From Henri Art Magazine. I swear this was taken from my own thought spiral, fleshed out and edited for clarity:
"Most Postmodern artists like to take the view that the Romantics were a bunch of unbathed ne’er do wells out to rape and pillage innocents while self promoting the prowess of their genitalia. One has but to look at the press following the collapse of the (Media Romantic) 80s art stars to see this kind of anti-Romanticism at work. Even now, smug and content in our post-structural bubble, we still enjoy taking the occasional pot shot at Schnabel, the epitome of the POMO ROMO. When I was young Jules was a hero, and I still have a soft spot for his larger than life existence and hit-or-miss work – Palazzo Chupi or no. OK, I’ll concede that our widely held beliefs about Romantics bring up pictures of Jim Morrison, Prince or Joseph Beuys (go ahead insert your own wild eyed Modern Romantic.) But surely there has to be something redeeming about the idea of life that those personalities embody, something that we pedestrian Postmoderns might connect with?
Our fear (condecension?) for the Romantic brings to mind a scene in Mel Brooks’ movie Young Frankenstein, an OTT parody based on the very Romantic Mary Shelley’s classic tale of genius, morality and responsibility. At one point a local family hears that the Monster is running amok in the countryside once again. The resigned and frightened couple start to batten down the hatches. The husband, as he’s nailing a board across the window, says in a thick Germanic accent to his wife – “Ven monsters ist loose, boards must be tight!” And I think that line pretty much describes the art world at the moment. The whole fuckin’ place has been boarded up against rampaging Romantic Monsters in order to protect delicate POMO sensibilities from any threat of aesthetic carnage." .....continued here