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Arts and literature of Urcea: Difference between revisions
Arts and literature of Urcea (view source)
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Art in Urcea continued to develop out of purely theological and patronage-based systems. The idea of "art for art's sake" began to find expression in the work of the Romantic painters, the most famous of which was [[Thomas Comhale]], whose paintings of [[Ionian Plateau]] and scenes in the eastern [[The Valley (Urcea)|Urcean valley]] were embraced as a "uniquely Urcean artistic school" during the period of the [[Recess of the Julii]] and [[Aedanicad]]. During this period, ideas about subject in art began to diverge, with historical events and people giving way to a more freeform selection of abstract locations and objects painted in the Romantic style. Many of this 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. | Art in Urcea continued to develop out of purely theological and patronage-based systems. The idea of "art for art's sake" began to find expression in the work of the Romantic painters, the most famous of which was [[Thomas Comhale]], whose paintings of [[Ionian Plateau]] and scenes in the eastern [[The Valley (Urcea)|Urcean valley]] were embraced as a "uniquely Urcean artistic school" during the period of the [[Recess of the Julii]] and [[Aedanicad]]. During this period, ideas about subject in art began to diverge, with historical events and people giving way to a more freeform selection of abstract locations and objects painted in the Romantic style. Many of this 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. | ||
The Romantic art style remained popular in Urcea long after it had been supplanted elsewhere and it was valued as the "art of the common people and their inheritance in the land of Urcea", as Aedanicus VIII put it in 1863. Urcean Romanticism heavily featured both landscapes and historical scenes in addition to Biblical and pseudo-historical scenes, especially in the well known The Course of Empire series of paintings by Comhale which depict the rise and fall of a classic Latinic civilization. During the 19th century commercial galleries became established and continued to provide patronage in the 20th century. | The Romantic art style remained popular in Urcea long after it had been supplanted elsewhere and it was valued as the "art of the common people and their inheritance in the land of Urcea", as Aedanicus VIII put it in 1863. Urcean Romanticism heavily featured both landscapes and historical scenes in addition to Biblical and pseudo-historical scenes, especially in the well known The Course of Empire series of paintings by Comhale which depict the rise and fall of a classic Latinic civilization. During the 19th century commercial galleries became established and continued to provide patronage in the 20th century. | ||
===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 identifable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art. 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 identifable objects which includes a hidden criticism of contemporary society that is intentionally not evidently apparent by a plain viewing of the art. 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=== | |||
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 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]]. | |||
===Factual surrealism=== | ===Factual surrealism=== | ||
[[File:AssumptionArt.jpeg|150px|left|thumb|''Munificentissimus Deus'' (2006) depicts the {{wp|Assumption of Mary}} and is common of the factual surrealist style.]] | [[File:AssumptionArt.jpeg|150px|left|thumb|''Munificentissimus Deus'' (2006) depicts the {{wp|Assumption of Mary}} and is common of the factual surrealist style.]] | ||