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 An Art movement & Style
‡ 19th Century; Emphasized the emotions painted in a bold, dramatic manner.

‡ Romantic artists rejected the cool reasoning of classicism (the established

art of the times- to paint pictures of nature in its µuntamed state¶, or other
exotic settings filled w/dramatic action, often with an emphasis on the past.)

‡ Classicism was nostalgic too, but Romantics were 



 usually
 

 
 

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‡ The 1st writers & artist to become known as ³Romantics´ were those
associated with Ô
 critics, the brothers: 
  



 

  
in Dresden at the end of the eighteenth century.
‡ Romanticism was prominent throughout the 1700¶s & 180¶s.
‡ Romantic philosophy was alsoconnected w/the visual arts as well. The artist
of the Romantic Era used a variety of techniques and styles to express its
characteristics.
‡ In Art, µnature¶ was the common theme.
‡ They also used geometry in their work, such as symmetry & posture.
‡ The themes and Characteristics used in the Romantic period were portrayed
&emphasized in the art throughout the 18th and beginning of the 19th
century.
‡ The Romantic Era, focused on µNature, Imagination, Egotism, and Love.¶ It
drew attention to change & transistion, w/c was prominent throughout the
centuries.
 ³Romantics´

‡ A list of ³Romantics´ by their contemporaries would certainly be more

prestigious, and would include a majority of the leading painters working in
the period 1800-50 notably:

‡ Goya (Spanish)
‡ Géricault (French)
‡ Delacroix (French)
‡ Turner (British)
‡ Blake
‡ Runge
‡ Friedrich (German)
Goya




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‡ March 30, 1746 ± April 15, 1828.

‡ Born in Fuendetodos, Spain &

later lived primarily in Madrid

‡ Spanish painter & engraver.

‡ Goya used the methods of his

great predecessor, Velazquez.
The Family of Charles IV
 The Family of Charles IV
‡ Certainly inspired by Velazquez¶s µLa
Meninas¶.(on the right side)

‡ Painted on 1800, led a later critic to

summarize the subject as the ³grocer
& his family who have just won the
lottery prize.

‡ The colors float w/a quiet iridescence

across the surface, & paint is applied
w/deft economy.

‡ Great solidarityis is suggested by the

most transparent tones.

‡ He used the methods of his great

predecessor, Velazquez.
The Third of May
1819-1823
Detail of a detached fresco on
canvas, full size approx. 57´ x
32´ Museo del Prado, Madrid
 Francisco José de Goya y
Lucientes, Don Manuel Osorio
Manrique de Zuñiga (1784-1792)

Francisco José de Goya y Lucientes

(Spanish, 1746-1828), Condesa de
Altamira and Her Daughter, Maria
Agustina.
Giant1818 The Forge
Géricault
 Théodore Géricault
‡ Jean Louis André Theodore Gericault.
‡ French.
‡ April 26, 1798
‡ Charenton, Saint-Maurice
‡ 4th child of Victoire
‡ M M
 he completed his education. On the Advice of his uncle, Henri Reisener(1767-
1828) he entered the studio of Neo ± Classical painter Pierre Narcisse Guerin(1774-
1833), and copied Raphael and Reubens in the Louvre.
‡ born in Rouen, France but went to school in Paris.
‡ He was a classmate of Delacroix.
‡ Géricault's earliest works were sculptural drawings in the manner of Michelangelo,

whose work he studied when he fled to Italy after an unhappy love affair.
‡ His works is also characterized by a maturing of the naturalistic element & further
movement toward the dramatic presentation of contemporary events on huge
canvas.
 ï



 

16¶ x 23¶. Painted by Gericault between 1818-1819. The painting lives at the Louverne in Paris,
France.
 The Raft of the Medusa
‡ Shows influences of Michael Angelo & Peter Paul Rubens.
‡ He took this subject the ordeal of the survivors of the french ship Medusa, w/c had founded of
the west coast of Africa in 1816, laden w/Algerian immigrants.
‡ a study for which Géricault, in his passion for realism, spent weeks studying the dead and dying
in morgues and hospitals.

