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Visual arts

Romanticism

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• Boise State Pressbooks - Introduction To Art - Romanticism
• TheatreHistory.com - Romanticism in the Theatre
• The Art Story - Romanticism
• The Met - Romanticism
• International Journal of Creative Research Thoughts - Romanticism in Literature
• Art in Context - Romanticism Art – An Overview of the Romantic Movement
• Humanities LibreTexts - Romanticism in Literature
• Romanticism - Student Encyclopedia (Ages 11 and up)
• Table Of Contents

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Romanticism , attitude or intellectual orientation that characterized many works of literature, painting , music, architecture , criticism , and historiography in Western civilization over a period from the late 18th to the mid-19th century. Romanticism can be seen as a rejection of the precepts of order, calm, harmony , balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental.

Among the characteristic attitudes of Romanticism were the following: a deepened appreciation of the beauties of nature; a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities; a preoccupation with the genius , the hero, and the exceptional figure in general and a focus on his or her passions and inner struggles; a new view of the artist as a supremely individual creator, whose creative spirit is more important than strict adherence to formal rules and traditional procedures; an emphasis upon imagination as a gateway to transcendent experience and spiritual truth; an obsessive interest in folk culture , national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic.

Romanticism proper was preceded by several related developments from the mid-18th century on that can be termed Pre-Romanticism . Among such trends was a new appreciation of the medieval romance, from which the Romantic movement derives its name. The romance was a tale or ballad of chivalric adventure whose emphasis on individual heroism and on the exotic and the mysterious was in clear contrast to the elegant formality and artificiality of prevailing Classical forms of literature, such as the French Neoclassical tragedy or the English heroic couplet in poetry. This new interest in relatively unsophisticated but overtly emotional literary expressions of the past was to be a dominant note in Romanticism.

Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge . Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads , in which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English Romantic movement in poetry. William Blake was the third principal poet of the movement’s early phase in England. The first phase of the Romantic movement in Germany was marked by innovations in both content and literary style and by a preoccupation with the mystical, the subconscious, and the supernatural. A wealth of talents, including Friedrich Hölderlin , the early Johann Wolfgang von Goethe , Jean Paul , Novalis , Ludwig Tieck , August Wilhelm and Friedrich von Schlegel , Wilhelm Heinrich Wackenroder , and Friedrich Schelling , belong to this first phase. In Revolutionary France , François-Auguste-René, vicomte de Chateaubriand , and Madame de Staël were the chief initiators of Romanticism, by virtue of their influential historical and theoretical writings.

The second phase of Romanticism, comprising the period from about 1805 to the 1830s, was marked by a quickening of cultural nationalism and a new attention to national origins, as attested by the collection and imitation of native folklore , folk ballads and poetry, folk dance and music, and even previously ignored medieval and Renaissance works. The revived historical appreciation was translated into imaginative writing by Sir Walter Scott , who is often considered to have invented the historical novel . At about this same time English Romantic poetry had reached its zenith in the works of John Keats , Lord Byron , and Percy Bysshe Shelley .

A notable by-product of the Romantic interest in the emotional were works dealing with the supernatural , the weird, and the horrible, as in Mary Shelley ’s Frankenstein and works by Charles Robert Maturin , the Marquis de Sade , and E.T.A. Hoffmann . The second phase of Romanticism in Germany was dominated by Achim von Arnim , Clemens Brentano , Joseph von Görres , and Joseph von Eichendorff .

By the 1820s Romanticism had broadened to embrace the literatures of almost all of Europe . In this later, second, phase, the movement was less universal in approach and concentrated more on exploring each nation’s historical and cultural inheritance and on examining the passions and struggles of exceptional individuals. A brief survey of Romantic or Romantic-influenced writers would have to include Thomas De Quincey , William Hazlitt , and Charlotte , Emily , and Anne Brontë in England; Victor Hugo , Alfred de Vigny , Alphonse de Lamartine , Alfred de Musset , Stendhal , Prosper Mérimée , Alexandre Dumas , and Théophile Gautier in France; Alessandro Manzoni and Giacomo Leopardi in Italy; Aleksandr Pushkin and Mikhail Lermontov in Russia; José de Espronceda and Ángel de Saavedra in Spain; Adam Mickiewicz in Poland; and almost all of the important writers in pre-Civil War America .

In the 1760s and ’70s a number of British artists at home and in Rome, including James Barry , Henry Fuseli , John Hamilton Mortimer, and John Flaxman , began to paint subjects that were at odds with the strict decorum and classical historical and mythological subject matter of conventional figurative art. These artists favoured themes that were bizarre, pathetic, or extravagantly heroic, and they defined their images with tensely linear drawing and bold contrasts of light and shade. William Blake , the other principal early Romantic painter in England, evolved his own powerful and unique visionary images.

In the next generation the great genre of English Romantic landscape painting emerged in the works of J.M.W. Turner and John Constable . These artists emphasized transient and dramatic effects of light, atmosphere, and colour to portray a dynamic natural world capable of evoking awe and grandeur.

In France the chief early Romantic painters were Baron Antoine Gros , who painted dramatic tableaus of contemporary incidents of the Napoleonic Wars , and Théodore Géricault , whose depictions of individual heroism and suffering in The Raft of the Medusa and in his portraits of the insane truly inaugurated the movement around 1820. The greatest French Romantic painter was Eugène Delacroix , who is notable for his free and expressive brushwork, his rich and sensuous use of colour, his dynamic compositions , and his exotic and adventurous subject matter, ranging from North African Arab life to revolutionary politics at home. Paul Delaroche , Théodore Chassériau , and, occasionally, Jean-Auguste-Dominique Ingres represent the last, more academic phase of Romantic painting in France. In Germany Romantic painting took on symbolic and allegorical overtones, as in the works of Philipp Otto Runge . Caspar David Friedrich , the greatest German Romantic artist, painted eerily silent and stark landscapes that can induce in the beholder a sense of mystery and religious awe.

Romanticism expressed itself in architecture primarily through imitations of older architectural styles and through eccentric buildings known as “follies.” Medieval Gothic architecture appealed to the Romantic imagination in England and Germany, and this renewed interest led to the Gothic Revival .

Famous Romanticism Paintings – The Best Examples of Romantic-Era Art

The Romanticism movement was a force that dominated Europe during the late 1800s. It was an artistic, intellectual, and literary movement cultivated as a reaction to the Classicism and Neoclassicism movements that preceded it. A distinct break from the trends of intellectual thought, industrialization, rationalization, and glorification of science. The Romanticism movement was emotionally charged and sought to entertain the imagination, we see that in the fantastical and inspired paintings that emerged from this period. In this article, we will explore the 12 most famous Romanticism paintings.

Table of Contents

• 1 Romanticism: A Brief Overview
• 2.1 The Nightmare (1781) by Henry Fuseli
• 2.2 Upper Fall of the Reichenbach: Rainbow (1810) by J. M. W. Turner
• 2.3 Third of May 1808 (1814) by Francisco Goya
• 2.4 Wanderer above the Sea of Fog (c. 1818) by Caspar David Friedrich
• 2.5 The Raft of the Medusa (1818 – 1819) by Théodore Géricault
• 2.6 The Hay Wain (1821) by John Constable
• 2.7 Épisode des Journées de Septembre 1830 (1830) by Marie-Adélaïde Kindt
• 2.8 Liberty Leading the People (1830) by Eugène Delacroix
• 2.9 The Titan’s Goblet (1833) by Thomas Cole 
• 2.10 The Ninth Wave (1850) by Ivan Aivazovsky
• 2.11 The Kiss (1859) by Francesco Hayez
• 2.12 Kaaterskill Creek (c. 1870) by Susie M. Barstow
• 3.1 What Is Romanticism?
• 3.2 What Are the Characteristics of Romanticism Art?
• 3.3 How Is Romanticism Shown in Art?

Romanticism: A Brief Overview

Romanticism indulged the artist’s emotions and imagination, allowing these feelings and ideas to permeate the viewer. Romanticism was interpreted differently by various Romantics regarding their music, literature, and visual art. Artists portrayed scenes of love, beauty, suspense, horror, anger, and adoration that were aimed to provide an escape from reality.

The Romantic period spanned from around 1790 to 1880 and arose from dissatisfaction with the Enlightenment’s values of order and reason after the French Revolution in 1789. Although Romanticism has been detailed as the antithesis of the Classicism and Neoclassicism movements, stylistically there were overlaps among them.

However, Romanticism did have several distinctions from its preceding movements, as it was characterized by its emphasis on sentiment and passion as opposed to prior conventions of rationality and detachment.

In the visual arts , Romantics paid homage to the power of nature, honoring its unpredictability and beauty. Nature’s potential for disaster was a prominent theme, along with the portrayal of commanding, poignant feelings that induced empathy. Romantics glorified emotion and intuition over logic and intellect. Romanticism art was attuned to beautiful scenes of nature and the sublime, incorporating the way humans feel in nature.

Danger and beauty defined nature’s sublime aesthetic.

In opposition to Rationalism, Romantic painters dressed their artworks with bright colors and energetic brushstrokes. Romanticism art favored dynamic compositions over static ones. Romantic-era paintings were used to express individuality and instinct instead of depicting idealized representations of the Classical past.

12 Most Famous Romanticism Paintings

Romanticism artwork offered a fantastical escape from the reality of urban life. Romanticism focused on feelings and the condition of the soul, which was often reflected in nature. Romantic period artists did not simply paint what they saw in a landscape but painted the way they felt from the landscape. Artists were free to be creative, harnessing inspiration from their dreams and their consciousness to illustrate fantastic figures or troubled landscapes. Here is our selection of the 12 most famous Romanticism paintings.

The Nightmare (1781) by Henry Fuseli

Henry Fuseli’s Romantic artwork, The Nightmare, was the first of its kind making Fuseli somewhat of a transitional figure– leading the progression of art from The Age of Reason to Romantic-era art. Fuseli’s peculiar and macabre artwork depicts a seemingly spellbound woman in deep sleep draped across a divan.

The woman has her arms stretched below her, with a demon-like incubus crouched on top of her, glaring threateningly at the viewer. Partially hidden, we see a mysterious mare with bewitching white eyes and flaring nostrils. In Fuseli’s ghastly portrayal, he paints the woman in an idealized manner, which coincides with the principles of Neoclassicism.

However, he deviated from this by using his painting to explore the darker depths of the human psyche, while most were busied with the scientific exploration of the physical world.

Although the woman is enveloped in bright light, Fuseli suggests that the light cannot pierce the nightmarish realm of the human mind. The relationship between the woman, the incubus, and the mare is not explicit and therefore remains suggestive, emphasizing the frightening possibilities.

The Nightmare frightened and shocked its audience when exhibited at London’s Royal Academy. It was unlike anything the public was used to seeing, as the subject matter was not taken from the bible or a moment in history, nor was it created for the sake of moralizing the viewer.

Fuseli’s painting had a wide-reaching influence and changed the art world, as well as inspiring writers such as Edgar Allan Poe and Mary Shelly with his combination of sexuality, horror, and death acting as crucial elements for the Gothic horror genre. 

Upper Fall of the Reichenbach: Rainbow (1810) by J. M. W. Turner

Joseph Mallord William Turner was one of the pioneering Western artists to capture ambiance and mood in his Romanticism art pieces. Turner was an exceptionally influential 19 th -century landscape painter. He became enraptured by the Reichenbach Falls, a waterfall of the River Aare close to Meiringen in Switzerland, which he witnessed during his travels in 1802. Upper Fall of the Reichenbach: Rainbow was a scene he painted numerous times both in Switzerland and in his home country of England.

Turner expressed the notion of the “sublime” in his paintings, a concept postulated by the philosopher Edmond Burke, where he depicted the feeling one sensed when experiencing the overwhelming force and grandeur of nature.

This becomes obvious by the sheer magnitude of the mountains in comparison to the human figure and animals in the bottom left corner of the painting. The minuscule figures indicate the sense of scale and demonstrate their insignificance while surrounded by the enormity of nature.

Turner skillfully painted in thin washes and layers, using a somber color palette, where he rubbed and scraped out the paper’s surface with a wet cloth to convey the dissolving and thunderous spray of the waterfalls against the enormous rocks. During this part of his career, there was more of a focus on tone and form, it was only later that color became more significant for him.

Turner introduced the landscape as an equally significant component of genre art, with paintings of everyday scenes of life– at the time, this was a revolutionary choice. Turner was celebrated as “the painter of light” because of his mastery of depicting luminous colors and atmosphere.

His dynamism and intensity contrasted substantially with the prevalent contemporary carefully painted topographical scenes.

Third of May 1808 (1814) by Francisco Goya

Considered one of Spain’s most important artists of the 18 th and 19 th centuries, Francisco Goya created vivid and enigmatic artworks that reflected and commented on Spain’s contemporary historical turbulence. Goya’s groundbreaking famous Romantic art, The Third of May 1808 , is arguably his most famous painting. It depicts Napoleonic troops publicly executing Spaniards as retribution for the previous day’s uprising against the French.

Goya’s brooding palette intensifies the atrocities and creates a feeling of overwhelming darkness.

The Spanish laborer who is about to be executed is represented in a manner that imitates Christ’s crucifixion. The figure is kneeling on the ground with his arms flung wide and his right hand is marked by Stigmata, similar to the marks made on the body of Christ during the crucifixion. The figures’ expressive faces and body language convey the cruelty and the turmoil. A lantern on the ground is the only source of light, which divides the scene into the light, highlighting the victims, and shadows, consuming the faceless executioners.

Goya created famous Romanticism paintings that broke decisively from the past. The painting was revolutionary, with its unheroic presentation, its granular and matte pigments, and the flatness of its perspective.

Together with Goya’s portrayal of a contemporary occasion that was experienced by ordinary people, this defied academic norms that preferred timeless Neoclassical scenes.

Goya aimed to witness and commemorate the Spanish opposition to Napoleon’s army. He influenced generations of artists that followed him. Goya’s revolutionary painting, The Third of May 1808, played a pivotal role in the rise of Realism and its honest depictions of everyday life, in influencing Picasso’s representations of the horrors of war, and in encouraging Surrealism’s examination of dream-like content. 

Wanderer above the Sea of Fog (c. 1818) by Caspar David Friedrich

The German Romantic period artist Caspar David Friedrich painted one of the most iconic Romantic-era artworks, Wanderer above the Sea of Fog, in 1818. Friedrich’s artwork depicts an explorer, a young man, from behind perched on a rugged outcrop as he looks beyond to a dense sea of fog. Wanderer above the Sea of Fog does not tell a story; it is Friedrich’s portrayal of an emotional state, one that depicts ideas of roaming and infinity, of the imperfection of emotions and the soul.

Friedrich’s masterpiece presented man against an eerie and mysterious backdrop, demonstrating his diminished power in the vast magnitude of life.

