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Arts and literature of Urcea: Difference between revisions
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====Frontier romanticism==== | ====Frontier romanticism==== | ||
[[File:A2C1D36A-DDA4-4D81-B69B-B8E41443EF76.jpg|150px|right|thumb|''The Civilizing Mission (1870)'' utilizes a pun in its title and depicts a [[Catholic Church]] and priests on the [[Urcean frontier]]; struggle and difficulty is implicit in the imagery of the work.]] | [[File:A2C1D36A-DDA4-4D81-B69B-B8E41443EF76.jpg|150px|right|thumb|''The Civilizing Mission (1870)'' utilizes a pun in its title and depicts a [[Catholic Church]] and priests on the [[Urcean frontier]]; struggle and difficulty is implicit in the imagery of the work.]] | ||
As the [[Urcean frontier]] became gradually settled in the 19th century, many of the Romantic period's landscape portraits also depicted scenes of the [[Urcean frontier]], extolling the virtues of [[Ómestaderoi]] living as part of a greater popularity of these themes and locations coinciding with the rise of Urcean frontier literature. Unlike the "valley romantics", frontier romantics tended to subvert the idealization of nature, instead depicting nature as something dangeorus and ultimately apart from man. This perspective, directly inspired by the troubles real Ómestaderoi faced in settling the area, tends to give the frontier romantics more of a grim tone and style, with more restrained use of color and an increased use of darkness within the work. Still, many of both the methods and background conceptions of the artists remained the same as elsewhere in Urcea, making it not purely a distinct style. Frontier romanticism became popular towards the end of the romantic period and was popular both in the frontier and beyond. Scholars have suggested Urcea's general decline towards the end of the [[Aedanicad]] and reign of [[Aedanicus VIII]] | As the [[Urcean frontier]] became gradually settled in the 19th century, many of the Romantic period's landscape portraits also depicted scenes of the [[Urcean frontier]], extolling the virtues of [[Ómestaderoi]] living as part of a greater popularity of these themes and locations coinciding with the rise of Urcean frontier literature. Unlike the "valley romantics", frontier romantics tended to subvert the idealization of nature, instead depicting nature as something dangeorus and ultimately apart from man. This perspective, directly inspired by the troubles real Ómestaderoi faced in settling the area, tends to give the frontier romantics more of a grim tone and style, with more restrained use of color and an increased use of darkness within the work. Still, many of both the methods and background conceptions of the artists remained the same as elsewhere in Urcea, making it not purely a distinct style. Frontier romanticism became popular towards the end of the romantic period and was popular both in the frontier and beyond. Scholars have suggested Urcea's general decline towards the end of the [[Aedanicad]] and reign of [[Aedanicus VIII]] led to frontier romanticism's popularity, as the grim and realistic view of the world replaced the idealized one as political and economic conditions worsened. | ||
===Skepticism=== | ===Skepticism=== | ||
[[File:IndustrialSkepArt.jpg|150px|right|thumb|''Progress, or the Grand Invention'' (1922) is typical and the most well known painting of the skeptical style.]] | [[File:IndustrialSkepArt.jpg|150px|right|thumb|''Progress, or the Grand Invention'' (1922) is typical and the most well known painting of the skeptical style.]] | ||
In the early 20th century, Romantic and realistic scenes were replaced by artists with the "skeptical" style. This style is defined by semi-surreal scenes with otherwise identifiable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art; common subjects also included easily identifiable historical figures in surreal and {{wp|anachronistic}} scenes. The Urcean skeptical style, which flourished between the [[First Great War]] and [[Second Great War]] was viewed by contemporaries as sophisticated and esoteric, while it was popularly and critically scorned as elitist and complex for its own sake. Due to the period in which it became popular, many of the famous skeptical works are veiled critiques at life in Urcea during the [[History of Urcea (1902-1955)|Restoration period]], focusing on social ills and the changes coming to the country as a result of a century of modernization. | In the early 20th century, Romantic and realistic scenes were replaced by artists with the "skeptical" style. This style is defined by semi-surreal scenes with otherwise identifiable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art; common subjects also included easily identifiable historical figures in surreal and {{wp|anachronistic}} scenes. The Urcean skeptical style, which flourished between the [[First Great War]] and [[Second Great War]] was viewed by contemporaries as sophisticated and esoteric, while it was popularly and critically scorned as elitist and complex for its own sake. Due to the period in which it became popular, many of the famous skeptical works are veiled critiques at life in Urcea during the [[History of Urcea (1902-1955)|Restoration period]], focusing on social ills and the changes coming to the country as a result of a century of modernization. | ||
===Neo-Romanticism=== | ===Neo-Romanticism=== | ||
Following Urcea's participation and victory in the [[Second Great War]], Romanticism reemerged as a popular art style, with both critical and popular demand for styles of art depicting the natural greatness of [[Urcea]]. Unlike the natural, historical, or Biblical themes common among the Romantics, Neo-Romanticism often emphasized patriotic themes and included more depictions of buildings and the nation's natural wonders, though appropriately patriotic historical events were included as well. This style's mass popularity occurred during the 1940s and early to mid 1950s. | Following Urcea's participation and victory in the [[Second Great War]], Romanticism reemerged as a popular art style, with both critical and popular demand for styles of art depicting the natural greatness of [[Urcea]]. Unlike the natural, historical, or Biblical themes common among the Romantics, Neo-Romanticism often emphasized patriotic themes and included more depictions of buildings and the nation's natural wonders, though appropriately patriotic historical events were included as well. This style's mass popularity occurred during the 1940s and early to mid 1950s. | ||
