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Romanticism From Rococo chapter (pg 726): Romanticism rejected established beliefs, styles and tastes particularly the Classical ideals of clarity and perfection of form. It fostered the dominance of imagination over reason. Romantic aesthetic of long ago and far away The Romantics believed in emotional expression and sentiment; instead of encouraging heroism on behalf of and abstract ideal, the Romantics were often partisan supporters of contemporary causes, such as the individuals struggle against abuses of the state. Dreams and nightmares are depicted for the first time, states of mind interest artists (insanity)

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Sir Charles Barry and Augustus W.N. Pugin, House of Parliament, London, 1836-1870 videovideo

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Richard Upjohn, Trinity Church, New York, 1841-1852

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Richard Upjohn, designs for rural gothic churches made of wood; Carpenters Gothic

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John Nash, Royal Pavilion, Brighton England, 1815-1818

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Francois Rude, Departure of the Volunteers if 1792, 1833-1836, Limestone

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William Blake, God Creating the Universe, Frontispiece of Europe: A Prophecy, 1794, metal etching, hand-colored with watercolor and gouache

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Theodore Gericault, Mounted Officer of the Imperial Guard, 1812, oil on canvas

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Theodore Gericault, Madwoman with a Mania of Envy, 1822-1823, oil on canvas

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Theodore Gericault, Raft of the Medusa, 1819, oil on canvas videovideo

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Delacroix was the most prominent figure in French Romantic painting because he outlived Gericault by 40 years. He was contemporary to and rivals with Ingres who championed the concept of line in the aesthetic quarrel between colorito and disegno while Delacroix stood for color. The Rubenists vs. the Poussunists The Moderns vs. the Ancients The Romantics vs. the Classicists Delacroixs paintings contain broad sweeps of color, lively patterns, and energetic figural groups. Thick brushstrokes contribute to the character of the image. They are in direct contrast with precise edges and smooth surfaces of Neoclassical painting.

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Eugene Delacroix, Bark of Dante, 1822, oil on canvas, Salon of 1822 (Salon was an annual event that started in 1737, jury selection began in 1748)

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Eugene Delacroix, Massacre at Chios, 1822-1824, oil on canvas

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Eugene Delacroix, Death of Sardanapalus, 1827-1828, oil on canvas, inspired by Byrons play of the same subject.

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Eugene Delacroix, Liberty Leading the People, 1830, oil on canvas videovideo

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Eugene Delacroix, Women of Algiers, 1834, oil on canvas

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Eugene Delacroix, Medea, 1862, oil on canvas

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Francisco de Goya y Lucientes, The Bogeyman is Coming Los Caprichos, 1799, etching and aquatint

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Francisco de Goya y Lucientes, Witches Sabbath, 1798-1799, oil on canvas

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Francisco de Goya y Lucientes, Family of Charles IV, 1800, oil on canvas

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Francisco de Goya y Lucientes, Executions of the Third of May, 1808, 1814, oil on canvas

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Francisco de Goya, Y no hai remedio (And Theres Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. 1810-1823 CE (published 1863). Drypoint etching

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Francisco de Goya y Lucientes, Chronos Devouring One of His Children, 1820-1822, oil on canvas The 14 'Black Paintings' paintings (now in the Museo del Prado), so called because of the dark tones and predominance of black, originally decorated the Quinta del Sordo (House of the Deaf Man). They were painted in oils on the walls of two rooms, on the ground floor and first floor, and transferred to canvas in 1873. Goya acquired the house in September 1819, but probably did not begin the paintings before the following year, after his recovery from serious illness. When Goya recovered, his deafness remained, and this changed his character in a way that is reflected in his work. The constant fear of a relapse made him impatient, and this is also evident in his technique. As his monstrous imagining found expression, he darkened the walls in two rooms with terrible scenes of witches and visions of evil spirits. A fantastic horde of cynically grimacing hags and ghosts fill these rooms. The paintings must have been finished by 17 September 1823, when he donated the property to his 17-year-old grandson, shortly before he went into hiding. Though it is possible to reconstruct the arrangement of the paintings in the two rooms, many of their subjects defy description and the meaning of these somber, horrific inventions is as difficult to decipher as their appearance is sinister and forbidding. 'The Sleep of Reason Produces Monsters', Goya's title to what was possibly his first design for the frontispiece of Los Caprichos, would have been even more fitting as a title to this array of nightmare visions, created by the artist in his mid-seventies.

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Caspar David Friedrich, Moonrise over the Sea, 1817, oil on canvas

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Caspar David Friedrich, Moonrise over the Sea II, 1817, oil on canvas

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Caspar David Friedrich, Two Men by the Sea at Moonrise, 1817, oil on canvas

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John Constable, Salisbury Cathedral from the Bishops Garden, 1820, oil on canvas

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Joseph Mallord William Turner, Burning of the Houses of Lords and Commons, October 16, 1834, 1835,oil on canvas

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Joseph Mallord William Turner, Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 CE, Oil on canvas videovideo

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Thomas Cole, View from Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836, oil on canvas videovideo

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George Caleb Bingham, Squatters, 1850, oil on canvas

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Edward Hicks, Peaceable Kingdom, 1834, oil on canvas, Folk Art, The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them Isaiah (11:6-9)