Friedrich skillfully used space to illustrate man’s minuscule standing in nature, a solitary figure amidst the immense landscape. The landscape is made up of composites of landmarks around Eastern Germany from the Elbe Sandstone Mountains. The wanderer seems to be contemplating the world that exists before him.

The man’s figure takes up a central position in the painting, which may suggest that he has command over the world before him. Yet, as the fog subtly blends into the horizon, we become aware of the scale of the landscape that stretches infinitely before him. We see that the world fundamentally remains unknown. Friedrich’s awe-inspiring painting elevated the landscape painting.

This Romanticism artwork is representative of German Romanticism, which had developed slightly differently from its Italian and French counterparts.

The Raft of the Medusa (1818 – 1819) by Théodore Géricault

Théodore Géricault’s famous Romantic art, The Raft of Medusa, depicted the shipwreck that took place in 1816 when hundreds of soldiers from the French Royal Navy were dispatched to colonize Senegal. The ship began to sink after hitting a sandbank and those who survived built an emergency raft to get to shore but were rapidly lost at sea.

Géricault spent months researching the event, speaking to and sketching survivors, studying cadavers, and called on friends to model, including the famous Eugène Delacroix.

The emotional significance of Géricault’s masterpiece is imprinted on the viewer. Géricault fused reality and art to deliberately portray an artistically and politically confrontational piece. Géricault’s decision to depict a Black man at the apex of the composition was incredibly controversial as it expressed his abolitionist sentiments.

An intense spectacle is created by his use of light and shadow, along with its diagonal formation that divides the frame with the contorted bodies in the lower-left corner, leading the viewer’s eyes along the horrific scene to the pinnacle figure waving a cloth, issuing a sign of hope. Along the diagonal from the sail to the bottom right corner, we see a body partly shrouded, slipping into the sea.

This composition, together with the majestic and tempestuous sky is illustrative of Romanticism art pieces and their portrayals of the sublime.

Géricault’s painting generated substantial controversy and scandal when it was first exhibited in Paris. For the most part, the painting moved the viewing public, however many were repelled by Géricault’s choice of subject matter. It faced criticisms regarding its departure from Classicism as it disregarded the portrayal of “ideal beauty”, with its representation of Realism. When Géricault exhibited his work in London it had a considerably more positive reception, and it gained acclaim for introducing a new direction for French art . 

The Hay Wain (1821) by John Constable

John Constable was an English Romantic period artist dedicated to pastoral landscape artworks. The Hay Wain is arguably his greatest work and his unique ability to bring natural landscapes to life earned him great acclaim. The Hay Wain depicts a simple scene of English farmers tending to their work in this majestic painting. It demonstrates Constable’s brilliance, as he can capture in a painting how fleeting atmosphere dictates how we view landscapes.

In this painting, man does not simply observe nature from afar; Constable portrays him as an intricate part of nature, just as the birds and the trees are– not separate from it.

The figures are drawn to scale with the environment, suggesting Constable’s efforts to express the oneness with nature in his painting. The Hay Wain has been recognized as one of the most exceptional Romantic-era artworks depicting a landscape, as well as being one of the most revered works by an English artist.

When first exhibited, Constable’s masterpiece was considered provocative and impertinent, as the large painting seemingly used the same techniques, utilizing small brushstrokes, like the Impressionists.

According to London’s crowd, this was scandalous, whereas the French adored this manner of painting, employed by artists such as Géricault. When The Hay Wain was exhibited in Paris it caused quite the sensation. It earned Constable a gold medal from King Charles X of France, for the impact of his artwork at the Paris Salon.

Épisode des Journées de Septembre 1830 (1830) by Marie-Adélaïde Kindt

Unfortunately, very little is known about the artistic contributions of women during the Romanticism movement. This seems to be a consistent theme throughout art history– often ignored and rarely understood, women who have dedicated themselves to the visual arts have had to persevere.

One such woman is Marie-Adélaïde Kindt, a Belgian painter who was a leading artist during the 1820s and 1840s. Kindt was one among a few female artists that came from her family.

Antoine Cardon, an engraver, trained Kindt in the art of drawing. She then received Neoclassical training when studying painting under François-Joseph Navez, but the work she produced took on the influence of Romanticism.

Kindt’s work comprised of many historic scenes, with her most influential piece being Épisode des Journées de Septembre 1830, which was a portrayal of the Belgian Revolution that took place the same year. Her masterpiece now sits in the City Museum in Brussels.

Kindt’s artistic contributions were encouraged by notable artists such as Jacques-Louis David . She continued to paint throughout her life, but her later work was less ambitious as she took on more Romanticism portraits and genre paintings, adjusting her style to cater to the taste of the public.

Kindt was not able to revive the success of her earlier career, but her legacy lives on with the pieces of art she left behind. 

Liberty Leading the People (1830) by Eugène Delacroix

Eugène Delacroix is considered the most representative French Romanticism painter. Delacroix’s masterpiece, Liberty Leading the People, commemorates a scene from the July Revolution in 1830 where the abdicated King Charles X was overthrown. The painting was completed the same year event occurred. Not to be confused as a depiction of the 1789 French Revolution. Delacroix’s triumph represents freedom, revolution, and the people’s victory.

This captivating piece is one of the most well-known Romantic-era artworks.

Delacroix’s painted an allegory of the revolution rather than depicting an actual scene. Lady Liberty is depicted leading the unified group of people against the oppressor as an act of patriotism. Social class was not important, as can be seen by the mixture of people– the message was unity. Although the bare-chested figure is reminiscent of the Greek Classical ideal, with her dress draped over her frame, Delacroix depicts her with hair on her underarm to suggest that she is in fact real and not simply an ideal.

Liberty is depicted wearing a Phrygian cap, symbolic of freedom and the pursuit of liberty, holding a bayonet, and raising the tricolor flag as she encourages the rebellious group onwards on their course to victory. Every detail in Delacroix’s painting holds political significance and merges it with fierce emotions.

The turbulent scene highlights death, suffering, and heroism, which are archetypal themes of famous Romantic art.

Liberty Leading the People was a distinguished Romanticism artwork with a legacy that inspired notable works such as Liberty Enlightening the World (1886), more commonly known as the Statue of Liberty by Frédéric Auguste Bartholdi. Delacroix’s painting has been credited for inspiring the 1862 novel Les Misérables by Victor Hugo. To this day Liberty Leading the People continues to hold its weight, being featured on the 2008 album cover for Coldplay’s Viva la Vida.

The Titan’s Goblet (1833) by Thomas Cole  

Thomas Cole’s Romanticism artwork, The Titan’s Goblet, serves as the pinnacle of his Romantic fantasies. The Titan’s Goblet mimics Cole’s other famous Romanticism paintings, with its depiction of an Italian landscape and its illustration of themes relating to the grandeur of time past and nature’s significance and power for encroachment. The Titan’s Goblet is arguably Cole’s most enigmatic painting of his allegorical landscape works. The Metropolitan Museum of Art has expressed that this magnificent painting “defies full explanation”.

Cole’s painting is considered a “picture within a picture”, as two landscapes exist within the painting. The foot of the goblet stands on traditional terrain, yet a whole other world exists along its rim.

Lush vegetation runs along the rim, with two tiny buildings breaking the greenery, one is an Italian palace and the other a Greek temple. A vast body of water fills the goblet to the brim, and it is dotted with sailing boats. Water spills over onto the ground below marked by another civilization.

The Classical ruins which are found on the Goblet’s rim and the sailing boats that wade through the water have been linked to Greek and Norse mythology.

As they sit far removed from the civilization below, it has been interpreted as a disassociation from the present. Another theory relates the self-contained civilization to a microcosm of the human world amidst the commanding body of nature. The stem of the goblet then unites the past and the present. The Titan’s Goblet is recognized as a unique piece of artwork.

The Ninth Wave (1850) by Ivan Aivazovsky

Ivan Aivazovsky was a Russian-Armenian Romantic period artist who specialized in marine art. His triumph The Ninth Wave is recognized as one of the most exceptional seascapes of Romanticism art. The painting depicts massive waves sweeping across a volatile ocean. The wreckage floats in the painting’s foreground.

This painting gets its title and theme from an old sailor’s tale, a traditional belief that was held for centuries preceding the 1800s, where the ninth wave was said to be the most enormous and destructive.

The figures cling to the debris from the ship, in the face of death they attempt to save themselves. It is suggested that the wreckage forms the shape of a cross, indicating a religious undertone in Aivazovsky’s work. This work serves as an allegory, according to Christianity, for salvation from sin.

The palette of the painting utilizes warm tones, diminishing the ferocity of the sea and conveying a sense of hope and a chance for survival. Aivazovsky masterfully demonstrates the beauty and devastation of nature. 

Aivazovsky’s talents gained him international acclaim, leading him to be one of the few Russian painters to achieve such success during his lifetime.

To this day, he remains one of the most distinguished marine artists, speaking to the impact of his artistic feats. Anton Chekhov, a famous Russian writer, once described something as “worthy of Aivazovsky’s brush”, which then became the standard phrase referenced when describing anything that was overwhelmingly beautiful. 

The Kiss (1859) by Francesco Hayez

Francesco Hayez was a famous Italian Romantic period artist and his painting, The Kiss , is considered his best-known work. Alfonso Maria Visconti di Saliceto commissioned the painting, later donating it to the Pinacoteca di Brera. The Kiss depicts a man and a woman embracing in a passionate kiss, enveloped into one another, their faces remain hidden.

The figures represent a couple from the Middle Ages as suggested by their dress. However, they remain unrecognizable, as Hayez wanted the focus to remain on the act of their embrace.

The Kiss showcases Hayez’s incredible skill as he executed his painting with such fine detail. Hayez fused scenes of exceptional beauty with political accounts. The underlying message Hayez imparts on the viewer is that of a national union as the painting was representative of Risorgimento, the “ Italian Unification”.

Hayez aimed to pay homage to the French because they were allied to Italy, hence the painting’s chromatic range with the red of the man’s tights, and the white and blue of the woman’s dress, alluding to the French flag.

This painting is a symbolic masterpiece that has come to represent Italian Romanticism.

Hayez is regarded as Italy’s most famous Romantic-era artist, with artistic contributions that stretch from magnificent Romanticism portraits to monumental historical paintings. His influence had an instrumental impact on the generations of artists that followed in Italy. The Kiss relished in its popularity from the first time it was exhibited and onwards. Luchino Visconti, an Italian director, took inspiration from The Kiss for a scene in his 1954 production, Senso.

Kaaterskill Creek (c. 1870) by Susie M. Barstow

Susie M. Barstow was a member of the Hudson River School, which was a mid-19th-century American art movement that was incorporated by a class of landscape painters whose visual compositions were heavily influenced by Romanticism. The Hudson River Valley was regularly depicted by the artists as well as its surrounding areas, which included the Catskill Mountains. Barstow was known for her luminous landscapes, such as her majestic Kaaterskill Creek painting.

Barstow’s landscapes were infused with light, emanating serenity and the beauty of nature.

Her work was exhibited at the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Brooklyn Art Association, to name a few. During her time women did not have the same opportunities to have their works exhibited, which led to a number of her works going unnoticed until art historians revisited the contributions of women artists from the Hudson River School. 

The title of an amateur artist was equally accessible to women and men, however any title indicating that of a professional artist was generally reserved for men and far less available for women.

Making note of incredible artists such as Barstow, we should be careful not to take the records of her work for granted. The lack of information accessible regarding women artists will have us believe that Barstow was the exception, rather than simply recognizing that her work was exceptional, much like the work of her female contemporaries. Especially those, who because of their gender were faced with many barriers that suppressed their accomplishments from getting the due they deserved.

These famous Romanticism paintings that we selected for our list are truly magnificent examples of the imaginative and spirited artworks that artists contributed to the movement. Their influence holds to this day, as they shaped movements that followed and generations of artists that succeeded them. If you are curious to learn more about art history , browse through our website, where you are sure to find more articles to pique your interest!

 Read also our romanticism paintings web story .

Frequently Asked Questions

What is romanticism.

The Romanticism movement dominated Europe in the late 18 th century. It was an artistic, intellectual, and literary movement cultivated as a reaction to the Classicism and Neoclassicism movements that preceded it. A distinct break from the trends of intellectual thought, industrialization, rationalization, and glorification of science. The Romanticism movement was emotionally charged and sought to entertain the imagination, we see that in the fantastical and inspired paintings that emerged from this period.

What Are the Characteristics of Romanticism Art?

Romanticism indulged the artist’s emotions and imagination, allowing these feelings and ideas to permeate the viewer. Romantic-era paintings highlighted the individual, the personal, the subjective, the imaginative, the emotional, the transcendental, the visionary, and the sublime.

How Is Romanticism Shown in Art?

In Romanticism portraits and Romanticism art pieces, artists portrayed scenes of love, beauty, suspense, horror, anger, and adoration that were aimed to provide an escape from reality. Romantic-era paintings paid homage to the power of nature, honoring its unpredictability and beauty. Nature’s potential for disaster was prominently shown in art, along with the portrayal of commanding, poignant feelings that induced empathy. Romantics glorified emotion and intuition over logic and intellect. Romanticism art was attuned to beautiful scenes of nature or the sublime, incorporating the way humans feel in nature. Danger and beauty defined nature’s sublime aesthetic. Romanticism portraits and Romanticism art pieces exhibited bright colors and energetic brushstrokes. Famous Romantic art favored dynamic compositions over static ones. Romantic-era paintings were used to express individuality and instinct instead of depicting idealized representations of the Classical past.

Emma completed her Bachelor’s Degree in International Studies at the University of Stellenbosch. She majored in French, Political Science, and History. She graduated cum laude with a Postgraduate Diploma in Intercultural Communication. However, with all of these diverse interests, she became confused about what occupation to pursue. While exploring career options Emma interned at a nonprofit organization as a social media manager and content creator. This confirmed what she had always known deep down, that writing was her true passion.

Growing up, Emma was exposed to the world of art at an early age thanks to her artist father. As she grew older her interests in art and history collided and she spent hours pouring over artists’ biographies and books about art movements. Primitivism, Art Nouveau, and Surrealism are some of her favorite art movements. By joining the Art in Context team, she has set foot on a career path that has allowed her to explore all of her interests in a creative and dynamic way.

Learn more about the Art in Context Team .

Cite this Article

Emma, Littleton, “Famous Romanticism Paintings – The Best Examples of Romantic-Era Art.” Art in Context. February 9, 2022. URL: https://artincontext.org/famous-romanticism-paintings/

Littleton, E. (2022, 9 February). Famous Romanticism Paintings – The Best Examples of Romantic-Era Art. Art in Context. https://artincontext.org/famous-romanticism-paintings/

Littleton, Emma. “Famous Romanticism Paintings – The Best Examples of Romantic-Era Art.” Art in Context , February 9, 2022. https://artincontext.org/famous-romanticism-paintings/ .

