The book sale at the downtown SLC library is what sparked this. Two identical Remington books with oversize fold-out prints and dust jackets of “A Dash for the Timber”, plus a 1960’s era book on Remington with a small bland print of the same, and a fat coffee-table book of Impressionism.
Romanticism was the European stylistic period of painting prior to and somewhat contemporary to Impressionism; the middle east and India were often the theme of mythic manifest destiny of proto-industrialization serving the same appetite as the American West across the pond. Nature as sublime and overwhelmingly destructive, ruined civilizations, inescapable human cataclysms (war, slavery, revolution), immersions in lust, and inescapable death were also thematic of Romanticism.
The modern Anthopocene, or Pryocene; an era of collapse and consequences e.g. the Sixth Mass Extinction due to direct human pressure on local ecosystems coupled with a world wide collapse of the environment via human forced global warming. Portraying the inevitable future of now via Remington’s fantasy images of a West that never was, running roughshod over a landcsape created from images that titillated European culture with a proto-industrial remembrance; this is what sparked at the library sale: an Epiphany for an image of Epiphany (sacred manifestation) to Epiphanize a complex of art historical memes and ‘isms that grappled with industrialism v nature, culture v the individual, the individual v death, the present v inevitable. Shifting this perspective from the sentimental view of a past era, to a contemporary future of collapse already written that cannot be undone is the aesthetic driver for the recontextual use the of art of Romanticism, coupled with the gentle and genteel escapism of Impressionism from the reality of 19th Century industrialization, married with the jingoistic American West of Remington.