ROMANTICISM, in art, an attitude characteristic of certain works of the later 18^th and early 19^th centuries, commonly regarded as anticlassical in its emphasis on imagination and feeling. Romanticism was opposed to the more rational delights of idealized form, descriptive color, and a reverence for Greek and Roman art.

在艺术上，浪漫主义是18世纪末和19世纪初一些作品的态度特征，它强调想象力和感觉，通常被视为是反古典主义的。浪漫主义反对理想化形式中更理性的快乐，描述性的色彩和对希腊和罗马艺术的崇敬。

Exact definitions often have been attempted but probably are not as useful as a flexible awareness of certain qualities found in some of the painting, architecture, and sculpture of the period. Once described as a tendency to break rules and traditions by going beyond the traditional and habitual, Romanticism often makes reference to societies outside the accepted classical sphere, such as those of the Middle Ages, the Middle and Far East, or even the contemporary world. It prefers to find its truth in the striking example rather than in an idealization drawn from a combination of perfections. It often is concerned with scenes of sickness, suffering, and death, placed in settings that could be momentary or sublime in the 18^th century sense of the term. Romanticism in the visual arts is not absolute but rather a tendency toward the evocation of feeling and emotion.

或许是那些定义都不如在当时的一些绘画、建筑和雕塑中发现的那些有灵活意识的某些特性的缘故，人们经常尝试的确切定义未能如愿。它曾经被描述为通过超越传统和习惯，打破规则和传统的一种倾向，浪漫主义常常涉及为大众接受的经典领域以外的社会，比如中世纪，中东和远东，甚至现代世界。它更喜欢在引人注目的例子中寻找其真理，而不是从完美的组合中得到理想化的事物。它常常与疾病、痛苦和死亡的场景有关，置身于18世纪该术语的意义中可能是短暂或崇高的背景中。在视觉艺术中的浪漫主义不是绝对的，而是唤起感觉和情感的一种倾向。

An increasingly formalist approach to art was not hospitable to the depiction of human passions in dramatic situations, or the awe experienced before the immensity of nature, but to the degree that Romanticism, in art as elsewhere, EXPRESSES the uniqueness of the self, it still is present in the works of many modern artists. It is attested to by the powerful emotionalism of abstract EXPRESSIONISM, where strong, even violent, feeling is manifested by a sort of fury in the very application of the paint.

尽管，愈发形式主义的艺术方法不适合在戏剧性情景中描绘人类的激情，也不适合在无垠的大自然面前体验敬畏，但对浪漫主义在艺术及其它方面表达的自我独特性的程度而言，它依然存在于许多现代艺术家的作品中。它通过抽象表现主义的强烈情感主义得以证实，这里的强烈，甚至暴力，感觉都是通过一种愤怒的，对油彩极端的应用来表现的。

Painting.  In painting, Romanticism falls naturally into two main groups, figured and landscape, exemplified in the work of a number of artists in France, England, Spain, Germany, and America. Indications of the figured type appear in the later 18^th century—for example in the art of the English poet and artist William Blake. His watercolor The Great Red Dragon and the Woman Clothed with the Sun, and illustration for the Book of Revelation, shows a huge monster that bestrides the world like a colossus in a totally visionary setting. Equally striking are the plates in etching and aquatint from the Caprices (1798) by the Spaniard Francisco Goya, whose somber fancy also decorated the wall of his dining room with a horrifying vision of Saturn Devouring his Sons.

