The
movement validated strong emotion as an authentic source of aesthetic
experience, placing new emphasis on such emotions as apprehension, horror and
terror, and awe—especially that which is experienced in confronting the
sublimity of untamed nature and its picturesque qualities, both new aesthetic
categories. It elevated folk art and ancient custom to something noble, made
spontaneity a desirable characteristic (as in the musical impromptu), and
argued for a "natural" epistemology of human activities as
conditioned by nature in the form of language and customary usage. Romanticism
reached beyond the rational and Classicist ideal models to elevate a revived
medievalism and elements of art and narrative perceived to be authentically
medieval in an attempt to escape the confines of population growth, urban
sprawl, and industrialism, and it also attempted to embrace the exotic,
unfamiliar, and distant in modes more authentic than Rococo chinoiserie,
harnessing the power of the imagination to envision and to escape.
Although
the movement was rooted in the German Sturm und Drang movement, which prized
intuition and emotion over Enlightenment rationalism, the ideologies and events
of the French Revolution laid the background from which both Romanticism and
the Counter-Enlightenment emerged. The confines of the Industrial Revolution
also had their influence on Romanticism, which was in part an escape from
modern realities; indeed, in the second half of the 19th century,
"Realism" was offered as a polarized opposite to Romanticism.[6]
Romanticism elevated the achievements of what it perceived as heroic
individualists and artists, whose pioneering examples would elevate society. It
also legitimized the individual imagination as a critical authority, which
permitted freedom from classical notions of form in art. There was a strong
recourse to historical and natural inevitability, a Zeitgeist, in the
representation of its ideas.