 Embodies a broad range of

disciplines, from painting to music

to literature.
 The ideals present in each of these
art forms reject order, harmony, and
rationality, which were embraced in
both classical art and Neoclassicism.
 Instead, Romantic artists
emphasized the individual and
imagination.
 Another defining Romantic ideal was an
appreciation for nature, with many turning
to plein air painting, which brought artists out
of dark interiors and enabled them to paint
outside. Artists also focused on passion,
emotion, and sensation over intellect and
reason.
 Romanticism legitimized the
individual imagination as critical
authority, which permitted freedom
from classical notion form in art.
 September 5, 1774 - May 7, 1840
 He was a landscape painter of the
nineteenth-century German Romantic
movement, of which he is now considered the
most important painter. A painter and
draughtsman, Friedrich is best known for his
later allegorical landscapes, which feature
contemplative figures silhouetted against
night skies, morning mists, barren trees, and
Gothic ruins.
 His primary interest as an artist was the
contemplation of nature, and his often symbolic and
anti-classical work seeks to convey the spiritual
experiences of life.
 His rediscovery began in 1906 when an exhibition of
32 of his paintings and sculptures was held in Berlin.
During the 1920s his work was appreciated by the
Expressionists, and in the 1930s and 1940s, the
Surrealists and Existentialists frequently drew on his
work. Today he is seen as an icon of the German
Romantic movement, and a painter of international
importance.
 Two Men Contemplating
the Moon

 Wanderer above the sea

fog
 Painter who exerted
a seminal influence on the
development of romantic art in France.
Géricault was a dandy and an avid
horseman whose dramatic paintings
reflect his flamboyant and passionate
personality.
 Charging Chasseur (1812)

 Male 'académie' Seated

and Seen from Behind (c.1816)
 The greatest French romantic painter, whose use of
color was influential in the development of
both impressionist and post-impressionist
painting. His inspiration came chiefly from
historical or contemporary events or literature, and
a visit to Morrocco in 1832 provided him with
further exotic subjects.
 The Death of Sardanapalus
 English romantic landscape painter whose
expressionistic studies of light, color, and
atmosphere were unmatched in their range and
sublimity.

 Paris: Hôtel de
Ville
 American-born painter of historical, religious, and
mythological subjects who had a profound
influence on the development of
historical painting in Britain.

 Cymon and iphigenia

 On the 2nd of December 1804
Napoleon crowned himself
Emperor Napoleon I at Notre
Dame de Paris. According to
legend, during the coronation
he snatched the crown from
the hands of Pope Pius VII and
crowned himself, thus
displaying his rejection of the authority of the Pontiff
 the French Revolution
ultimately began due to
King Louis XVI’s need
for money in 1789 . Of
those strongly opposed to his decision was Jacques-
Louis David. One of the most well-known neoclassical
style painters, David displayed his feelings towards the
revolution by joining the Jacobin Club, a group of the
most violent and radical French revolutionists, while
becoming close with the leader Robespierre.
 The term realism was adopted by the great
French painter Gustave Courbet (1819-77) in
1855 to encapsulate a style of painting which
emerged in France after the Revolution of
1848.
 Realism tried to present the lives and work
of ordinary people.
 realist painting may vary, the theme or focus
(on the reality of ordinary life) does not.
Even so, Realist artists fully explored the
confines of this aesthetic, and great artists
 En plein air rustic painting ---"in the open
air," and is particularly used to describe the
act of painting outdoor
 Corot was the leading painter of the Barbizon school
of France in the mid-nineteenth century. He is a
pivotal figure in landscape painting and his vast
output simultaneously references
the Neo-Classical tradition and
anticipates the plein-air innovations
of Impressionism.
 This is one of the last paintings by Corot, who died at
the age of 79 in 1875
 the first artist to choose the theme of rural life as the
subject for his paintings. He depicted
peasants in large scenes, positioning
them in isolated groups in the
foreground. They are austere
figures with great dramatic
presence even though
their facial features are hidden.
 the Gleaners
1857
Musee d'Orsay, Paris
 a designer and lithographer with the satirical
weekly La Silhouette. He then contributed to
the Magazine de la Caricature, edited by Aubert,
and the weekly La Caricature of Charles Philippon,
who also founded Charivari, in
which Daumier published a series of biting
caricatures of political and social celebrities. The
artist drew on the Parisian working class for
inspiration in his own "Human Comedy" in an
inspired blend of the real and the visionary.
 The washerwoman
 the exhibition at the Pavilion du Realisme in 1855
contained the famous "Manifesto of Realism",
outlining the artistic theories of the man who would
be known as the master of 19th-century European
Realism.Courbet defiant and unconventional approach
was far removed from the nostalgia for a lost tradition,
dreamed of by the Pre-Raphaelites, or the historical
painting of the pompiers (the derogatory term given to
French academic painters)
 Beginning shortly after the New Year in 1848, Europe
exploded into revolution. From Paris to Frankfurt to
Budapest to Naples, liberal protesters rose up against
the conservative establishment. To those living
through the cataclysmic year, it seemed rather sudden;
however, hindsight offers valuable warning signs.