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Salisbury Cathedral and Leadenhall from the River Avon
This piece, ostensibly of a familiar cathedral in Britain, is instead presented as a Romantic interpretation of the landscape, making the cathedral appear as more of a fantastical location than a realistic rendering. Constable used flecks of unblended paint to achieve this effect. Constable, John. Salisbury Cathedral and Leadenhall from the River Avon. -
Alfred Dedreux as a Child
With an imagined background behind a portrait of a child, this is an example of where the lines between Romanticism and Neoclassicism are blurred. However, the absence of distinct lines in this piece place it more toward the Romantic style. Gericault, Theodore. Alfred Dedreux as a Child. 1820, The Metropolitan Museum of Art, New York. -
Period: to
1820-1900 Aesthetic Adjustment: Romanticism to Neoclassicism
The period of 1820-1900 was a period in which no less than four simultaneous modes of art were popular and building off each other. -
Theodore Gericault on His Deathbed
Champmartin's painting of his friend Theodore Gericault is a reflection of his friend in what might not be strictly considered a portrait. Gericault had an accident upon his horse which caused an absess in his spine, further exacerbated by travel and led to an infection that spread through his body. He was only 32. CHAMPMARTIN, CHARLES EMILE. THEODORE GERICAULT ON HIS DEATHBED. 1824, ART INSTITUTE OF CHICAGO. -
Britomart Delivering Amoretta from the Enchantment of Busirane
Fuseli spent much of his career reworking mythological or Shakespearean imagery into imaginative pieces typical of the Romantic period. This particular story is from Spenser's "The Faerie Queene". However, this piece could also be interpreted as a visualization of heroism and the moral ideals behind the tale. Fuseli, Henry. Britomart Delivering Amoretta from the Enchantment of Busirane, 1824. -
Mazeppa and the Wolves
Vernet's print is another example of a contemporary person being painted as though involved in mythology or an imagined scenario. This demonstrates the Romantics idea that the world is a more creative place than just illustrating it at its most practical and literal. Vernet, Horace. Mazeppa and the Wolves. 1826, Calvet Museum, Avignon, France. -
Faust
Delacroix undertook the task of illustrations for the fantasy/morality play "Faust" for a nineteenth-century French translation. The pages lend themselves well to the imaginative imagery utilized by the Romantics. In deference to the story, these illustrations convey Faust's brooding single-mindedness to the potential hopelessness of his bargain. Delacroix, Eugene. Faust. 1828, Metropolitan Museum of Art, New York -
The Princess
Tennyson's poem carries a similar theme to Shakespeare's "Love's Labour's Lost" and carries the further idea of men and women achieving academic goals regardless of gender. An adjustment of traditional gender roles is typical for this period. -
Group Dances of the Nineteenth Century
(https://www.youtube.com/watch?v=5mUxjUZuRLA)
Social convention during this era explored ideas that men and women could (barely) touch at dances. Formal dancing and country dancing would have employed separate restrictions, dancing here used lines and forms as an imitation of male/female partnership. "How to Dance Through Time: 19th Century Ball: The Charm of Group Dances." YouTube, uploaded by DancetimePublication, 27 Jul. 2010, https://www.youtube.com/watch?v=5mUxjUZuRLA. -
The Backgammon Players
During this period, there was a renewed interest in the decoration of usable items. This cabinet is an example of the attempt to make household items more beautiful, as it was a collaboration with William Morris who tried to make the same artistic improvements to people's homes. Webb, Philip. The Backgammon Players. 1861, Metropolitan Museum of Art, New York. -
Lady Lilith
This painting is an example of the blurring of lines between the Romantics and the Pre-Raphaelites. Their desire to present fantasy within a framework of reality and to return to painting styles similar to those seen in the Romantics and in color palettes of the Medeival period seemed to be another evolution in artistic style. Rossetti, Dante Gabriel. Lady Lilith. 1867, The Metropolitan Museum of Art, New York. -
The Grammar of Ornament
Much like the movement to beautify useful household items, this book contains illustrations showing how words themselves may be artistically improved and how one might continue to do so in other ways in or around their home. Jones, Owen. The Grammar of Ornament. 1868. -
Bashi-Bazouk
Gerome's portrait reflects a more neoclassical style in this depiction of an unpaid soldier in the army of the Ottoman Empire. The title is not actually the name of the subject but literally means "headless" to reflect the unpaid nature of the soldiers being used for their expertise. The nature of the period reflected an increase of subjects from outside of the British Empire. Gerome, Jean-Leon. Bashi-Bazouk. 1869, Metropolitan Museum of Art, New York. -
Sirkeci Istanbul Railway Station
This train station, situated in Istanbul, Turkey, was intended to represent both a reflection of design and colors of the old Ottoman Empire, combined with the modernism of train travel. The colors imply orderliness and control. Baron Maurice de Hirsch. Musir Ahmet Pasa Station. 1872, Fatih, Istanbul, Turkey. -
The Love Song
Burne-Jones' used this poem to illustrate a popular folk ballad of the time, rather than to strictly adhere to the fashionable trend of recreating mythologies or scenes of courtly love. In this way, the artist was still attempting to connect with the viewer over a love theme but using a slightly altered method. Burne-Jones, Sir Edward. The Love Song. 1877, The Metropolitan Museum of Art, New York. -
Loretto Chapel Staircase
This western American chapel was constructed without easy access to the choir loft. The sisters at this location never learned the true identity of the carpenter who created the mysterious and beautiful staircase for them, choosing to give credit for the construction to St. Joseph. Its helical design reflected the Gothic-revival style of the building. Projectus Mouly. Loretto Chapel. 1878, Santa Fe, New Mexico. -
Portrait of Irene Cahen D'Anvers
Renoir's piece might be considered either Romantic due to its stylized fantasy rather than the strict reality of the young subject. It might also be considered Neoclassic as an example of either hyper or heroic reality of the individual. RENOIR, PIERRE-AUGUSTE. PORTRAIT OF IRENE CAHEN D'ANVERS. 1880, FOUNDATION E.G. BUHRLE, ZURICH. -
Basilica de la Sagrada Familia
This as-yet-unfinished cathedral in Barcelona was constructed to reflect the Holy Family as well as the wonder of nature. Interior columns were meant to resemble trees and the sacristy to reflect locations where Jesus would have gathered with the people. Francisco de Paula del Villar and Antoni Gaudi. Basilica de la Sagrada Familia. 1882 (still under construction), Barcelona, Spain. -
Danaid
Rodin's interpretation of a Greek myth is an interesting example of Romantic sculpture. The Danaids were the daughters of Danaos and, as punishment for the murder of their husbands on their wedding night, were subjected to endlessly fill a bottomless water bucket. Here, her water is shown to mimic a spill of water and her body as a display of unending sorry. RODIN, AUGUSTE. DANAID. 1890, MUSEO SOUMAYA, MEXICO CITY. -
Avolio, A Legend of the Island of Cos
Imaginative and fantastical artistry wasn't limited to paintings and sculptures during this period. This book, written by an American, was intended to discuss other cultures with respect for their differences through narrative poetry. In this case, Cos is one of the Grecian islands. -
Flaming June
Leighton's attention to this work, entering the period of the pre-Raphaelites, is focused around color of the form. The scene around the focal subject is neglected, as the audience is instead asked to imagine her surroundings (or not), and pay closer attention to what she might be dreaming about. Leighton, Frederick. Flaming June. 1895, Museo de Arte de Ponce, Ponce, Puerto Rico.