‡ The work had political overtones indicative of the artist's romantic and humanitarian tendencies
as well as his indignation at misgovernment in France. The French government disapproved of
the painting, so Géricault took it through England on what would become a triumphant tour.

‡ Gericault¶s use of shock tactics, syunning the viewer¶s sensibilities, amounted to something
new ± a new tone & intention that distinguish the ³high´ phase of romanticism. In this phrase,
an instinct for the 18th century (see for example, Fuselli¶s Nightmare), found sharpest
expression in a method of reportorial accuracy far more stringent than that found in certain
works of David.

‡ The value Gericault placed on accuracy in the Raft of the Medusa is indicated by the fact that
he carried out Ú


  


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for work, even
going so far as to interview survivors of the wreck.
 Ô
 
 



‡ ³Insane Woman´
‡ Her mouth tense,her eyes red-
rimmed with suffering-is one of
several ³portraits´ of insane
subjects that have a peculiar,
hypnotic power & present the
psychic facts with astonishing
authenticity.
‡ Insane woman is the only another
example of the increasingly
realistic core of Romantic painting.
(The more the Romantics become
involved wnature, sane or mad,
the more they hoped to get at the
truth.)
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‡ April 26, 1798 ± August 13, 1863.
‡ was the most important of the   Romantic painters.
‡ A fine lithographer, Delacroix illustrated various works of
William Shakespeare, the Scottish writer Sir Walter Scott,
and the German writer Johann Wolfgang von Goethe.
‡ Delacroix's use of expressive brushstrokes and his study
of the optical effects of colour profoundly shaped the work
of the Impressionists, while his passion for the exotic
inspired the artists of the Symbolist movement.

‡ In contrast to the Neoclassical perfectionism of his chief

rival Ingres, Delacroix took for his inspiration the art of
Rubens and painters of the Venetian Renaissance, with
an attendant emphasis on color and movement rather
than clarity of outline and carefully modeled form.

‡ Dramatic and romantic content characterized the central

themes of his maturity, and led him not to the classical
models of Greek and Roman art.

³Delacroix was passionately in love with passion, but coldly determined to express passion as clearly
as possible.´ -Baudelaire
 '

‡ This presents a likeness not of the virtuso¶s

form(musician with masterly ability,
technique, or personal style/person with
masterly skill or technique in the arts.)
‡ [Forgetting his audience, no yields himself
completely to the whirlwind of his own
inspiration, w/c envelopes his reedlike
frame, making it vibrate in tune to the
quivering strings of his instrument.]
‡ Delacroix tries to suggest the portrait, as it
were, of Paganini¶s music, as it plays to his
own ear & spirit. He also represented the
inner substance- the musician transformed
by his music- in an attempt to realize the
truth as given to the imagination.
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‡ An example of pictorial opera on colossal scale.
‡ An early example in painting of the newly invented Romantic pictute type called the
  (a decorative design placed at the beginning or end of a book or chapter of a
book or along the border of a page) an image w/a strong center that becomes less
defined at its edges.
‡ Delacroix was inspired by Lord Byron¶s(famous in his lifetime for his personality cult
as for his poetry.) narrative poem  Ú, but the painting does not illustrate
that text.
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‡ )reflected the strong impression made on Delacroix by the art of Gericault, especially
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the fact thet Delacroix made an allegory of Liberty shows that he
was familiar with traditional conventions.
‡ The clutter of sprawling bodies in the foreground provides a kind of base for the
pyramid of figures in the center, w/c builds from the heavy, inert forms of the dead &
dying to thefrantic energy of Liberty &citizens still engaged actively in the struggle.
‡ The forms was generated from the Baroque, as they were in Gericault, but
Delacrox¶s sharp agitation of them created his own special brand of tumultous
excitement.
 Draped Model
‡ Eugene Durieu & Eugene
Delacroix, Draped Model.

‡ Early example of the

photographic nudes Delacroix
used for the purpose.