绘画。在绘画中，浪漫主义自然地分为两个主要群体，人物和风景，范例就在法国、英格兰、西班牙、德国和美国的许多艺术家的作品中。人物类型的标志出现在18世纪末—例如，在英国诗人和艺术家威廉·布莱克的艺术中。他的水彩画《伟大的红龙与日光蔽体的女人》和为《启示录》的插画，展示了一个巨大的怪兽，如同在完全幻觉的场景中的一个巨人横跨世界。同样惊人的是在西班牙人弗朗西斯科·戈雅的《任性》（1798年）蚀刻画和凹版画中，他忧郁的幻想还在他餐厅的墙上装饰了一幅令人极为震惊的幻景《农神吞噬其子》。

The greatest of French Romantic masters was Eugene Delacroix, whose finest designs reveal a new power of visible brushstroke fused with an evocative coloring that were the antitheses of the careful treatments popular with the classicists. Seen at its most violent in the Death of Sardanapalus (1827), his Romanticism blends death, eroticism, and Oriental mystery in a huge baroque diagonal that owes much to the work of the 17^th century master Peter Paul Rubens.

法国浪漫主义大师中最伟大的是尤金·德拉克洛瓦，他最杰出的设计揭示了一种融合了令人回味色彩的可见笔触的新力量，这与古典主义者喜爱的谨慎处理方法正相反。正如在《萨丹那帕露斯之死》（1827年）中看到最多的暴力，他的浪漫主义把死亡、色情和东方神秘融合进一幅巨大的巴洛克风格的斜线中，这在很大程度上归功于17世纪大师彼得·保罗·鲁本斯的作品。

Landscape Romanticism often, but not always, called on help from the human presence, as can be seen in the art of the most significant English painter of the first half of the 19^th century, J. M. W. Turner. His Slave Ship (1840) shows a murky sea beneath a blood-red sky, with the evil ship in the distance, monstrous fish in the waves, and in the foreground a black, manacled leg floating on the surface. Turner used the immensity and power of nature and the elements from which nature’s power comes—air, earth, fire, and water—to evoke the grandeur in which space and light eventually swallow up for in swirling veils of mist.

风景浪漫主义常常，但并不总是，寻求人类的帮助，就像在19世纪前半叶英国最重要的画家J. M. W. 特纳的艺术中看到的一样。他的《贩奴船》（1840年）展现了血红色的天空下浑浊的大海，远处邪恶的船只，波浪中巨大的鱼，以及在前景中飘浮在海面上的一条黑色的，带脚镣的腿。特纳利用大自然的浩瀚和力量，以及大自然力量的来源—空气、泥土、火和水的元素—唤起了一种空间和光线最终在旋转的薄雾中被吞没的宏伟景象。

A somewhat similar vastness marks the work of some American painters of the time, such as Thomas Cole, whose work carries a full charge of emotion aroused by wild prospect and the suggestion of natural forces before which man seems insignificant. John Constable, the other great English contemporary of Tuner’s, is less overtly emotional, but his spacious sunlit views of the canals, fields, and the coastline of rural England seem close in effect and meaning to the poetry of his friend William Wordsworth.

那个时期的美国画家的作品也留下了一些类似宏大的痕迹，比如托马斯·科尔，他的作品充满了由狂野前景唤醒的情感，并且暗示人在大自然的力量面前是那么的微不足道。约翰·康斯特布尔，另一个特纳的同时代英国重要画家，虽然没有那么明显的情绪化，但他在阳光下那广阔的运河、田野和英格兰乡村海岸线的景色，在效果和意义上似乎都接近了其朋友威廉·华兹华斯的诗歌。

In German, Caspar David Friedrich and a group of his countrymen explored the feelings called forth by views of the sea’s edge, wild mountains, the moon, and ruined chapels in the dead of winter. He used these as a symbolic language to EXPRESS complex religious and mystical reactions to the inexorable drama of man’s relations to nature and God’s purposes. Cloister Graveyard Under Snow (1810) EXPRESSES all this in terms of gnarled, leafless trees, gravestones, and a slow file of pious monks moving two by two across the barren snow to the ruined chapel.