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The Most Famous Artists and Artworks

Discover the most famous artists, paintings, sculptors…in all of history! 

MOST FAMOUS ARTISTS AND ARTWORKS

Discover the most famous artists, paintings, sculptors!

Romanticism

Summary of Romanticism

At the end of the 18 th century and well into the 19 th , Romanticism quickly spread throughout Europe and the United States to challenge the rational ideal held so tightly during the Enlightenment . The artists emphasized that sense and emotions - not simply reason and order - were equally important means of understanding and experiencing the world. Romanticism celebrated the individual imagination and intuition in the enduring search for individual rights and liberty. Its ideals of the creative, subjective powers of the artist fueled avant-garde movements well into the 20 th century. Romanticist practitioners found their voices across all genres, including literature, music, art, and architecture. Reacting against the sober style of Neoclassicism preferred by most countries' academies, the far reaching international movement valued originality, inspiration, and imagination, thus promoting a variety of styles within the movement. Additionally, in an effort to stem the tide of increasing industrialization, many of the Romanticists emphasized the individual's connection to nature and an idealized past.

Key Ideas & Accomplishments

• In part spurred by the idealism of the French Revolution, Romanticism embraced the struggles for freedom and equality and the promotion of justice. Painters began using current events and atrocities to shed light on injustices in dramatic compositions that rivaled the more staid Neoclassical history paintings accepted by national academies.
• Romanticism embraced individuality and subjectivity to counteract the excessive insistence on logical thought. Artists began exploring various emotional and psychological states as well as moods. The preoccupation with the hero and the genius translated to new views of the artist as a brilliant creator who was unburdened by academic dictate and tastes. As the French poet Charles Baudelaire described it, "Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling."
• In many countries, Romantic painters turned their attention to nature and plein air painting, or painting out of doors. Works based on close observation of the landscape as well as the sky and atmosphere elevated landscape painting to a new, more respectful level. While some artists emphasized humans at one with and a part of nature, others portrayed nature's power and unpredictability, evoking a feeling of the sublime - awe mixed with terror - in the viewer.
• Romanticism was closely bound up with the emergence of newly found nationalism that swept many countries after the American Revolution. Emphasizing local folklore, traditions, and landscapes, Romanticists provided the visual imagery that further spurred national identity and pride. Romantic painters combined the ideal with the particular, imbuing their paintings with a call to spiritual renewal that would usher in an age of freedom and liberties not yet seen.

Key Artists

Overview of Romanticism

When he was four years old, William Blake had a vision of "the Heavenly host crying Holy Holy Holy is the Lord God Almighty!" Later, expressed in his poetry and visual art, his prophetic visions and belief in the "real and eternal world" of the imagination resulted in the unknown artist being acknowledged as the "father of Romanticism."

Artworks and Artists of Romanticism

The Nightmare

Artist: Henry Fuseli

Fuseli's strange and macabre painting depicts a ravished woman, draped across a divan with a small, hairy incubus sitting on top of her, staring out menacingly at the viewer. A mysterious black mare with white eyes and flaring nostrils appears behind her, entering the scene through lush, red curtains. We seem to be looking at the effects and the contents of the woman's dream at the same time. Fuseli's ghastly scene was the first of its kind in the midst of The Age of Reason, and Fuseli became something of a transitional figure. While Fuseli held many of the same tenets as the Neoclassicists (notice the idealized depiction of the woman), he was intent on exploring the dark recesses of human psychology when most were concerned with scientific exploration of the objective world. When shown in 1782 at London's Royal Academy exhibition, the painting shocked and frightened visitors. Unlike the paintings the public was used to seeing, Fuseli's subject matter was not drawn from history or the bible, nor did it carry any moralizing intent. This new subject matter would have wide-ranging repercussions in the art world. Even though the woman is bathed in a bright light, Fuseli's composition suggests that light is unable to penetrate the darker realms of the human mind. The relationship between the mare, the incubus, and the woman remains suggestive and not explicit, heightening the terrifying possibilities. Fuseli's combination of horror, sexuality, and death insured the image's notoriety as a defining example of Gothic horror, which inspired such writers as Mary Shelly and Edgar Allan Poe.

Oil on canvas - Detroit Institute of Art

The Ancient of Days from Europe a Prophecy copy B

Artist: William Blake

The Ancient of Days served as the frontispiece to Blake's book, Europe a Prophecy (1794), which contained 18 engravings. This image depicts Urizen, a mythological figure first created by the poet in 1793 to represent the rule of reason and law and influenced by the image of God described in the Book of Proverbs as one who "set a compass upon the face of the earth." Depicted as an old man with flowing white beard and hair in an illuminated orb, surrounded by a circle of clouds, Urizen crouches, as his left hand extends a golden compass over the darkness below, creating and containing the universe. Blake combines classical anatomy with a bold and energetic composition to evoke a vision of divine creation. Blake eschewed traditional Christianity and felt instead that imagination was "the body of God." His highly original and often mysterious poems and images were meant to convey the mystical visions he often experienced. Europe a Prophecy reflected his disappointment in the French Revolution that he felt had not resulted in true freedom but in a world full of suffering as reflected in England and France in the 1790s. Little known during his lifetime, Blake's works were rediscovered by the Pre-Raphaelites at the end of the 19 th century, and as more artists continued to rediscover him in the 20 th century, he has become one of the most influential of the Romantic artists.

Relief etching with hand coloring - Glasgow University Library, Glasgow Scotland

Bonaparte Visits the Plague Stricken in Jaffa

Artist: Antoine Jean Gros

This painting depicts Napoleon I, not yet the Emperor, visiting his ailing soldiers in 1799 in Jaffa, Syria, at the end of his Egyptian Campaign. His troops had violently sacked the city but were subsequently stricken in an outbreak of plague. Gros creates a dramatic tableau of light and shade with Napoleon in the center, as if on a stage. He stands in front of a Moorish arcade and touches the sores of one of his soldiers, while his staff officer holds his nose from the stench. In the foreground, sick and dying men, many naked, suffer on the ground in the shadows. A Syrian man on the left, along with his servant who carries a breadbasket, gives bread to the ill, and two men behind them carry a man out on a stretcher. While Gros' teacher Jaques Louis David also portrayed Napoleon in all of his mythic glory, Gros, along with some of David's other students, injected a Baroque dynamism into their compositions to create a more dramatic effect than David's Neoclassicism offered. Gros' depiction of suffering and death, combined with heroism and patriotism within an exotic locale became hallmarks of many Romantic paintings. The use of color and light highlights Napoleon's gesture, meant to convey his noble character in addition to likening him to Christ, who healed the sick. Napoleon commissioned the painting, hoping to silence the rumors that he had ordered fifty plague victims poisoned. The work was exhibited at the 1804 Salon de Paris, its appearance timed to occur between Napoleon's proclaiming himself as emperor and his coronation.

Oil on canvas - Musée du Louvre, Paris France

The Third of May 1808

Artist: Francisco Goya

This groundbreaking work depicts the public execution of several Spaniards by Napoleonic troops. On the left, lit up against a hill, a man in a white shirt holds out his arms as he kneels and faces the firing squad. Several men cluster around him with facial expressions and body language expressing a tumult of emotion. A number of the dead lie on the ground beside them and, to their right, a group of people, all with their faces in their hands, knowing they will be next. On the right, the firing squad aims their rifles, forming a single faceless mass. A large square lantern stands between the two groups, dividing the scene between shadowy executioners and victims. The painting draws upon the traditional religious motifs, as the man in the white shirt resembles a Christ-like figure, his arms extended in the shape of the cross, and a close-up of his hands reveals a mark in his right palm like the stigmata. Yet, the painting is revolutionary in its unheroic treatment, the flatness of its perspective, and its matte almost granular pigments. Additionally, its depiction of a contemporary event experienced by ordinary individuals bucked academic norms that favored timeless Neoclassical vignettes. Goya intended to both witness and commemorate Spanish resistance to Napoleon's army during the Peninsular War of 1808-1814, a war marked by extreme brutality. The painting's dark horizon and sky reflect the early morning hours in which the executions took place, but also convey a feeling of overwhelming darkness. The art historian Kenneth Clark described it as, "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention." Goya's revolutionary painting would be instrumental in the rise of Realism's frank depictions of everyday life, of Picasso's declarations against the horrors of war, and the Surrealists' exploration of dream-like subject matter.

Oil on canvas - Museo del Prado, Madrid Spain

La Grande Odalisque

Artist: Jean-Auguste-Dominique Ingres

This painting depicts a reclining nude, a member of a harem, holding a feathered fan amidst sumptuous textiles. Her hair is wrapped in a turban, and a hookah sits at her feet. She turns her head over her shoulder to peer out at the viewer. Ingres was one of the best known of the Neoclassical painters, and while he continued to defend the style, this work reflects a Romantic tendency. The image recalls Titan's Venus of Urbino (1528) and echoes the pose of Jacque-Louis David's Portrait of Madame Récamier (1809), but a Mannerist influence is also apparent in the figure's anatomical distortions. Her head is a little too small, and her arms do not appear to be the same length. When the work was shown at the 1819 Salon, these distortions prompted critics to claim she had no bones, no structure, and too many vertebrae. The work is a well-known example of Orientalism. By placing a European nude within the context of a Middle-Eastern harem, the subject could be given an exotic and openly erotic treatment. Subsequent scholars have suggested that because the woman is a concubine in a sultan's harem, the distortions of her figure are symbolic, meant to convey the sultan's erotic gaze upon her figure. As a result, the work points the way to Romanticism's emphasis on depicting a subject subjectively rather than objectively or according to an idealized standard of beauty. Ingres's use of color and his flattening of the figure would be important examples for 20 th -century artists like Picasso and Matisse, who also eschewed classical ideals in their representations of individuals.

Wanderer Above the Sea of Fog

Artist: Caspar David Friedrich

In this painting, an aristocratic man steps out upon a rocky crag as he surveys the landscape before him, with his back turned toward the viewer. Out of swirling clouds of fog, tall pinnacles of rocks loom, and a majestic peak on the left and a rock formation on the right fill the horizon. Many of Friedrich's landscapes depict a solitary figure in an overwhelming landscape that stands in for a Byronic hero, overlooking and dominating the view. While Friedrich made plein air sketches in the mountains of Saxony and Bohemia in preparation for this painting, the landscape is essentially an imaginary one, a composite of specific views. The place of the individual in the natural world was an abiding theme of the Romantic painters. Here, the individual wanderer atop a precipice contemplating the world before him seems to suggest mastery over the landscape, but at the same time, the figure seems small and insignificant compared the sublime vista of mountains and sky that stretch out before him. Friedrich was a master of presenting the sublimity of nature in its infinite boundlessness and tempestuousness. Upon contemplation, the world, in its fog, ultimately remains unknowable.

Oil on canvas - Kunsthalle Hamburg, Hamburg German

The Raft of the Medusa

Artist: Théodore Géricault

Géricault depicts the desperate survivors of a shipwreck after weeks at sea on a wave-tossed raft beneath a stormy sky. At the front of the raft, a black man waves a shirt trying to flag down a ship barely visible on the horizon, while behind him others struggle forward raising their arms in hope of rescue. In the foreground, a disconsolate older man holds onto the nude corpse of his dead son, the body of a man hangs off the raft trailing in the water, and to the far left lies a partial corpse, severed at the waist. The scene depicts the survivors of the wreck of the Medusa, a French Royal Navy frigate sent to colonize Senegal in 1816. The ship ran aground on a sandbank and began to sink, but there were not enough lifeboats. Some of the survivors built a makeshift raft to reach the African shore, but they were quickly lost at sea. Many died, and others resorted to violence and cannibalism. The artist did months of research, interviewing and sketching the survivors, dissecting cadavers in his studio, and recruiting friends to model, including the painter Delacroix. Géricault's use of light and shadow as well as organizing the scene along two diagonals creates a dramatic and intense vision. Beginning with the bodies in the lower left, the viewer follows the eyes and gestures of the raft's inhabitants to a man, borne on the shoulders of his companions, waving a cloth - a sign of hope. From the shadows below the sail, one follows another diagonal to the bottom right to see a corpse, partially shrouded, slipping off the raft into the sea. This organization, coupled with the majestic and stormy sky speaks to the Romantic tastes for the terrible and the sublime. Intended as a profound critique of a social and political system by depicting the tragic consequences and suffering of the marginal members of society, the painting is a pioneering example of protest art. The famous 19 th -century art critic Jules Michelet (who coined the term The Renaissance ) ascribed a broader view of Géricault's subject, suggesting that "our whole society is aboard the raft of the Medusa."

The Hay Wain

Artist: John Constable

This rural landscape depicts a hay wain, a kind of cart, drawn by three horses crossing a river. On the left bank, a cottage, known as Willy Lott's Cottage for the tenant farmer who lived there, stands behind Flatford Mill, which was owned by Constable's father. Constable knew this area of the Suffolk countryside well and said, "I should paint my own places best, painting is but another word for feeling." He made countless en plein air sketches in which he engaged in near scientific observations of the weather and the effects of light. In Constable's landscape, man does not stand back and observe nature but is instead intimately a part of nature, just as the trees and birds are. The figuring driving the cart is not out of scale with his environment. Constable depicted the oneness with nature that so many of the Romantic poets declared. Constable found little acclaim in his home country of England because of his refusal to follow a traditional academic path and his insistence on pursuing the lowliest of genres: landscape painting. The French Romantics, however, took him up enthusiastically after seeing this work in the 1824 Paris Salon. His ability to capture the way fleeting atmosphere determines how we see the landscape inspired such artists as Eugène Delacroix. While The Hay Wain may not have been well-received by his countrymen at the time, in 2005 it was the voted second most popular painting in England.

Oil on canvas - The National Gallery, London

Liberty Leading the People (July 28, 1830)

Artist: Eugène Delacroix

This famous and influential painting depicts the Paris uprising in July 1830. Delacroix, though, does not present an actual event but an allegory of revolution. A bare-chested woman, representing the idea of Liberty, wears a Phryggian cap, carries a bayonet in one hand and raises the tricolor flag in the other, encouraging the rebellious crowd forward on their path to victory. While her figure and the dress draped over her body evokes the Greek classical ideal, Delacroix includes her underarm hair, suggesting a real person and not just an ideal. Other contemporary details and political symbols can be found in the portrayal of various classes of Parisian society. A boy, wearing a beret worn by students carries a cartridge pouch on his shoulder and his cavalry pistols, a factory worker brandishes a saber and wears sailor trousers with an apron, and a man wearing the waistcoat and top hat of fashionable urban society is perhaps a self-portrait of Delacroix. The wounded man who kneels at Liberty's feet and looks up at Liberty is a Parisian temporary worker. Each detail in the image carries political significance, as the beret with a white royalist and a red ribbon denotes the liberal faction, and a Cholet handkerchief, a symbol of a Royalist leader, is used to fasten a pistol to a man's abdomen. The right background is relatively empty, and though the towers of Notre Dame place the scene in Paris, parts of the urbanscape are purely imagined. Delacroix said of the work, "I have undertaken a modern subject, a barricade, and although I may not have fought for my country, at least I shall have painted for her." He had witnessed the event, describing, "Three days amid gunfire and bullets, as there was fighting all around. A simple stroller like myself ran the same risk of stopping a bullet as the impromptu heroes who advanced on the enemy with pieces of iron fixed to broom handles." Delacroix used the dynamic pyramidal arrangement, chiaroscuro, and color to create a scene of clamorous drama that highlights heroism, death, and suffering, quintessential themes of the Romantic movement. Delacroix's bohemianism, his personal vision, and his refusal of academic norms, hallmarks of the Romantic attitude, made him a model for many modern artists.