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‡ 1798-1863
‡ Delacroix produced this
sumptuous watercolor on a trip to
North America in 1832. He
accompanied his friend th Count
de Mornay on his misssion as
good-will ambassador to the
Sultan of Morocco, Abd-er-
Rahman II. Assigned to the
delegation as dragoman was the
Jewish interpreter Abraham Ben-
Chimol of Tangiers, who
introduced the Frenchmen to his
wife & to his daughter, pictures
here in her bridal attire.
‡ In his ³Journal,´ Delacroix
described in exstensive detail a
Jewish wedding he attended in
Tangiers on Feb. 21, 1832.
 ‡ 
"


' ±outstanding master of French Romantic
Art.
‡ Created 20yrs.after his trip to the East, the Ú




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‡ Bright, contrasting colours emphasize the sense of anticipation &
tension in both mind & body of the participants.
 

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Turner
 

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‡ was an English Romantic landscape painter, watercolourist and printmaker.

‡ Turner was considered a controversial figure in his day, but is now regarded as the
artist who elevated landscape painting to an eminence rivalling history painting.
‡ Although renowned for his oil paintings, Turner is also one of the greatest masters of
British watercolour landscape painting. He is commonly known as "the painter of
light³ and his work regarded as a Romantic preface to Impressionism.


Oil & possibly
watercolor on
canvas, 66
3/8 x 88 ¼
inches

Cologne: The Arrival of a Packet-

Boat: Evening 1826
Moonlight, a Study at Millbank, 1797

Oil on canvas, Tate

Museum, London.
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William Blake

(English)
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‡ William Blake was born at 28 Broad Street, Golden Square, Soho, where his father
had a hosiery business
‡ As an artist Blake admired and studied the works of Raphael, Heemskerk, Dürer,
and Michelangelo, who would become important influences to the fantastic and at
times apocalyptic illustrations he created for his own writings and others.
‡ English artist, mystic and poet wrote 




  (1789): a poetry collection
written from the child¶s point of view, of innocent wonderment and spontaneity in
natural settings which includes ³Little Boy Lost´, ³Little Boy Found´ and ³The Lamb.
‡ The Songs of Innocence
He hand produced the 




  using this new method in 1789 (32) with
the help of his wife, having taught her to read and write. The text and illustrations
were printed from copper plates, and the illustrations then finished by hand with
watercolours.

‡ He had early shown an interest in and aptitude for drawing, so, at the age of ten
Blake entered Henry Pars¶ drawing school. Then, at the age of fourteen Blake started
a seven year apprenticeship with engraver James Basire, the official engraver to the
Society of Antiquaries. From his bustling shop on Queen Street, Blake learned all the
tools of the trade that would become his main source of income. He was often sent
out on assignments to create sketches and drawings of statues, paintings, and
monuments including those found in churches like Westminster Abbey. The intense
study of Gothic art and architecture appealed to Blake¶s aesthetic sensibility and
brought out his penchant for the medieval.
 




 
‡ My mother bore me in the southern
wild,
And I am black, but oh! my soul is
white.
White as an angel is the English child,
But I am black as if bereaved of light.
My mother taught me underneath a
tree,
And, sitting down before the heat of
day,
She took me on her lap and kissed me,
And pointing to the east began to say:
"Look on the rising sun, -there God
does live
And gives his light, and gives his heat
away;
And flowers and trees and beasts and
men receive
Comfort in morning, joy in the noonday.
And we are put on earth a little space
That we may learn to bear the beams
‡ For when our souls have learned the
heat to bear
The cloud will vanish, we shall hear his
voice
Saying: `Come out from the grove, my
love and care,
And round my golden tent like lambs
rejoice!' "
Thus did my mother say, and kissed me;
And thus I say to little English boy:
When I from black and he from white
cloud free,
And round the tent of God like lambs we
joy,
I'll shade him from the heat till he can
bear
To lean in joy upon our father's knee;
And then I'll stand and stroke his silver
hair,
And be like him, and he will then love
me
 

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Runge
‡ Philipp Otto Runge.
‡ 1777-1810
‡ Declared that true art could be
Understood only through the deepest
mystical experience of religion.
‡ Runge was a religious visionary who
believed in angels.

