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Arts and literature of Urcea: Difference between revisions
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The '''arts and literature of Urcea''' are reflective of key social characteristics of the people of [[Urcea]] and the history of its cultural development, being primarily inclusive of greater [[Latinic people|Latinic]] traditions while incorporating some elements of [[Gaelic people|Gaelic]] culture. Throughout its history, the written and visual arts of Urcea have been profoundly impacted by the role of the [[Catholic Church]] in Urcean society, with a preponderance of its great works containing or alluding to religious themes. [[Ómestaderoi]] living and concepts of the frontier - both the [[Urcean frontier]] and the historic discovery and expansion of the [[Latin Heroic Age]], and similarities between these eras - also feature prominent throughout literature, artwork, and in some cases architecture. The history of Urcea and its role in [[Levantia]] are also common themes. | |||
==Art== | ==Art== | ||
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===Romanticism=== | ===Romanticism=== | ||
[[File:Thomas Cole - A View of the Two Lakes and Mountain House, Catskill Mountains, Morning (1844) - Google Art Project.jpg|150px|left|thumb|''A Traveler's View'' (1828) by [[Thomas Comhale]], Urcea's foremost Romantic painter, depicts the famous [[Ionian_Hotel_War#Velucian_Palace_and_beginning_of_the_rivalry|Velucian Palace hotel]].]] | [[File:Thomas Cole - A View of the Two Lakes and Mountain House, Catskill Mountains, Morning (1844) - Google Art Project.jpg|150px|left|thumb|''A Traveler's View'' (1828) by [[Thomas Comhale]], Urcea's foremost Romantic painter, depicts the famous [[Ionian_Hotel_War#Velucian_Palace_and_beginning_of_the_rivalry|Velucian Palace hotel]].]] | ||
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 Highlands]] 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. | 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 Highlands]] 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 Neo-Romantics resumed this style and genre of art following the victory of Urcea in the [[Second Great War]], peaking in the early 1950s. | 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 Neo-Romantics resumed this style and genre of art following the victory of Urcea in the [[Second Great War]], peaking in the early 1950s. | ||
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===Imperial and Renaissance literature=== | ===Imperial and Renaissance literature=== | ||
===Recess literature=== | ===Recess literature=== | ||
====Frontier literature==== | |||
During the 19th century, an influential genre known as "Frontier literature" developed out of the experience of [[Ómestaderoi]] novelists, depicting stories both from lived experience as well as the imagined historical experience of life on the [[Urcean frontier]]. These books explored human nature when isolated from the comforts of well-built societies and explored both the depths to which man can go as well as the furthest extents of deprivation that man can survive. | |||
====The Great Novel==== | ====The Great Novel==== | ||
===Restoration literature=== | ===Restoration literature=== | ||
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==Theater== | ==Theater== | ||
Theater in Urcea is based in the Occidental tradition and did not take on a unique dramatic identity until the 17th century, coinciding with the rise of Urcean theater music. Its history prior to the 17th century is somewhat obscured in the historical record, though most histories have included theater as a "minor" form of entertainment. Pre-17th century Urcean theater is typically presented as having represented many of the classics of antiquity, though considerable scholarly evidence in the 2020s suggested that the classic theatrical presentations of Great Levantia survived in greatly modified and adapted forms. Consequently, many early Urcean theatrical productions depicting events of the Great Interregnum and other events are now considered to be ahistorical, adapting earlier stories by placing them within the context of later historical events. | Theater in Urcea is based in the [[Occidental]] tradition and did not take on a unique dramatic identity until the 17th century, coinciding with the rise of Urcean theater music. Its history prior to the 17th century is somewhat obscured in the historical record, though most histories have included theater as a "minor" form of entertainment. Pre-17th century Urcean theater is typically presented as having represented many of the classics of antiquity, though considerable scholarly evidence in the 2020s suggested that the classic theatrical presentations of [[Great Levantia]] survived in greatly modified and adapted forms. Consequently, many early Urcean theatrical productions depicting events of the [[Great Interregnum]] and other events are now considered to be ahistorical, adapting earlier stories by placing them within the context of later historical events. | ||
[[Category: Urcea]] | [[Category: Urcea]] | ||