The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm

Artist: Thomas Cole

The American Thomas Cole depicts a view of the winding Connecticut River from Mount Holyoke in Massachusetts. A heavily wooded promontory overlooks a flat plain marked by cultivated fields where the wide river meandered over a long period of time and formed an oxbow, or bend, in its flow, and hills rise in the background. The diagonal created by the promontory divides the scene into two triangles, juxtaposing the stormy and green wilderness on the left with the sunlit and cultivated plains on the right. In the lower right, a single human figure, the artist himself, is depicted at work. Cole thus presents the artist in harmony with nature. Thomas Cole was among the most important and influential of the Hudson Valley School painters. While traveling in Europe from 1829-1832, the artist traced this view from Basil Hall's Forty Etchings Made with the Camera Lucida in North America in 1827 and 1828 . Wanting to counter Hall's criticism of Americans as indifferent to their native landscape, Cole wanted to depict the uniqueness of the American landscape as "a union of the picturesque, the sublime, and the magnificent." This Romantic concept found its way into future depictions of the American landscape by the likes of other painters and photographers, including Ansel Adams.

Oil on canvas - The Metropolitan Museum of Art, New York New York

The Slave Ship

Artist: J.M.W. Turner

This painting depicts a seascape, the ocean a swirl of chaotic waves beneath a stormy sky that is lit up with red and yellow as if on fire. On the horizon, a ship with its sails unfurled appears to be headed directly into rough dark waters. Shackled human forms, some partially glimpsed, are scattered in the foreground like debris, as sharks and other fish circle and close in upon the flailing swimmers. Turner painted this image after reading Thomas Clarkson's The History and Abolition of the Slave Trade (1808) that recounted how the captain of the slave ship Zong ordered 133 slaves thrown overboard so that he could collect the insurance payments on his human cargo. An ardent abolitionist, Turner hoped that the work would inspire Prince Albert to do more to combat slavery around the globe. Turner captured the philosopher Edmond Burke's concept of the "sublime," the feeling one senses in the presence of nature's overwhelming grandeur and power. In this image, the human figures, and even the ship on the horizon, are minuscule, and the emphasis on the water and the sky conveys a sense of humanity overwhelmed. The blood red color of the sky and the black caps of the waves convey the emotional intensity of the natural world, and the vertical ray of light from the sun that divides the ocean in half seems almost an apocalyptic vision, the presence of a divine witness. Turner's quick brush strokes create a sense of frenzy and chaos, overpowering the barely visible struggling human forms. His work influenced Romanticism's depiction of nature as a dramatic and tumultuous struggle.

Oil on canvas - Museum of Fine Arts, Boston Massachusetts

Beginnings of Romanticism

The term Romanticism was first used in Germany in the late 1700s when the critics August and Friedrich Schlegal wrote of romantische Poesie ("romantic poetry"). Madame de Staël, an influential leader of French intellectual life, following the publication of her account of her German travels in 1813, popularized the term in France. In 1815 the English poet William Wordsworth, who became a major voice of the Romantic movement and who felt that poetry should be "the spontaneous overflow of powerful feelings," contrasted the "romantic harp" with the "classic lyre." The artists that considered themselves part of the movement saw themselves as sharing a state of mind or an attitude toward art, nature, and humanity but did not rely on strict definitions or tenets. Bucking established social order, religion, and values, Romanticism became a dominant art movement throughout Europe by the 1820s.

Literary Predecessors

An early prototype of Romanticism was the German movement Sturm und Drang , a term usually translated as "storm and stress." Though it was primarily a literary and musical movement from the 1760s to the 1780s, it had a great impact and influence on public and artistic consciousness. Emphasizing emotional extremes and subjectivity, the movement took its name from the title of the play Romanticism (1777) by Friedrich Maxmilian Klinger.

The most famous advocate of the movement was the German writer and statesman Johann Wolfgang von Goethe, whose novel The Sorrows of Young Werther (1774) became a cultural phenomenon. Depicting the emotionally anguished story of a young artist who, in love with the woman who is engaged and then married to the artist's friend, commits suicide, the novel's popularity caused what came to be called "Werther Fever," as young men adopted the protagonist's clothing and manner. Some copycat suicides even occurred, and countries like Denmark and Italy banned the novel. Goethe himself renounced the novel as he later turned away from any association with Romanticism in favor of a classical approach. Nevertheless, the idea of the artist as a solitary genius, emotionally anguished, whose originality and imagination was spurned by the rational world, gripped public consciousness, becoming a model for the romantic hero of the subsequent era.

In the 1800s the British poet Lord Gordon Byron became a celebrity upon the publication of his Childe Harold's Pilgrimage (1812), and the term "Byronic hero," was coined to denote the figure of the lone and brooding genius, torn between his best and worst traits.

Romanticism in the Visual Arts

Both the English poet and artist William Blake and the Spanish painter Francisco Goya have been dubbed "fathers" of Romanticism by various scholars for their works' emphasis on subjective vision, the power of the imagination, and an often darkly critical political awareness. Blake, working principally in engravings, published his own illustrations alongside his poetry that expressed his vision of a new world, creating mythical worlds full of gods and powers, and sharply critiquing industrial society and the oppression of the individual. Goya explored the terrors of irrationality in works like his Black Paintings (1820-23), which conveyed the nightmarish forces underlying human life and events.

In France, the painter Antoine-Jean Gros influenced the artists Théodore Géricault and Eugène Delacroix who subsequently led and developed the Romantic movement. Chronicling the military campaigns of Napoleon Bonaparte in paintings like Bonaparte Visits the Plague Stricken in Jaffa (1804), Gros emphasized the emotional intensity and suffering of the scene.

Théodore Géricault's painting The Raft of the Medusa (1819) and Eugene Delacroix's The Barque of Dante (1822) brought Romanticism to the attention of a larger public. Both paintings scandalized the Paris Salons that they were exhibited in, Géricault in 1820 and Delacroix in 1822. Deviating from the Neoclassical style favored by the Academy and using contemporary subject matter outraged the Academy and the larger public. The depiction of emotional and physical extremity and varied psychological states would become the hallmarks of French Romanticism .

Following Géricault's early death in 1824, Delacroix became the leader of the Romantic movement, bringing to it his emphasis on color as a mode of composition and the use of expressive brushwork to convey feeling. As a result, by the 1820s Romanticism had become a dominant art movement throughout the Western world.

In England, Germany, and the United States, the leading Romantic artists focused primarily on landscape, as seen in the works of the British artist John Constable , the German Caspar David Friedrich , and the American Thomas Cole , but always with the concern of the individual's relation to nature.

A Revolutionary Movement

Largely developing during the French Revolution, Romanticism was allied with a revolutionary and rebellious spirit. The rule of reason and law of the Enlightenment was perceived as confining and mechanistic. As a result, artists turned to scenes of rebellion and protest. Géricault intended The Raft of the Medusa (1818-19), inspired by a true account of a shipwreck, as an indictment of the French government's policies that led to the tragedy. Similarly, Turner's The Slave Ship (1840) was intended to influence the British government into a more active abolition policy. Delacroix's Liberty Leading the People (1830) was created to support the uprising of the people of Paris against the restoration government of Charles X. Delacroix also painted a number of works depicting the Greek fight for independence against the Ottoman Empire. His Scène des massacres de Scio ( Massacre at Chios ) (1824) depicts the survivors of a massacre that occurred when the Ottoman Empire conquered an island of rebellious Greeks and killed or enslaved most of the inhabitants.

The Sublime

In 1756, the English philosopher Edmund Burke published A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful , and in 1790, the German philosopher Emanuel Kant, who explored the relationship between the human mind and experience, developed Burke's notions in Critique of Judgment . The idea of The Sublime came to hold a central place in much of Romanticism in order to counter Enlightenment rationality. Burke explained, "The passion caused by the great and sublime in nature . . . is Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other." To experience the sublime, one does not just experience something beautiful but something that overtakes one's rational sense of objectivity. The awe and terror experienced by observing a great storm or an infinite vista make the individual contemplate his or her place in the natural world. This state, though, necessitates that one is at some remove from what one is seeing, that one is not in danger of being physically harmed by the storm or lost in the wilderness. When one tries to comprehend the boundlessness, or formlessness, of nature's power, one feels overwhelmed emotionally. The experience of the sublime triggers self-examination that was crucial to Romanticism. Many Romantic painters sought to evoke the sublime in their landscape paintings, portraying stormy seas and skies witnessed by a solitary individual.

Orientalism

As early as the Renaissance, artists depicted the Middle East through exoticized images, as reflected in The Reception of the Ambassadors in Damascus (1511) by an anonymous Venetian painter. As the art critic Andrew Graham Dixon described, the painting attempted to compress all that made Damascus "vivid and strange, to Venetian eyes, within the scope of a single canvas: figures in turbans; a laden camel on its way to the bazaar; the great Mosque; the citadel; the public baths; private houses and their distinctive, lush walled gardens." In the 19 th century a fascination with Middle-Eastern subjects overtook both Neoclassical and Romantic painting, as seen in treatments of the nude like Jean-Auguste-Dominique Ingres' Grande Odalisque (1814), or the popularity of harem scenes like Delacroix's The Women of Algiers (1834). Romantic painters projected desires, fears, and the unknown into their depictions of African and Middle Eastern scenes.

Subsequently, scholars have reevaluated these depictions of an exoticized Middle East. The cultural critic and historian Edward Said coined the term "Orientalism" with his influential book, Orientalism (1978). Said argued that in its depictions of the Middle East, Western art and literature showed a "subtle and persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture." This prejudice was reflected in stereotypical depictions of Middle Eastern culture and people as primitive, irrational, and exotic.

Romanticism: Concepts, Styles, and Trends

Romanticism in germany.

During the Enlightenment, or The Age of Reason, German Romantic painters turned their sights to interior emotions instead of reasoned observations. They looked to previous eras, including the Middle Ages, for examples of men living in harmony with nature and each other. The Nazarenes, a group of painters founded in Vienna in 1809, favored medieval and early Italian Renaissance painting, repudiating the popular Neoclassical style preferred at the time. The leading German Romanticist Caspar David Friedrich worked predominantly in landscape painting and explored man's relation to the land. Landscape painting became an allegory for the human soul as well as a symbol of freedom and boundlessness that subtly critiqued the political restrictedness of the time.

Romanticism in Spain

In the midst of the Peninsular War raged by Napoleon and the Spanish War of Independence, Spanish Romantic painters began exploring more subjective views of landscapes and portraits, valorizing the individual. Francisco de Goya was by far the most prominent of the Spanish Romantics. While he was the official painter for the Royal Court, toward the end of the 18 th century, he began exploring the imaginary, the irrational, and the horrors of human behavior and war. His works, including the painting The Third of May, 1808 (1814) and the series of etchings The Disasters of War (1812-15), stand as powerful rebukes of war during the Enlightenment era. Increasingly withdrawn, Goya made a series of Black Paintings (1820-23) that explored the terrors held within the innermost recesses of the human psyche.

Romanticism in France

After the Napoleonic Wars ended with Napoleon in exile, the Romantic painters began challenging the Neoclassicism of Jacques Louis David , the foremost painter during the French Revolution, and the overall Neoclassical style favored by the Academy. Unlike their German counterparts, the French had a larger repertoire of subjects that included portraiture and history painting. Artists such as Jean-Léon Gérôme and Eugène Delacroix created many genre scenes of North Africa, ushering in a vogue for Orientalism , and their dramatically staged compositions of light and color highlighted the horrors of contemporary events and tragedies.

The French also developed a strong sculptural rendition of Romanticism. Géricault experimented in sculpture, creating Nymph and Satyr (1818), a piece that depicted a suggestive and violent encounter between the two mythological figures. He also created works like his Flayed Horse I (c. 1820-24) that combined his anatomical knowledge with the horse, one of his favorite subjects, within a dark and disturbing vision. Romanticist sculpture was drawn to scenes of beasts of prey and fighting animals in which the animals were depicted as a writhing surge of bodies. Portraying a savage beast overwhelming delicate beauty, such works were meant to convey the Romantic sense of terribiltà , the feeling of awe or terror created by the sublime. The most famous of animal sculptors was Antoine-Louis Bayre, whose bronze works like Tiger Surprising an Antelope (c. 1835) became popular among the ruling class.

Romanticism in England

With the exception of William Blake, who practiced a more visionary art, the English Romantic painters favored landscape. Their depictions, however, were not as dramatic and sublime as their German counterparts, but were more naturalistic. The Norwich School was a group of landscape painters that developed from the 1803 Norwich Society of Artists. John Crome, was a founding member of the group and the first president of the Norwich Society, which held annual exhibitions from 1805-1833. Working in both watercolor and oil painting, Crome, like other members of the group emphasized en plein air painting and scientific observation of the landscape. Nonetheless, his work and the work of other artists in the group reflected a Romantic sensibility, as seen in his Boys Bathing on the River Wensum, Norwich (1817), which depicts a precisely observed scene along the Wensum River yet conveys the feeling of human harmony with the sublime beauty of the area.

John Constable was the most influential of the English landscape painters, combining close observation of nature with a deep sensitivity. Rebelling against standard practices of the academy, he wrote to his friend, "For the last two years I have been running after pictures, and seeking the truth at second hand .. I have not endeavored to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men .. The great vice of the present day is bravura, an attempt to do something beyond the truth." His use of color was influential on the young Eugène Delacroix, who delighted in the way Constable used dabs of local color and white to create a shimmering light. Color was most radically explored by J.M.W. Turner . Turner was a prolific, yet eccentric and reclusive, artist working in oils, watercolors, and prints. Turner's application of color in rapid strokes created an impastoed and dynamic surface that earned him the epithet "the painter of light." He would be very influential to the Impressionists in the later 19 th century and even the Abstract Expressionist Mark Rothko in the mid-20 th century.

