their time, embracing instead the power of emotion, the beauty of the natural world, and the exploration of the infinite and the sublime. The exhibition effectively highlights the shared sensibilities of these seemingly disparate movements, showcasing the enduring allure of romantic ideals across different eras and artistic expressions.
The Romantic art of the 19th century is characterized by its richness, depth, and a sense of unrestrained passion. It stands in stark contrast to the structured, rule-bound art of preceding periods. The vast, dramatic landscapes depicted in Romantic paintings evoke a sense of wonder and the boundless possibilities of human experience. This artistic movement rejected the pervasive politicization of art, asserting instead the intrinsic value of beauty, emotion, and individual expression. The Romantic artists sought solace and inspiration in the natural world, finding in its grandeur a reflection of the human spirit’s capacity for awe and transcendence.
This re-examination of Romanticism prompts the question: are we experiencing a resurgence of these ideals in the 21st century, a ”New New Romanticism”? The exhibition’s curation seems to subtly suggest this possibility, particularly in the context of the tumultuous events of recent years. After decades of environmental exploitation and degradation, there appears to be a renewed appreciation for the natural world. Natural disasters, such as volcanic eruptions and floods, serve as stark reminders of nature’s power and resilience, perhaps even inspiring a sense of awe and reverence.
Furthermore, there’s a discernible shift in spiritual and philosophical perspectives. A renewed interest in mysticism and spirituality seems to be emerging, even within traditionally dogmatic religious frameworks. The exhibition highlights this trend by drawing parallels between 19th-century Biedermeier art, with its focus on domesticity and simple living, and contemporary movements like the ”tradwife” lifestyle. This suggests a recurring human desire for stability, simplicity, and a retreat from the complexities and anxieties of modern life. The exhibition implicitly proposes that the Romantic ideals of embracing emotion, seeking refuge in nature, and prioritizing personal experience over societal dictates resonate anew in our current era.
Horace Engdahl, in his 1986 essay ”The Romantic Text,” argues that the intellectual framework that underpinned Romanticism has been eroded by industrialization and the catastrophes of the 20th century. However, it can be argued that the challenges and crises of the 21st century, rather than diminishing the relevance of Romanticism, have made its core tenets even more vital. The ongoing tension between rationality and romanticism, between logic and emotion, continues to shape human history and individual experience. The resurgence of interest in Romantic art and ideals suggests that the human yearning for beauty, connection, and transcendence remains a powerful force, even in the face of adversity. In this ongoing dialogue, the author firmly identifies with the Romantic perspective, recognizing its enduring power and relevance in a complex and ever-changing world.
