Romantic Paintings Reflecting German Social Institutions from 1840 to 1880
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Abstract
This research article aimed to investigate the details, symbols, and meanings of Romantic paintings produced between 1840 and 1880, establishing a connection between significant German historical events and social institutions. Utilizing Karl Nieys’ framework, the study examined four key institutional dimensions: politics, economy, religion, and society. The methodology involved a semiotic analysis of nine selected artworks by five artists, categorizing primary and secondary signs within each piece to map their relationship to the specific institutional dimensions of the era.
The findings revealed that the classification of signs systematically illustrates the link between artistic symbolism and social institutions. Romantic paintings from this period reflect the social dynamics and institutional transformations of German society across political, economic, religious, and social spheres. The study demonstrates that symbols within a single artwork can intersect with multiple institutional dimensions, positioning painting as a medium that connects the artist to contemporary society and history. Karl Nieys’ framework confirms the complex relationship between signs and institutions, reflecting the socio-political shifts of 19th-century Germany. Consequently, these Romantic works serve as institutional semiotic spaces that do not merely depict nature or emotion, but actively record and critique the social structures and complexities that played a pivotal role in the formation of the modern nation-state.
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