Romanticism in the United States

American Romanticism found its primary expression in the landscape painting of the Hudson River School , between 1825-1875. While the movement began with Thomas Doughty, whose work emphasized a kind of quietism in nature, the most famous member of the group was Thomas Cole , whose landscapes convey a sense of awe at the vastness of nature. Other noted artists were Frederic Edwin Church , Asher B. Durand , and Albert Bierstadt . The works of most of these artists focused on the landscape of the Adirondacks, White Mountains, and Catskills of the Northeast but gradually branched out into the American West as well as South and Latin American landscapes. Working from sketches that they made outdoors, the artists would create the paintings later in their studios, sometimes using composites of various scenes to create an image of a somewhat imaginary location. The emphasis in such paintings was often upon awe-inspiring, dramatic vistas, where the human figure would appear to be dwarfed, and where an overwhelming and sublime sense of nature's beauty would be conveyed.

Romanticism in Architecture: The Age of Revivals

Romanticism in architecture rebelled against the Neoclassical ideals of the 18 th century primarily by evoking past styles. Styles from other periods and regions in the world were incorporated, all with the purpose of evoking feeling, whether a nostalgic longing for the past or for exotic mystery. Accordingly, architecture was dominated by "revival" styles, like the Gothic Revival and the Oriental Revival.

Though the incorporation of Gothic design began in the 1740s, the Gothic Revival became a dominant movement in the 1800s. In France, the historian Arcisse de Caumont's writing provided an intellectual foundation for the interest in antiquities, but it was Victor Hugo's novel, The Hunchback of Notre Dame (1831) that popularized the neo-Gothic craze. In England The Houses of Parliament, also known as the Palace of Westminster, designed and rebuilt by A.W.N. Pugin with architect Charles Berry, exemplifies the Gothic Revival style.

The famous example of Oriental Revival style is the Royal Pavilion (1815-1822) in Brighton, England, built by the architect John Nash. The seaside home of King George IV includes onion domes and minarets and variations on crenellations in the building to create an imposing but exotic presence which includes elements of Asian and Middle-Eastern styles. Napoleon Bonaparte's campaign to Egypt inspired an interest in ancient Egyptian culture, leading to the use of Egyptian columns, obelisks, pylons, and sphinx sculptures. The detention complex "The Tombs," called originally the Houses of Justice, built in New York City in 1838 is a good example of the Egyptian substyle of the Oriental Revival.

Later Developments - After Romanticism

Romanticism began to fade at various times in different countries, but by the 1830s, with the introduction of photography and increasing industrialization and urbanization, artistic styles start trending more toward Realism .

The Pre-Raphaelites

The Romantics' return to earlier styles, such as Medieval art, greatly influenced the later 19 th -century British Pre-Raphaelites Edward Burne-Jones , Dante Gabriel Rossetti , and John Everett Millais . These artists depicted medieval, religious, and Shakespearean subject matter filtered through a Romantically-tinged naturalism. They emphasized the imagination as well as the connections between the visual arts and literature.

Turner's and Delacroix's Influence

Turner's and Delacroix's studies and uses of color as well as their vigorous brushstrokes had a significant influence on Impressionism. Their emphasis on color rather than line as a primary mode of composition particularly influenced Georges Seurat's development of Neo-Impressionism and color theory, which became a foundation for later movements like Fauvism and Orphism .

Goya's Influence

Goya's unsentimental representations of Spanish life influenced many Realist artists of the next generation, including French avant-garde painter Édouard Manet . Some of Pablo Picasso's most noted works like Guernica (1937) reflect the continuing influence of Goya on his fellow countrymen. The gruesome results of war and abjection found a new audience who had experienced their own brutal wars in the 20 th century.

William Blake's Influence

William Blake's use of image and text to convey a single vision was influential in many modern art movements; Italian Futurism , Orphism , Russian Futurism , Dada , and Surrealism all combined text and image in a variety of ways. Blake's visionary mysticism and rebelliousness also influenced the Beat generation of the 1950's, including the writer Jack Kerouac.

Caspar David Friedrich's Influence

Caspar David Friedrich's symbolic landscapes and their evocation of the sublime had lasting influence among modern artists from the Expressionist Edvard Munch , to the Surrealists Max Ernst and René Magritte , to the later Abstract Expressionists Mark Rothko and Barnett Newman . Friedrich's inspiring visualization of the German landscape was taken up by the Nazis in the 1930s to promote their ideology of Blood and Soil, which espoused racialism and a romanticized nationalism. As a result, it took many years for Friedrich's reputation to recover.

The tenets of Romanticism, emphasizing the primacy of the individual, and, within that individual, the power of the subjective imagination and feeling, became the bedrock of much of modern culture. Surrealism's emphasis on dream life and the subjective subconscious, Expressionism's emphasis on emotional intensity, and the contemporary emphasis on the artist as a cultural celebrity, all derive from Romanticism. The movement has become part of how we think about the individual, one's individual experience and its expression in art. The concept of the artist as a visionary in tune with the deeper nature of reality, which has been part of any number of avant-garde movements, is essentially a Romanticist view.

Useful Resources on Romanticism

• Delacroix: and the Rise of Modern Art Our Pick By Patrick Noon and Christopher Riopelle
• Théodore Géricault By Nina Athanassoglou-Kallmyer
• Romanticism: A German Affair By Rüdiger Safranski and Robert E. Goodwin
• Romanticism and Art (World of Art) Our Pick By William Vaughn
• Caspar David Friedrich By Johannes Grave
• Page on Romanticism Our Pick By Kathryn Calley Galitz / The Metropolitan Museum of Art / October 2004
• William Blake By Glasgow University Library: Special Collection Department / November 2007
• Cry Freedom: Jonathan Jones on how Delacroix captured the ecstasy of liberty Our Pick By Jonathan Jones / The Guardian / April 1, 2005
• Caspar David Friedrich at the edge of the imaginable By Julian Bell / Times Literary Supplement / October 26, 2012
• Lord Byron - A Rock Star Poet in an Age of Extravagance By Carolyn McDowall / The Culture Concept Circle / April 21, 2012

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Content compiled and written by Rebecca Seiferle

Edited and revised, with Summary and Accomplishments added by Valerie Hellstein

Romanticism Period in Art Essay

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Introduction

Jacques david.

Bibliography

Romanticism can be described as a period that was characterized by numerous changes in the works of art. Besides, the period of romanticism is estimated to have existed between 1760 and1870. During this era, numerous changes occurred in the works of art coupled with reactions against the rise of Neoclassicism that was taking shape in most parts of Europe.

History painting artists such as Kauffmann, David, Delacroix and Gros were against what was particularly referred to as the Age of Reason, the Enlightenment, or rather the18th-century materialism. Romanticism was characterized by passion, imagination, autonomy and independence.

Additionally, it emphasized on favorite historical art subjects, nature, people and landscapes. The Romantic Movement first developed in northern Europe as part of rejecting the new technical standards of art which were fast emerging. It is against this scope that this paper aims to explore the aspect of romanticism in the history of painting by considering the works of artists such as Kauffmann, David, Delacroix and Gros.

Kauffmann: It is apparent that Kauffmann was one of the prominent artists who were among the remarkable history painters during 18 th century. He emerged as an active painter who used figural arrangements of old sculptures, poses and vase paintings. The artist figuratively influenced the stylistic trends of his times. For this reason, she emerges as a lucrative academic painter and thus left a mark in the field of history painting.

Historical records have revealed that Kauffmann made inspirational and editorial paintings that were based on her lovely imaginations. Besides, she had made several fine etchings, friezes and ceilings. Myriad of decorations which she made around 1771-81 can be traced in some of the deluxe houses in Rome. During the late 1770s, the artist did history paintings mainly for monetary returns. Shortly after this period, Kauffmann drew her attention on neoclassicism. She produced paintings that were based on historical events that existed in ancient Rome an Athens. During this era, neoclassicism considered the work of art from the esteemed artistic perspective.

Kauffmann participated in the movement. She produced a lot of exhibits mostly nude models that were used to illustrate the anatomy of human body. Moreover, she made historical paintings on landscapes and flowers. Regardless of the fact that painting of nude pictures by women was highly criticized she fairly improved her skill at drawing and painting human forms. To ward off criticism, she painted nude paintings and draped them with clothes

According to research evidences on Kauffmann works; it is evident that she participated on exhibitions at Royal Academy in 1769. She presented four of her history pieces referred to as the iliad and odyssey . Out of the remarkable praise she received from the paintings, she was motivated to do more entries.

Other remarkable entries include the “Venus showing Aeneas and Achates the way to carthage.” Evidence has that Kauffman’s history paintings were different from works of other artists of her time because she portrayed women at the center of the events she painted. In addition to this, it is beyond doubt that Kauffman established a gender neutral figure in her works.

In return this became an upcoming image that illustrated her personal understanding of gender parity. As an outstandingly successful female painter, she received privileges that most women were denied. For instance she received a membership in the Royal Academy that positioned her in better ground to exhibit her work. This position enabled her to bring a new perspective to history painting, particularly rendering the human figure. In producing gender neutral figures she managed to highlight the female role in most of her history painting.

Due to the emergence of romanticism in the 18 th century, Kauffman experienced all of these societal pressures and serious criticism rose against her works. However, she was able to ward off the critics as a woman and understood fully her role as an artist. During the wave of romanticism, only writers and poets were able to give their initial expression to romantic ideas. In that case, painters remained subject to such ideas and feelings. However, Kauffman acquired her inspirations from the romantic literature of the period. With the romantic movements Kauffmann gained awareness of how various form of arts interacted.

Romantic critics asserted that that experience of insightful inner emotion was the major theme of creation and pleasure of art. For this reason, Kauffman became more determined to make her work pleasurable and insightful irrespective of the critics. To achieve this, she explored the idea of genders neutrality and incorporated it in her history paintings. Moreover, she emphasized effeminacy, androgyny, cross-dressing and the mother as hero.

Therefore, by incorporating cross-dressing and androgynous images, she reinvented the figures in history painting to emphasize on the theme of gender neutrality. It is beyond doubt that Kauffman was a highly privileged female artist who was talented and accepted in the masculine realm. Throughout her work, she incorporated all the aspects of romanticism in art such as originality, creativity, heightened sensation, fascination and emotional pleasure. Below is sample of Kauffmann works of art.

David’s art initially embodied the neo-classicism style that was dominant in France during the late 18 th to early 19 th century. During this time, he flourished in styling rigorous contours, polished surfaces, history painting and sculptured forms. He abandoned the style due to its primacy and hence set a radical redefinition for the history of painting that drew their themes upon ancient events and distant civilization. David s work was grounded on the new found freedom of expressing emotions after countering neoclassicism.

In his new style, he painted nature in it wild state that later stirred up creative imaginations. That’s not withstanding, David became a prominent artist of history and a virtual dictator of art. This artist was perfect in ethical paintings that focused of the moral climate that existed during the ancient periods Later on, the artist gained interest on romanticism as a student leader in France. He dealt with history paintings that made him to become renown worldwide. He was a landscape artist who achieved dramatic visualization in his pictorial work. Apparently, David had a marvelous mastery of his work as it was depicted on the effect of light and color on his exhibitions.

Some of his remarkable works include the Hay wagon, snow storm and steam boat off a harbor mouth. It is apparent that romanticism influenced Jacques to appeal to the human need to appreciate the work of art since his exhibits held standard s of beauty that heightened public sensation.

With the new romantic style, David got an opportunity to adventure in repertoire subjects through painting that made him get exiled to Belgium in 1816. David History painting emerged as the most notable works of art. Several of his collections are still preserved in world renowned museums as exhibits. Below are samples of David’s works of art.

Background of Eugene Delacroix

One of the most remarkable aspects of romantic literature and art history that portrayed the natural world and expressed intense emotion and passion in the history of France came from Eugene Delacroix. Rubin describes Delacroix in his earthshaking article Eugene Delacroix as the most influential and greatest French painter and writer in the history of the French Romantic Movement.

Delacroix (1798-1863) made astonishing use of colors in his paintings which many art scholars claim were very instrumental in developing the impressionist and post-impressionist activities. It is imperative to point out here that his exotic locale was important for his artistic work as not only entranced him, but also provided inspiration for his art and a source for his high and mundane artistic elements.

Delacroix works

Wilkin points out in her publication that one of the most defining literary pieces done by Delacroix was the Journal d’Eugene Delacroix which greatly displays his extensive and substantial literacy. It illuminates and describes his paintings while articulating his view on life, politics and art. As a matter of fact, his artistic beauty as described in the paper has been inspired by writings of Sir Walter Scott, Shakespeare, Goethe and Dante. Additionally, it represents unique contribution to the study of painting history.

Liberty Leading the People

Liberty Leading the People is one of the most epochal and monumental paintings made by Delacroix in response to an event in France described by biographers as a political upheaval of 1830 which almost caused the then reigning monarch called Charles X to be overthrown by the opposition. Spitzer describes the painting as a complex one that is weighed down with spectrums of emotions like despair, anger and grand heroism, and which is pregnant with historical references of the political upheaval.

It is important to note that the painting characterizes French Romanticism which is expressed in complex interaction of colors showing dark shadows and brightly reflective areas. Rubin concurs with Spitzer’s view of the painting and suggests that the complex communication of colors, like rapid-fire brushwork creates vivid contrasts which augments the sense of energy and movement as well as activating the surface of the painting.

Tim argues that the unique style of painting Delacroix’s Liberty Leading the People shows that he did not depend on the subtle and painstaking modulation of colors. Tim hinges this argument on the view that the painting has broken away from the tradition of painting and instead applied traces of shocking, brilliant and pure color pigment.>

From the diagram above, a person can clearly observe primary colors like the yellow, blue and the powerful reds which appear in sharp notes. In agreement, Trapp indicates that the effects in the picture are electrifying and vivid especially when observed against broad gray and brown areas. He concludes that this style faultlessly corresponds with the event and shows how liberty is advancing over barricades that are made of debris, and signify Parisian rebellion.

Modern Nike

Another fascinating piece of art history personifying freedom and standing in the tangled streets of France is the Modern Nike which the French refer to as Marianne. Scholars of history argue that before the 19 th century, the largely medieval city of Paris and its streets were developed without a plan and this made it to appear chaotic.

Nicholas posits that the warren, tousled and disheveled streets of Paris with narrow alleys presented major social and economic problems as they slowed down the movement of troops, trade and travel. It is in this crowded area that Delacroix artistic work personifying freedom, democracy and revolution stands.

Podro describes the piece of art clothed in a drapery circling the hips and which is being spun by wind as a picture that has a touch of classical statuary. It is on the imitation of Delacroix’s Modern Nike work that certain works like the Hellenistic sculpture with spiraling costume of the late ancient Greek and the Samothrace Nike were found.