===Foundationalism=== | ===Foundationalism=== | ||
Foundationalism emerged in the late 1950s and 1960s as a form of art popular in {{wp|high culture|high cultural circles}} as a rejection of both the earlier uncertain skeptical style as well as the exaggerated Neo-Romantic style. Characterized by an insistence on straight lines and right angles, as well as concrete or "solid" subjects the foundationalist style emphasized the immutable characteristics of objects without any particular embellishment, depicting the world as a connected series of "objects whose nature simply is" (in the words of Martin Marze, Foundationalist artist) rather than as a Romantic landscape or chance encounter of individuals. The style is named for ''The Foundation'' (1959), which depicted the [[Mountain of the Blessed Sacrament]] as a large block from which the rest of Levantia, depicted in jagged manner in only right angles, hangs from, a commentary on the colonial underpinnings of the very Levantine identity based on the spread of settlers from the southwest during the [[Latin Heroic Age]]. Rising out of a reaction to Neo-Romanticism, the style frequently included critical interpretations of both history and contemporary Urcean society and social institutions such as the [[Catholic Church]], leading to frequent condemnations from the office of the [[Censor (Urcea)|Censor]]. The blocky shape and lack of vibrant colors has | Foundationalism emerged in the late 1950s and 1960s as a form of art popular in {{wp|high culture|high cultural circles}} as a rejection of both the earlier uncertain skeptical style as well as the exaggerated Neo-Romantic style. Characterized by an insistence on straight lines and right angles, as well as concrete or "solid" subjects the foundationalist style emphasized the immutable characteristics of objects without any particular embellishment, depicting the world as a connected series of "objects whose nature simply is" (in the words of Martin Marze, Foundationalist artist) rather than as a Romantic landscape or chance encounter of individuals. The style is named for ''The Foundation'' (1959), which depicted the [[Mountain of the Blessed Sacrament]] as a large block from which the rest of Levantia, depicted in jagged manner in only right angles, hangs from, a commentary on the colonial underpinnings of the very Levantine identity based on the spread of settlers from the southwest during the [[Latin Heroic Age]]. Rising out of a reaction to Neo-Romanticism, the style frequently included critical interpretations of both history and contemporary Urcean society and social institutions such as the [[Catholic Church]], leading to frequent condemnations from the office of the [[Censor (Urcea)|Censor]]. The blocky shape and lack of vibrant colors has led to this style being referred to as "{{wp|Brutalism|brutalism}} in paint". | ||
===Factual surrealism=== | ===Factual surrealism=== | ||
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File:Queens House.jpg|Electorsbourg's Lesser Carriagehouse (1685) was extremely influential on the development of Palladian style. | File:Queens House.jpg|Electorsbourg's Lesser Carriagehouse (1685) was extremely influential on the development of Palladian style. | ||
File:Hamilton Hall (Salem).jpg|Palladianism evolved into the even further restrained style of Caroline architecture, as exemplified by Melisbal Guild Hall, emphasizing virtue and humility. | File:Hamilton Hall (Salem).jpg|Palladianism evolved into the even further restrained style of Caroline architecture, as exemplified by Melisbal Guild Hall, emphasizing virtue and humility. | ||
File:Palace Justice(1).jpg|Urcea's newfound cultural and political heights | File:Palace Justice(1).jpg|Urcea's newfound cultural and political heights led to the adoption of Gothic Revival styles, as seen at [[The Praetorium (Urceopolis)|Urceopolis's Praetorium]] after its 1863 renovation, replaced the more subdued Caroline style. | ||
File:Austria reichsratssaal 2010.jpg|The triumphant {{wp|neoclassical}} style of the [[Concilium Daoni]] chamber, completed in [[1870]], presents that body's connection with earlier [[Great Levantia|Great Levantine]] deliberative bodies. | File:Austria reichsratssaal 2010.jpg|The triumphant {{wp|neoclassical}} style of the [[Concilium Daoni]] chamber, completed in [[1870]], presents that body's connection with earlier [[Great Levantia|Great Levantine]] deliberative bodies. | ||
</gallery> | </gallery> | ||
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===Post-war literature=== | ===Post-war literature=== | ||
===Contemporary literature=== | ===Contemporary literature=== | ||
Beginning with the turn of the milennium, {{wp|nonlinear narrative}} became an extremely popular format within Urcean literary trends. The format was not necessarily developed in Urcea and was not a new concept, but it became trendy in academic writing circles and in short story collections. The form became extremely popular and well known to the public with the publication of the first of the ''[[Final Great War]]'' series by Mychal Geronato in [[2007]]. While his nonlinear narrative is the best known characteristic of his work, Geronato's books include several different characters serving as first-person narrators, all of whom are {{wp|unreliable narrator}} to some degree. Some scholars have coined the term "''Geronatic literature''" to refer to his particular style, which has become widely used by many different authors across all genres of Urcean fiction in the 21st century. Geronatic literature is intended to convey a series of events of a fictional world, but also asks the reader to parse through different points of view to determine their own conclusion of which version of the story is true. Literature scholars have noted Geronatic literature exercises "anti-canon", allowing readers and groups of readers to form their own collective opinion about the final conclusion of narrative events. | |||
===Regional & Vernacular literatures=== | ===Regional & Vernacular literatures=== | ||
====Caenish literature==== | ====Caenish literature==== | ||