³Once we see in all of nature

only our own life, then it
follows clearly, the right
landscape can come about.´
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‡ In this work:
‡ All plants are descended from Paradise
& are emblematic(symbol/reprensent)
harmonies.
‡ The image of the great lily floating in
the sky is the floral manifestation of
light & the symbol of Divine knowledge
& purity.
‡ The morning star, Î 
glows above,
under the arc of the earth; below it, on
the central axis, is the graceful figure of
the goddess herself in the guise of
Aurora. On the ground below, the
supine figure of an infant is an allusion
to the Christ Child, as well as a symbol
of regeneration & redemption & all the
promise of the newborn day.
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has the symmetry &
formality of traditional religious painting & the
mood of supernatural mystery, but the
careful, objective study of color tone- the
actual hues of dawn w/its tincture of rose
turning if radiance- shows Runge¶s concern
for the truth of appearance as the vehicle of
symbolic truth.
 Friedrich
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‡ born Sept. 5, 1774, Greifswald, Pomerania ²
died May 7, 1840, Dresden, Saxony.
‡ was a 19th-century German Romantic
landscape painter, generally considered the
most important of the movement .
‡ Friedrich's style most influenced the painting of
Johan Christian Dahl (1788±1857). Among later
generations, Arnold Böcklin (1827±1901) was
³ µThe Artist¶ should paint strongly influenced by his work, and the
not only what he sees
substantial presence of Friedrich's works in
before him, but also what
he sees within him. If, Russian collections influenced many Russian
however, he sees nothing painters, in particular Arkhip Kuindzhi (c. 1842±
w/in him, then he should 1910) and Ivan Shishkin (1832±98). Friedrich's
also refrain from painting spirituality anticipated American painters such
that w/c he sees before as Albert Pinkham Ryder (1847±1917), Ralph
him.´ -Friedrich Blakelock (1847±1919), the painters of the
Hudson River School and the New England
Luminists.
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oil on canvas, approx. 47´ x 70´ (Painting destroyed during World War II)
‡ Like a solemn requiem.
‡ The emblems of death are everytwhere: the desolation of the season,
leaning crosses & tombstones, the black of mourning worn by the grieving
&by the skeletal trees, the destruction wrought by the time on the chapel.

‡ The painting is a kind of meditation of human morality, as Friedrich himself

remarked: ³



 








 





  





   


 

 



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‡ The sharp focused rendering of details demonstraites the artist¶s keen

perception of everything in the physical environment relevant to his
message.
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‡ Of the nine works by Friedrich in

the Hermitage, this canvas is rare
in showing a representation of real
events.
‡ It was executed just after the
artist's honeymoon, a journey
round Germany. It is thought that
the figures in the boat are Friedrich
and his wife Caroline. Captivated
by the vast infinity of nature and
man's spiritual world, the artist
employs special devices to reflect
it in his works; 

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 unusual in the early

19th century -- the edge of the
canvas cuts sharply across the
deck. Thus the spectator is drawn
into the picture space and can
sense the atmosphere and share
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³The only man that
u ever I knew
Who did not make
me almost spew
s Was Fuseli: he was
both Turk and Jew -
And so, dear
e Christian Friends,
how do you do?´
-William Blake's
l tribute to Fuseli

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‡ Swiss painter
‡ poet
‡ Critic
‡ Teacher
‡ a fervent admirer of Shakespeare, who spent most of his active career in England.
‡ Fuseli has often been regarded as a forerunner of the Romantic art movement and a
precursor of Symbolism and Surrealism. His most famous painting is ï
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(1781), in which an ape-like goblin sits on a young woman, who is sleeping in a
strained posture.
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‡ After his romance with Lavater¶s niece Anna Landolt failed, he left in
1779 for London. It is though that his best-known scene, The
Nightmare, refers to this affair. A young woman is mounted by a
demonic looking incubus; the monster literally is a burden on her
heart. She lies in a sprawl, with her arm hanging down. A horse, the
³night mare´ gazes through the curtains with phosphorescent eyes,
observing or leering. It has remained a puzzle, whose nightmare
Fuseli portrays-it cannot be the woman¶s because she is part of the
scene herself. It has been said, that the picture is an revenge for an
unfulfilled desire, ultimately perhaps a manifestation of a jealous
passion, in which the strange lover of the woman is reduced into a
monster. The work became so popular that Fuseli painted several
other versions on request.
 
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