Of utmost importance to analysts in the picture in figure I is the idea behind Delacroix exposing Marianne’s breasts, and which analyst posit that since the figure is not a real human being, the exposure indicates an embodiment of an idea. Indeed, Marianne signifies a democracy that was created in ancient Greece.

Delacroix uses partial nudity to refer to that kind of ancient democracy. In addition, the exposed breast depicts the first revolution in France which began in 1798 and created a new democratic state which was seen as an infant which needed to suckle from the breasts of its mother Marianne, and who represented freedom.

Class distinctions

Delacroix describes the phenomenon of class distinction in the history of France in the portrait below that show a menacing crowd that is partially hidden by a heavy smoke from the raging battle. Brown points out that these figures play a pivotal role of representing individuals of very different economic and social positions.

For instance, the man with a jacket, Waistcoat and a top hat falls in the category of middle class citizens while the second figure in a cap and white shirt represents a laborer and a member belonging to a lower class. Delacroix message in this picture clearly shows how in fighting a ruling aristocracy, a revolution has the power to unite different classes.

Rebellion and its consequences

The foreground of figure I above shows bodies of two dead people with the one on the left side meant to enrage those who see it. Southgate argues that Delacroix brings the excesses and brutality exhibited by the king’s troops. In essence, the impression created by the painting is that of pure propaganda.

The other dead person on the left epitomizes how the royal troops carry out despised practices of terror. The picture shows an individual in a nightshirt who seems to have been dragged from the comfort of his bedroom into the streets into the streets where he ends up being shot. In addition, there is a dead figure in uniform lying at the right side which Delacroix brings out as a royalist and an enemy who in such instances is vulnerable. At the far right end of the picture there are buildings like the Notre Dame de Paris and the great Gothic Cathedral, which symbolize the power of the king and which in the picture are flying in the tricolor triumphantly.

To sum up, the discussion has clearly indicated that the period of romanticism was characterized by flourishing intellectual movement in Europe in the late eighteenth and nineteenth centuries. Many artists, composers, writers and philosophers responded to the complexity of that age with pieces of art showing the implications of the period. Besides, in the analysis, it is clear that the romantic thought during this time largely reflected organic conception of interconnections, the society and an individual’s life.

Ann-Marie, Michel. “Delacroix and My Modern Masters”. ARTnews 9, no.8(1999): 160- 168.

Barbara, Gabriel. “Performing theory, performing gender: critical postscript”. Essays on Canadian Writing 54, no.6 (1994) 237-260.

Barkley, Wilson. “JacquesLouis David”. Smithsonian 29, no. 5(1998), 80-91.

Bordes, Philippe. Jacques-Louis David: Empire to Exile, Exhibition catalogue . New Haven: Yale University Press, 2005.

Brookner, Anita. Romanticism and Its Discontents . New York: Farrar, Straus & Giroux, 2000.

Brown, Bronwen. “The Cambridge companion to Delacroix”. Reference Review 16, no.1 (2002): 39.

Crow, Thomas. Emulation: David, Drouais, and Girodet in the Art of Revolutionary France . Rev. ed. New Haven: Yale University Press, 2006.

Galitz, Calley. “The Legacy of Jacques-Louis David (1748–1825)”. In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000.

Gibson, Michael. “Indelibly Delacroix”. The World & I 13, no. 9 (1998): 112-117.

Gossman, Lionel. “Painting the Sacred in the Age of Romanticism”. The Catholic Historical Review 97, no.3 (2011): 597-599.

Kaufman, James & Sternberg, Robert. The Cambridge Handbook of Creativity. New York: Cambridge University Press, 2006.

Laurent, Annie. “Painting and the Journal of Eugène Delacroix”. Revue de Littérature Comparée 281, no.4 (2007): 107-109.

Nersessian, Anahid. “Romanticism, History, Historicisin: Essays on an Orthodoxy”. Studies in Romanticism 50, no. 2 (2011): 377-386.

Nicholas, Williams. “Romanticism and Popular Culture in Britain and Ireland”. Nineteenth Century Literature 66, no. 1 (2011): 122-139.

Pantazzi, Michael. “Memory in landscape: Corot at the National Gallery”. Queen’s Quarterly 103, no. 2 (1996): 286-297.

Pauly, Rebecca. “Baudelaire and Delacroix on Tasso in Prison: Romantic reflections on a Renaissance martyr”. College Literature 30, no.2 (2003): 120-136.

Podro, Michael. “Wrestling with the Angel: The mystery of Delacroix’s mural”. TLS, the Times Literary Supplement 52, no.21 (2003): 30.

Pollock, Griselda . The Female Hero and the Making of a Feminist Canon.” Differencing the canon: feminist desire and the writing of art’s histories. London: Routledge, 1999.

Pontara, Tobias. “Beethoven Overcome: Romantic and Existentialist Utopia in Andrei Tarkovsky’s Stalker”. Nineteenth Century Music 34, no.3 (2011): 302-315,356.

Rosenthal, Angela. Angelica Kauffman: Art and Sensibility . New Haven, Connecticut: Yale University Press, 2006.

Rosenthal, Angelica. Angelica Kauffman: Art and Sensibility . New Haven: Yale University Press, 2006.

Rubin, James. “Delacroix’s Dante and Virgil as a romantic manifesto”. Art Journal 52, no. 2 (1993): 48.

Rubin, James. “Eugene Delacroix”. ARTnews 97, no.11(1998): 155.

Shelton, Andrew. “Ingres versus Delacroix”. Art History 23, no.5 (2000): 726-742.

Southgate, Therese. “The cover”. JAMA 285, no.4 (2001): 375.

Spitzer, Alan. “Delacroix, Art, and Patrimony in Post-Revolutionary France”. The Journal of Modern History 78, no.2 (2006): 496-498.

Stauffer, Andrew. “Dreaming in Books: The making of the bibliographic imagination in the Romantic Age”. Studies in Romanticism 50, no.1 (2011): 213-216,218.

Tim, Wilson. “Delacroix, art, and patrimony in post-Revolutionary France”. Choice 42, no.4 (2004): 649-650.

Trapp, Ferdinand. “The paintings of Eugene Delacroix: A critical catalogue: Fourth supplement and reprint of third supplement”. Choice 41, no.1(2003): 136-137.

Wilkin Karen. “Art: Drawn to Revolution”. Wall Street Journal . Web.

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Romanticism

Term in use by the early nineteenth century to describe the movement in art and literature distinguished by a new interest in human psychology, expression of personal feeling and interest in the natural world

William Blake Frontispiece to ‘Visions of the Daughters of Albion’ (c.1795) Tate

This complex shift in attitudes away from the dominant classical tradition was at its height from about 1780 to 1830, but continued to be an influence long after that. The overall characteristic was a new emotionalism in contrast to the prevailing ideas of classical restraint.

In British art, Romanticism was embraced in new responses to nature in the art of John Constable and J.M.W. Turner . Visionary artist William Blake examined man’s place in the cosmos and his relationship to God as well as exploring new ways of looking at human history. Other significant painters of history subjects were Henry Fuseli , James Barry and John Hamilton Mortimer .

Later phases of the Romantic movement in Britain embraced Pre-Raphaelites and symbolism .

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Related terms and concepts

Pre-raphaelite.

The Pre-Raphaelites were a secret society of young artists (and one writer), founded in London in 1848. They were opposed to the Royal Academy’s promotion of the ideal as exemplified in the work of Raphael

Late nineteenth-century movement that advocated the expression of an idea over the realistic description of the natural world

Neo-romanticism

Neo-romanticism is a term applied to the imaginative and often quite abstract landscape based painting of Paul Nash, Graham Sutherland and others in the late 1930s and 1940s

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How to paint like turner.

Watercolour expert Mike Chaplin tackles the language of watercolour in Turner's work through line, tone and colour

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Five contemporary artists page homage to the eighteenth-century master, William Blake

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Nicholas Alfrey

We explore the invention of photography and its relationship with the Romantic movement

Selected artists in the collection

John constable, joseph mallord william turner, henry fuseli, john hamilton mortimer, william blake, james barry, samuel palmer, selected artworks in the collection, childe harold’s pilgrimage - italy, sketch for ‘hadleigh castle’, vesuvius in eruption, with a view over the islands in the bay of naples.

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Romanticism Essay | Essay on Romanticism for Students and Children in English

February 13, 2024 by Prasanna

Romanticism Essay:  Romanticism was an artistic, intellectual, literary and musical movement that took place in Europe towards the end of the eighteenth century and mid-nineteenth century. This artistic movement was at its peak in most areas in the approximate period of 1800 to 1850.

The prominence can characterise Romanticism it gave to emotional sensitivity and individual subjectivity along with the glorification of all the nature and past preferring the medieval rather than the classical. For Romantics, imagination was the most important creative faculty, rather than reason.

You can also find more  Essay Writing  articles on events, persons, sports, technology and many more.

Long and Short Essays on Romanticism for Students and Kids in English

We are providing students with essay samples on a long essay of 500 words and a short essay of 150 words on the topic Romanticism for reference.

Long Essay on Romanticism 500 Words in English

Long Essay on Romanticism is usually given to classes 7, 8, 9, and 10.

Romanticism was an artistic period of attitude or intellectual orientation that was characterised by several works of literature music, painting, architecture, criticism and historiography in the Western Civilisation over a time period from the late 18th century to the mid-19th century.

Romanticism was first defined as the aesthetic in literary criticism around the 1800s, and it gained momentum as an artistic movement in Britain and France. Romanticism was partly a reaction to the Industrial Revolution, the political norms and noble social of the Age of Enlightenment and the scientific rationalisation of nature – all elements of modernity. It was embodied most strongly in literature, visual arts and music but had a major impact on chess, natural sciences, social sciences and education. It also had a remarkable and complex effect on politics with the romantic thinkers influencing nationalism, liberalism, conservatism and radicalism.

Romanticism can be seen as a rejection of the perception of harmony, order, calm, idealisation, balance and rationality. This typified Classism in general and Neoclassicism in particular in the late 18th century. Romanticism was also an aftermath of the French Revolution that took place in 1789. Even though often predicted as the opposition of Neoclassicism, early stages of Romanticism was shaped largely by artists trained in Jacques Louis David’s studio, including Anne Louis Girodet-Trioson, Baron Antoine Jean Gros and Jean Auguste Dominique Ingres.

The movement emphasised on intense emotions serving as an authentic source of an aesthetic experience. It gave a new emphasis to emotions such as horror, terror, apprehension and awe – especially those experienced in confronting the unique aesthetic characteristics of sublimity and nature’s beauty. Contrasting to Classicism and Rationalism of the Enlightenment, Romanticism brought back medievalism. It also brought back the elements of art and narrative perceived as truthfully medieval in the attempt at escaping population growth, industrialism and early urban sprawl. Although this artistic movement was rooted in German Sturm and Drang movement, in which emotion and intuition were preferred to the rationalism of Enlightenment, the ideologies and events of the French Revolution also served as proximate factors. It elevated ancient customs and folklore to something noble but also spontaneity as a helpful characteristic.

Romanticism gave a high value to the achievements of ‘heroic’ artists and individualists, whose example it maintained would raise the quality of the society. It also helped in promoting the individual an individual’s imagination as a critical authority gave the freedom of classical notions of forms in art. The period of Romanticism had a few elements which stood out in the Western Civilisation. Romantics had belief in individuals and the common man, and they shared their love for nature. Romanticism showed interest in the past, supernatural, gothic and bizarre things. They had great faith in the inner experience and the power of imagination.

There was a strong recourse to the natural and historical inevitability – a spirit o the age in the representation of its ideas. In the second half of the nineteenth century, Realism was offered, which served as the polar opposite of Romanticism. The decline of Romanticism started during this time which was associated with multiple processes, including political and social changes and spread of nationalism.

Short Essay on Romanticism 150 Words in English

Short Essay on Romanticism is usually given to classes 1, 2, 3, 4, 5, and 6.

Romanticism was an intellectual as well as an artistic movement that occurred in Europe between the period of the late eighteenth and mid-nineteenth centuries. Recognised broadly as a break from the Enlightenment’s guiding principles – which confirmed reason as the foundation of all the knowledge – the Romantic Movement emphasised on the importance of individual subjectivity and emotional sensitivity.

The nature of the Romantic Movement may be approached with the primary importance of free expression of the artist’s feelings. To express the feelings of the artists, Romantics believed that the content of the art should come from the imagination of the artist. Not specifically for Romanticism, there was widespread strong belief importance give to nature. This particularly affected the nature of the artist’s work, when the artist was surrounded by it – preferably alone. Contrary to the very social art of the Enlightenment, the Romantics were distrustful of the world, tended to be in close connection with nature.

10 Lines on Romanticism in English

• Romanticism is not an era that can be easily defined by its techniques.
• The principles of the age characterise this movement.
• Over science, reason and industrialisation Romanticism gave importance to spiritualism, emotions and nature.
• This period of artistic movement focused on freedom from authority over a traditional focus on society.
• The period of Neoclassicism corresponds with Romanticism only in the period.
• The ideals of the two movements Romanticism and Neoclassicism, were the direct opposite.
• Romantic music was technically adventurous and highly innovative.
• Along with showing the power of nature, many Romantic artists used their paintings to showcase natural disasters.
• Most famous Romantic art depicting natural disaster was The Raft of Medusa – a masterpiece by Theodore Gericault’s.
• Several paintings of the era dipped into fairy tales folklore and mythology for inspiration.

FAQ’s on Romanticism Essay

Question 1. Which is the largest defining painting of the era?

Answer: Francisco Goya’s painting El Tres de Mayo 1808 (May 3) is considered one of the largest defining paintings of the era.

Question 2.  What did Romanticism focus on?

Answer: Romanticism emphasised nature, emotions, individuality and spiritualism over industrialisation, science and reasoning.

Question 3. When did Romanticism begin?

Answer: The Romantic Movement began approximately in the year 1770.

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Neoclassicism vs Romanticism – What’s the Difference?

During the early to mid-18th century, two different art movements emerged in Europe and would run parallel to one another for a number of years, shaping the course of artistic expression.

Neoclassicism was defined by its very close adherence to the ideals and practices of Greek and Roman traditions while Romanticism was a genre that was centered around the varying degrees of human emotion, as well as individuality.

While the Romantic era is believed to have started in France, the Neoclassicism period began in Italy around 1750. The two movements were often at odds with one another in the same areas of Europe, but represented very different ideals.

Both styles of art were mostly reactionary to the time periods that either immediately preceded them, or had already begun to emerge in Europe.

The Neoclassicism movement was based more on the common Greek and Roman focus of viewing everything through a somewhat objective lens, as well as working to appeal to the human intellect and methods of reasoning.

Romanticism, as the name indicates, was largely centered on raw human emotion that was the driving factor behind the creative, aspirational nature of humans.

A more in depth study on both the Neoclassicism vs Romanticism reveals how artists from each movement used their different ideals and motivations to create some of the most stunning artwork in history.