在德国，卡斯帕·大卫·弗里德里希和他的一群同胞探索了在隆冬时节通过观察海边、野山、月亮和荒废的教堂所唤起的感觉。他用这些作为象征性语言来表达复杂的宗教和神秘的反应，以应对人与大自然和上帝意志之间无情的戏剧性场面。《雪中的修道院墓地》（1810年）用粗糙、无叶的树木、墓碑，以及两人一组缓慢移动的，穿过光秃秃的雪地走向荒废教堂的虔诚修道士表达了这一切。

Architecture.  In architecture, Romanticism took the form of a variety of past styles imaginatively conceived to heighten their emotional effect. Gothic was popular in England, while more classical ideas appeared in France.

建筑。在建筑方面，浪漫主义采用了各种过去的风格形式，以富于想象力的构思来提高它们的情感效果。在英格兰，哥特式风格很流行，而在法国出现了更古典的想法。

British examples were the ruins built for the gardens at Hagley, Horace Walpole’s famous house Strawberry Hill, and James Wyatt’s Fonthill Abbey, the crowning Romantic tour de force. Erected in great haste for William Beckford between 1796 and 1807, it reached such dizzying heights in the central tower that it collapsed from faulty foundations, promptly becoming a genuine ruin.

英国的例子是哈格利花园遗迹的重建，霍勒斯·沃波尔著名的草莓山住宅和詹姆斯·怀亚特的芳特希尔教堂，成为了富有浪漫色彩的巅峰之作。在1796年至1807年间由贝克福德匆忙完成的建造，在中心塔上它达到了令人眼花缭乱的高度，以至于它因地基不牢而倒塌，迅速成为了一处真正的遗迹。

More sublime, and possibly more emotionally moving, was the vast masonry globe designed, but never built, by the French architect Etienne Louis Boullee as a cenotaph in honor of Sir Isaac Newton.

更崇高，可能在感情上更感人的是由法国建筑师艾蒂安·路易斯·布勒设计的巨大砖石球体设计，作为向艾萨克·牛顿爵士致敬的纪念碑，但从未建成。

Sculpture.  The period of greatest Romantic activity was not rich in important sculpture, but something of its force and emotional impact can be felt in the fine relief of La Marseillaise by Francois Rude for the Arc de Triomphe in Paris, and the animal sculpture of Antoine Louis Barye, in which lions and leopards are often locked in deadly battle with snakes and crocodiles.

雕塑。浪漫主义最活跃的时期并不丰产重要的雕塑，但从弗朗索瓦·吕德为巴黎凯旋门设计的《马赛曲》精美浮雕和安东尼·路易斯·巴耶的动物雕塑中人们能感到其力量和情感影响的某些东西，在浮雕中，狮子和豹子常常与蛇和鳄鱼展开致命的战斗。

The characteristic intensity of Romantic art lasts into the later 19^th century in the work of Auguste Rodin, the greatest sculptor of the time. Not always admired in his day, Rodin has steadily assumed greater importance because of his technical virtuosity, his effect on modern sculpture, and the sheer physical power of his forms, whose roughly modeled surfaces suggest dramatically intense states of mind. His Burghers of Calais (1886), a life-size group of heroic men, gives the observer a strong IMPRESSION of character and the emotions of brave people under great stress.

浪漫主义的特征强度在当时最伟大的雕塑家奥古斯特·罗丹的作品中一直持续到19世纪以后。在他的时代并不总是让人钦佩，由于他精湛的技术，对现代雕塑的影响，以及其形式纯粹的身体力量，罗丹逐渐变得越发重要，他粗糙的模型表面戏剧性地暗示了紧张的精神状态。他的《加莱义民》（1886年），一群真人大小的英雄人物，使观察者对勇敢的人们在巨大压下的性格和情感产生了强烈印象。

                                          JOSEPH C. SLOANE

                       University of North Carolina at Chapel Hill

                                          约瑟夫·C. 斯隆

                                 北卡罗莱纳大学教堂山分校

                                         2023年2月9日译

（译者注：该词条位列《大美百科全书》1985年版，第23卷，第678页至680页）