Arts and literature of Urcea: Difference between revisions

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]] lead to frontier romanticism's popularity, as the grim and realistic view of the world replaced the idealized one as political and economic conditions worsened.

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 lead to this style being referred to as "{{wp|Brutalism|brutalism}} in paint".

File:Palace Justice(1).jpg|Urcea's newfound cultural and political heights lead 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.