Neoclassicism vs Romanticism

Neoclassicism and Romanticism were two contrasting cultural movements in the late 18th and early 19th centuries. Neoclassicism, prevalent from the mid-18th to late 18th century, emphasized reason, classical themes, and clean aesthetics. On the other hand, Romanticism, spanning the late 18th to mid-19th century, celebrated emotion, imagination, and individualism.

Neoclassicism Origins

The Neoclassicism era was heavily influenced by a wide range of visual arts and means of expression that had been captured many years prior.

Many Neoclassicism artists sought to differentiate themselves from the Renaissance movement that had dominated Europe and every form of artistic expression for well over a century before.

Many young artists traveled to various parts of Europe, including the regions that were most heavily-influenced by Greek and Roman thinking and artwork.

These artists returned to their home countries of France, Spain and other areas with a newfound appreciation for the artwork that was created by masterful painters and sculptures during the height of the Greek and Roman culture many years prior.

Instead of focusing intently on religious themes as the painters of the Renaissance period had done, many artists were captivated by the beliefs and stories that were passed down in Roman and Greek culture for centuries before the Renaissance movement began.

The Neoclassicism era was very much a response and clear departure from the Rococo movement that had also emerged around the same time period.

The Neoclassicism movement began to taper down in the early 19th century and finally had been passed by in the latter half of the 1800’s.

Many artists developed stunning paintings that harkened back to the time when Greek and Roman philosophy was praised for its element of enlightened thinking. According to art historians and critics, the art movement is credited with having a lasting effect on the styles of art that would come after it.

Romanticism Origins

While Europe was being inundated with artistic styles that were based on past cultures or various ideals, Romanticism sprang out in the late 18th century and quickly caught on with young, aspiring artists as it was inherently new in many ways.

Compared to the art genres that had been present in Europe up until the early 1700’s, Romanticism brought a fresh, new perspective that explored the many different emotions of humankind.

Many of the earliest paintings of the Romanticism movement showed a stark difference from the overtly religious works that had been the focus of the highest levels of European society.

The influences of both the Catholic church and the Protestant Reformation reached deep into every corner of the everyday life of Europeans up until the 1700s, but after the middle of the 18th century , artists began to seek out new and exciting elements that would drive them to develop some of the greatest works from what we now know as the Romanticism era.

Also Read: Romanticism vs Realism

The Romanticism era artists worked to portray humanity in a new and more realistic way that truly highlighted all of the faults, as well as achievements that mankind had made.

In many ways, the Romanticism period was a reaction to the Neoclassicism movement that was taking place throughout Europe at the same time. The overarching theme of the entire Romanticism movement can be summarized by the word ‘passion.’

Characteristics of Neoclassicism Art

When it started in the mid-1700’s, Neoclassicism closely resembled the Renaissance period on the surface. Many works from both periods might appear to be similar in nature as they have relatively the same level of depth and coloration, as well as composition.

The true differences start to show when one examines the paintings of the Neoclassicism era more closely to gain a better understanding of the underlying message that each work had.

Many Neoclassicism paintings were centered around stories and ideas that could trace their origins in ancient Greek or Roman culture.

As the 18th century closed and another one began, artists increasingly focused their efforts on promoting ideas that focused on order and balance, as well as the principles of reason. These were all areas of art that had largely been ignored during the periods that came before Neoclassicism.

Also Read: Rococo vs Neoclassical Art

Some of the most well-known artists from the Neoclassicism movement sought to mimic the same style that some of the most prolific Greek and Roman painters had been able to create.

This concept led to many art critics and enthusiasts at the time to name the movement under the Neoclassic moniker as it pointed back towards the ‘classic’ era when Greek philosophers and Roman artists followed after ideals that held reason and human logic in high esteem over things like religious faith.

The paintings of the Neoclassicism period were created with strong linear concepts that heavily-focused on vertical and horizontal imagery.

The figures in most works were painted in a way that allowed the viewer to have a clear image of the forms, unlike the Renaissance and other movements that were taking place in Europe at this time.

The colors that were mainly used by Neoclassicism artists consisted of common hues that were not as vivid as tones used in other movement styles.

Characteristics of Romanticism Art

The Romanticism era was filled with life and passion as many painters embraced the idea of depicting humankind in its true, unfiltered form.

Painters focused on a variety of different ideals, stories, and historical events in their Romanticism paintings. They painted many different works that were all related to the deepest, most basic elements of human emotion that dealt with love, war, beauty, exploration, and many other ideals.

Many art historians and critics have noted that the Romanticism movement brought new focus on human characteristics that had largely been either ignored or dampened throughout the other movements leading up to the Romanticism period.

As the Industrial Revolution began to take the world by storm in many developed countries, artists sought to paint images that reminded people of their own sense of individualism.

Nature was a very prominent focus of Romanticism painters during the early phases of the movement, as well as when the era reached its peak.

Artists would commonly paint people in a natural setting that portrayed both humans and nature in a way that highlighted their own intrinsic beauty. In fact, artists that were from the regions of Germany and Russia developed their own certain style of Romantic painting that solely focused on nature.

In addition to works depicting the mystical properties of nature, Romantic paintings also painted in ways that left visible brushstrokes which were often used to intensify certain elements of the work.

Romanticism paintings typically featured bold colors and light and dark differences that sometimes created a ‘glowing’ sense of reality. Throughout the movement as a whole, Romanticism was a period that centered around depicting the many different human emotions in their most pure form.

Main Differences in Neoclassicism and Romanticism

According to the most respected art critics and historians, Neoclassicism differed from Romanticism on a very basic level.

Neoclassicism paintings were done in a way that focused more on things like reason and objective thinking. Artists of the Neoclassicism era portrayed different scenes and figures with very clear structure and composition.

It was intended as a clear departure from the highly ornamental nature of Rococo painting , which was popular at the same time the Neoclassicism period began to form and reach its peak.

Neoclassicism paintings were very much focused on historical figures and events that existed many years before the actual art period took place. Artists worked to portray various scenes from famous Greek plays or theatrical stories that were popular during the Roman Empire.

The works of the Neoclassicism movement portrayed these stories and figures in a very clear manner that displayed everything in the exact shape and size as the viewer would naturally perceive them.

Romanticism paintings consisted of more bold colors that were often brighter or even darker than they naturally appeared.

Many notable art historians and critics believe that this was done in such a manner so as to portray the underlying sense of emotions that the figures in each painting were experiencing. Romanticism artists often portrayed events or stories in ways that captured the climax of the specific subject matter in a way that communicated a deep level of raw emotion with the viewer.

Instead of the more natural, realistic depictions of the Neoclassicism period, Romanticism artists painted works that were highly subjective.

Some of the most famous Romanticism paintings were more inspirational and aimed toward evoking certain emotions from the viewer, or communicating the emotional state of the figures portrayed in the paintings to the viewer. It was very much a movement that embraced human creativity in relation to the natural world around them.

The Romanticism movement took place at the same relative time frame Neoclassicism did in many parts of Europe.

Various artists of the Romanticism style sought to differentiate themselves from their colleagues by appealing to the more passionate aspects of human existence rather than stories or historical events.

Both art movements represent two methods of presenting artwork and artistic expression that still endures into the modern era.

Romanticism: A beginner’s guide

Nightmares, violence, and awe-inspiring landscapes—no wonder we're still fascinated by Romanticism.

c. 1800 - 1848

A beginner's guide to Romanticism

By Dr. Beth Harris , Dr. Steven Zucker

Orientalism

By Dr. Nancy Demerdash

East of who? Europe’s political ideology created the notion of the Orient in order to subjugate and control it.

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An Exploration of Romanticism Through Art and Poetry

• Resources & Preparation
• Instructional Plan
• Related Resources

In this lesson, students use art and poetry to explore and understand major characteristics of the Romantic period. First, students are introduced to the historical, societal, and literary characteristics of the Romantic period. Next, students deepen their understanding of Romanticism through an evaluation of William Wordsworth's definition of poetry. Students then complete an explication of a painting from the Romantic period, noting its defining characteristics. They use the TP-CASTT method to complete a literary analysis of Wordsworth's poem "The World is Too Much With Us," using their knowledge of Romantic characteristics to classify the poem as Romantic. In the final session, students begin to write an essay showing their understanding of Romanticism.

Featured Resources

• Poetry Analysis—TP-CASTT : This resource explains the TP-CASTT method of poetry analysis and provides a blank chart for use in analysis.
• Characteristics of Romanticism : This printable chart lists characteristics of Romanticism, along with explanations of each.
• Is It Romantic? : Students can use this chart to identify elements from any work and explain how they reflect characteristics of Romanticism.

From Theory to Practice

In the introduction of his book Reading in the Dark , John Golden observes that students "tend to be visually oriented, able to point out every significant image in a three-minute MTV music video, but when it comes to doing the same with a written text, they stare at it as if they are reading German." Golden goes on to state "the skills they use to decode the visual image are the same skills they use for a written text" (xiii). Golden's book outlines how to use film to help students practice their skills so they can then be transferred to written texts. This lesson is based on the same principle but uses a painting instead of a film to reinforce the skills that students use to analyze a work of literature. Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 2. Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience.
• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 7. Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• Copies of "The World Is Too Much With Us" by William Wordsworth
• Characteristics of Romanticism  
• Statements that Embody or Suggest Romanticism  
• Wordsworth Quote Word Web  
• Wordsworth Quote Word Web—Teacher Copy  
• Artwork Explication: The Raft of the Medusa  
• Is It Romantic?  
• The Raft of the Medusa Romantic Characteristics  
• Essay Assignment  
• Romanticism Essay Rubric

Preparation

• Familiarize yourself with the historical background behind Théodore Géricault's painting The Raft of the Medusa .  
• Test the ReadWriteThink The Raft of the Medusa interactive on your computers to familiarize yourself with the tool.  
• Make copies or transparencies of all necessary handouts, including two copies per student of the Is It Romantic? handout.  
• Print out a copy of the Wordsworth Quote Word Web Teacher Copy for your reference.  
• Familiarize yourself with Romanticism with the History Guide's Toward a Definition of Romanticism .

Student Objectives

Students will

• identify and explain how the characteristics of a literary genre are reflected in a work of art and piece of literature.  
• examine the details in a work of art by sketching and labeling its major elements.  
• synthesize knowledge of the ways that a painting uses subject, symbolism, color and light, composition, movement, and perspective to draw conclusions about the overall tone and theme of a work of art.  
• analyze the overall significance, meaning, and theme of a work of art and literature through an explication of its individual elements.  
• explain how specific elements (diction, symbolism, characterization, tone, and elements of plot) establish the tone and theme of a work of art and a piece of literature.  
• explain how the elements establish both a work of art and a piece of literature as examples of Romanticism.

Session One

• Begin the lesson by asking students to write a paragraph response to the following question: What does it mean to call something Romantic ? Have students share their responses with the class and discuss how students' answers are similar and different. Write several responses on the board and save them for later.
• Display a transparency of the Romanticism Statements , and as you read through them, have students indicate on a sheet of paper whether they personally agree or disagree with each statement by recording "A" for agree or "D" for disagree.
• 3 or fewer As = "not Romantic"  
• 4 or 5 As = "sort of Romantic"  
• 6 or 7 As = "highly Romantic"  
• 8-10 As = "extremely Romantic"
• How has your understanding of Romanticism changed?  
• Briefly describe your definition of Romantic.  
• How is your definition of Romantic similar to and different from Romanticism?

Session Two

• What are the five characteristics of Romanticism?  
• What were some of the basic Romantic beliefs?  
• Do you think these beliefs are relevant today? Why or why not?
• After a whole-class discussion of these characteristics, break the class into five small groups and have each group discuss one of them. Do group members agree or disagree with the Romantic philosophy on this point? Why? Each group should be prepared to present their position to the class during the next session.

Session Three

• Have each of the five groups from Session Two present the results of their discussion to the whole class. Review the characteristics of Romanticism with students before moving on to the next activity.
• Write the phrase "the spontaneous overflow of powerful feelings" on the board. Introduce the concept by explaining that it is from an introduction William Wordsworth wrote for a book of poems titled Lyrical Ballads . Explain that the book, published in 1802, contains poems written by Wordsworth and Samuel Coleridge, and is considered by many to be the beginning of the Romantic Movement in literature.
• Pass out the Wordsworth Quote Word Web handout to students. Use the handout to lead a discussion of how Wordsworth's statement corresponds with the characteristics of Romanticism. Students can refer back to the Characteristics of Romanticism handout, if necessary. You might also wish to review connotation and denotation before students complete this activity.
• First have students identify the denotative meanings for the words "spontaneous," "overflow," "powerful," and "feelings." Have students refer to classroom or online references such as Merriam-Webster Online as needed.
• Have students record their responses on the Wordsworth Quote Word Web handout. Use the notes on the Wordsworth Quote Word Web Teacher Copy to guide students' responses.
• Then ask students to suggest some possible connotative meanings for the words on the Wordsworth Quote Word Web . Encourage students to consider both positive and negative connotations of the words. For example, a "spontaneous" person can be seen as both exciting and interesting, as well as disorganized. Make a list of students' responses.
• Then ask students to consider both the denotative and connotative meanings and describe how all of these words connect to one or more of the characteristics of Romanticism.

Session Four

• What images do you see in Géricault's painting?  
• What do you think Géricault's purpose was in depicting this event?  
• What do you like about the painting? Why?  
• What don't you like about the painting? Why?
• Then have students visit the ReadWriteThink The Raft of the Medusa interactive. Review how this tool is used, and then allow enough time for students to explore the painting. They should click on each highlighted area to learn more and respond to prompts about the painting. Have students print out their work when they are finished.  
• A "pyramid of hope" is created in the center of the painting by dead figures at the bottom, dying figures in the middle, and a topmost figure waving a rag at the top.  
• A large wave in the mid-left side of the painting threatens to break on the raft.  
• Rays of sunlight breaking on the horizon at the top of the painting.  
• On the right side a tiny image of a rescue ship can be seen on the distant horizon.  
• In the far right hand corner of the raft is a bloodstained axe.
• After students have completed the interactive activity, distribute the Artwork Explication: The Raft of the Medusa handout. Have students work on completing the sheet with a partner or in small groups during the rest of this session. Students should then complete this activity for homework.

Session Five

• Review students' completed Artwork Explication: The Raft of the Medusa sheets. Take time to answer any questions students have about the assignment before moving on to the next step.
• Review with students the five primary characteristics of Romanticism. Then distribute the Is It Romantic? handout. Have students complete the chart by recording examples from the painting that illustrate characteristics of the Romantic period in the first column. In the second column they should explain how each example fits the Romantic characteristic.
• After students complete the handout, discuss the following question as a class or in small groups: What characteristics of the painting The Raft of the Medusa qualify the work as Romantic? If students work in small groups, have them record their responses and report back to the class. Circulate among the groups as well, in order to monitor students' understanding of the task. Examples of possible student responses can be found on the The Raft of the Medusa Romantic Characteristics sheet.

Session Six

• Title: Ponder the title before reading the poem.  
• Paraphrase: Translate the poem into your own words.  
• Connotation: Contemplate the poem for meaning beyond the literal.  
• Attitude: Observe both the speaker's and the poet's attitude (tone).  
• Shifts: Note shifts in speakers and in attitudes.  
• Title: Examine the title again, this time on an interpretive level.  
• Theme: Determine what the poet is saying.
• Distribute copies of the poem " The World Is Too Much With Us " by William Wordsworth as well as the Poetry Analysis—TP-CASTT handout. On the first page of the handout are analysis questions to help guide students in using the steps in the TP-CASTT method to complete an analysis of the poem. Students will use the answers to the analysis questions to complete the blank TP-CASTT chart on the second page of the Poetry Analysis—TP-CASTT handout.
• Circle the projected image of the following words in the poem's title: "World," "Too Much," "Us."  
• Ask students to identify the denotative and connotative meanings for each of the circled words.  
• Demonstrate how students should mark up the copy of their poem with notes about the connotative and denotative meanings of the words in the title.
• Use the image of the text projected onto a white board as a tool to help guide students through each step of the TP-CASTT process. As you work through each step, have students record their responses on the blank TP-CASTT chart. Alternately, you may wish to complete the first one or two steps as a group and then have students work in small groups to compete the chart.

Session Seven

• Review with students the five primary characteristics of Romanticism. You may wish to have students refer back to the Characteristics of Romanticism handout.
• Distribute the Is It Romantic? handout. Have students complete the chart by recording examples from Wordsworth's poem " The World Is Too Much With Us " that illustrate characteristics of the Romantic period in the first column. In the second column they should explain how each example fits the Romantic characteristic. Encourage students to use the notes that they created in the previous session to help them complete the chart. Wikipedia provides additional background information on Proteus and Triton , references Wordsworth uses in the poem. You might want to share this information or have students read these pages as an additional tool in classifying this poem as Romantic.
• After students complete the handout, discuss as a class or in small groups the characteristics of the poem " The World Is Too Much With Us " that qualify the work as Romantic. If students work in small groups, have them record their responses and report back to the class. Circulate among the groups as well, in order to monitor students' understanding of the task.

Session Eight

• Have students begin to apply their new learning by beginning to write an essay using one of the options on the Essay Assignment sheet. Allow students time in class to begin their essays.
• Students may complete the essays for homework, if necessary. Share the Romanticism Essay Rubric with students to use as a guide before they begin to write and allow time for student questions about the assignment and rubric.

Student Assessment / Reflections

• Evaluate the thesis statement, organization, supporting evidence, analysis, fluency, and mechanics of students’ essays using the Romanticism Essay Rubric . Provide feedback to students based on the rubric evaluation.  
• Informally assess students’ participation in whole- and small-group activities. Did students participate fully in discussions and other activities? Did students freely share ideas and opinions? How well did students work cooperatively within their groups? How well did students demonstrate an understanding of Romanticism and Romantic characteristics?  
• Use students’ Is It Romantic? sheets to check for their understanding of the Romantic characteristics of The Raft of the Medusa and “ The World Is Too Much With Us .”  
• Review students’ answers to the Artwork Explication: The Raft of the Medusa handout to check how well they have analyzed the piece of art for diction, characterization, imagery, symbolism, tone, plot, and theme.
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Through discussion, drawing, and writing, students compare how William Carlos Williams's poetry and Cubist and Precisionist painting employ similar artistic strategies, enhancing their understanding of both kinds of text.

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The Art Movement of Romanticism Essay Example

The art movement of Romanticism was an artistic, intellectual, and literary trend that originated in Europe. This movement was viewed as the strong reaction to the Industrial Revolution in Europe. The art movement of Romanticism gained its momentum towards the end of the nineteenth century when neoclassicism started to play a leading role in terms of painting. Neoclassicism as a heroic element in combination with revolutionary idealism produced an emotive style that was romantic in nature. This combination emerged during the French Revolution as the reaction against the avoided academic art. The tenets that were associated with the movement of Romanticism included returning to nature as emphasized by the spontaneous plein-air type of painting, believing in humanity’s goodness, promoting justice for all individuals, and believing in both sense and emotion.

The Origin of the Art Movement Geographically

The art movement of Romanticism originated in Europe and gained momentum in France and Britain during the beginning of the nineteenth century. When the French Revolution of 1789 finally ended, a crucial social change took place (Blanning 37). Continental Europe was particularly weakened by wars, revolutions as well as various political crises. Therefore, the European leaders met at the Congress of Vienna with the aim of reorganizing the affairs of Europe after the Napoleonic Wars because the Europeans had not fulfilled their hopes for equality, fraternity as well as liberty. Respect for a person and people who take responsibility were initially some of the basic elements as far as neoclassical style of painting was concerned. Thus, the respect for an individual led to the emergence of a new phenomenon which was known as emotional intuition. Romanticism put a great emphasis on imagination and emotion, and it appeared to respond to the disillusionment caused by the values of reason of the Enlightenment and the order caused by the aftermath of the French Revolution in1789 (Gardner and Kleiner 28). Therefore, some artists started celebrating emotional intuition and individual perception becoming known as romantics. This, in turn, resulted in the emergence of various styles in art.

The early commencement of the art movement of Romanticism occurred during a period of war, particularly the Napoleonic Wars. Those laid the foundation of Romanticism as a result of the political turmoil as well as the social crisis that were the consequences of the constant fights and battles. On the whole, this movement was the counterpart of the Enlightenment, against which it actively reacted (Blanning 22). In general, the art movement of Romanticism took place when various political activities were unfolding in the states. The movement started during the end of the French Revolution and lasted to the period of Enlightenment hence counteracting it.

People who Were Instrumental in Forming the Aesthetics

The aesthetics of the art movement of Romanticism comprised not only of the visual arts of painters but also of various works of poets, writers, and composers who discussed below.

Instrumental Painters

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To begin with, the art movement of Romanticism influences various painters, such as Henry Fuseli, Francisco Goya, Caspar David Friedrich, William Turner, John Constable, Theodore Gericault, and Eugene Delacroix who became quite instrumental figures (Gunderson 26). These painters largely expressed their emotions and imaginations through their paintings of nature. For instance, a painter could represent the animal that they liked with much emotion and passion. These painters were instrumental in contributing to the art movement of Romanticism as their work was aimed at accomplishing the purpose of the movement, which entailed appreciating nature and valuing emotions and imagination.

Instrumental Poets

There were various poets who were instrumental in forming the aesthetics of the art movement of Romanticism. They included William Blake, Robert Burns, Lord Byron, John Keats, and Samuel Taylor Coleridge. In fact, William Blake was both a poet and an artist. He created the works that were related to the themes of innocence and experience: for example, “Jerusalem” and “The Four Zoas” (English 41). William’s poetic style and his experience in mysticism regarding nature were instrumental in commencing and developing the art movement of Romanticism. Moreover, Robert Burns was very important as far as the development of romantic poetry is concerned. He also made huge contributions to radical politics writing in English and Scottish. Furthermore, Samuel Taylor Coleridge helped introduce England to the concept of German idealism, one of the crucial strands of Romanticism. Then, there was John Keats, a romantic poet from England. His work was instrumental in developing Romanticism as well due to his “Endymion” and such poems as “Bright star.” Moreover, Lord Byron also wrote various romantic poems, such as “She Walks in Beauty,” making a significant contribution to the growth of the art movement of Romanticism (Gardner and Kleiner 43).

Instrumental Writers

There were various writers who largely contributed to the evolution of romanticism. The most prominent were Victor Hugo, Alexandre Dumas, Gustave Flaubert, Honoré de Balzac, Mary Shelley, and Sir Walter Scott. In fact, Sir Walter Scott was a particularly crucial romantic novelist: his novels gained a huge global recognition (Gardner and Kleiner 62). He was also a playwright and a poet whose notable works include “Rob Roy” and “Waverley.” Furthermore, Mary Shelley was an English novelist, essayist, and dramatist. She was especially radical when the subject of politics was discussed as explained by her expression of support for social cooperation comparing to the other writers who were individualistic romantics in general. Honoré de Balzac used his individual real life experiences in developing Romanticism (Blanning 62). He was one of the most influential realist writers creating characters that were associated with moral ambiguity. He did significant work collecting short stories, and “La Comedie Humaine” could serve as a perfect example of his works. In addition, Alexandre Dumas was one of the writers who were instrumental in contributing to the art movement of Romanticism by writing historical dramas. Victor Hugo, on the other hand, was the greatest author from France. He had a considerable impact by writing such novels as “Les Miserables.” Finally, Gustave Flaubert was another influential writer from France who wrote his works combining literary realism with romantic traditional aspects (Gardner and Kleiner 31).

The Manifesto of the Art Movement of Romanticism and its Accomplishments

The art movement of Romanticism had a manifesto aiming at achieving specific objectives and goals. The movement wanted to accomplish various purposes. Firstly, the movement had the objective of developing the appreciation of beauty as far as nature was concerned (Gardner and Kleiner 34). Romanticism was also aimed at exalting emotions rather than reason and senses rather than intellect. This art movement also attempted to establish a turning point on the self in addition to improving the analysis of personality, mood, and mental potential. The fourth objective of Romanticism as an art movement was to stay focused only on genius, hero, in other word, some exceptional figure in order to focus on their inner struggles as well as passions. The movement was also aimed at proposing a new opinion regarding artists who should be viewed as supreme creators whose spirit of creativity was more important than the strict adherence to the rules, which were merely formal and traditional procedures. The movement also pursued the objective of placing an emphasis on imagination as a key way to a transcendent experience (English 27). Furthermore, the movement had a deep interest in various folk cultures and cultural origins that were both national and ethnical. Finally, the last aspect of Romanticism was related to the predilection for the mysterious, the occult, the deceased, the satanic, the weird, and the exotic. On the whole, the art movement of Romanticism succeeded in accomplishing all its goals and objectives. The movement managed to validate strong emotions as the aesthetic experience’s authentic source placing renewed emphasis on such emotions as terror, horror, and appreciation as well as awe (English 71). Romanticism also led to the elevation of folk art in addition to ancient customs. Moreover, the art movement of Romanticism embraced the exotic and unfamiliar art, therefore, accomplishing one of its purposes. In addition, the movement went beyond its set aims and the ideals of classicism in the elevation of the renewed medievalism and art and narrative elements, which were initially perceived as authentically medieval, in order to escape the confines of industrialization, population growth, and urban sprawl.

Tracing the Art Movement of Romanticism through Time

Relation to Time Periods

The above identified elements of the art movement of Romanticism can be related to the time period of the Industrial Revolution and the Neoclassical Period. Firstly, during the Industrial Revolution, especially in 1830-1840, which marked the most influential time of the Romantic Period, society reverted back to the fashion of the Middle Ages (Blanning 98). Thus, the voluminous skirts were introduced as well as the dresses with large sleeves. The only difference was the fabric as the light material in terms of both weight and color was used. In particular, the women at the time favored organdy, embroidered muslin, and unbleached batiste. On the other hand, during the Neoclassical Period, another time when romanticism was heavily referenced, fashion was heavily influenced as well. For instance, women clothing had significantly high waistline, a trend that was sometimes known as the Empire silhouette. The style of this time put emphasis more on the narrow and tight bodies and large skirts and sleeves that were typical of the art movement of Romanticism.

Relation to Fashion and Textile Trends of the 21st Century

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39 Facts About Samara (Samarskaya Oblast)

Written by Iolanthe Weiss

Modified & Updated: 25 Jun 2024

Reviewed by Jessica Corbett

• Volga River Facts

Samara, located in the Samarskaya oblast of Russia, is a vibrant city with a rich history and mesmerizing landscapes. Nestled along the banks of the Volga River, it is a bustling hub of culture, industry, and innovation. With a population of over 1 million people, Samara boasts a diverse and dynamic community.

From its origins as a prominent trade center in the 16th century to its role as a key aerospace and automotive manufacturing hub in modern times, Samara has undergone significant development and transformation. This article will delve into 39 fascinating facts about Samara, highlighting its landmarks, traditions, and hidden gems that make it a remarkable destination.

Key Takeaways:

• Samara, also known as Kuybyshev, is a vibrant city on the Volga River, famous for its space exploration, stunning landscapes, and rich cultural heritage. It’s a must-visit for history buffs and nature enthusiasts alike.
• With its iconic Stalin’s Bunker, Zhiguli Mountains, and vibrant nightlife, Samara offers something for everyone. From delicious traditional cuisine to world-class universities, this city is a treasure trove of history, culture, and adventure.

Samara is situated on the banks of the Volga River.

As the largest city on the Volga River, Samara boasts stunning waterfront views and offers various water-based activities for locals and tourists.

It is the sixth-largest city in Russia, with a population of over 1 million people.

Samara is a bustling metropolis with a diverse population and a vibrant urban atmosphere.

The city was founded in 1586 as a fortress.

Samara has a rich history dating back over four centuries, and its founding as a fortress played a significant role in its development.

Samara was known as Kuybyshev from 1935 to 1991.

During the Soviet era, the city was renamed Kuybyshev in honor of Valerian Kuybyshev, a prominent Bolshevik leader.

The iconic Stalin’s Bunker is located in Samara.

This underground complex served as a shelter for Joseph Stalin during World War II and is now open to the public as a museum.

Samara is often referred to as the “Gateway to Space.”

The city houses the renowned TsSKB-Progress Rocket and Space Center , which has played a critical role in Russia’s space exploration efforts.

The renowned Zhiguli Mountains are located near Samara.

This picturesque mountain range offers breathtaking views and countless opportunities for outdoor activities.

Samara is home to the famous Samara Space Museum.

Here, visitors can learn about the history and achievements of Russian space exploration through interactive exhibits.

The Samara Embankment is one of the longest in Europe.

Stretching over 5 kilometers along the Volga River , the embankment offers stunning views, recreational areas, and vibrant nightlife options.

Samara is known for its beautiful beaches.

During the summer months, locals and tourists flock to the sandy shores along the Volga River to enjoy sunbathing and various water sports.

The Samara Academic Opera and Ballet Theater is a cultural gem in the city.

Known for its magnificent performances and stunning architecture, the theater is a must-visit for art enthusiasts.

The Zhiguli Beer Factory is located in Samara.

This famous brewery produces one of Russia’s most beloved beers, known as Zhigulevskoye.

Samara is a major transportation hub in Russia.

The city has a well-developed network of roads, railways , and airports, connecting it to other parts of the country and beyond.

The iconic Samara Square is the geographical center of the city.

Surrounded by historic buildings and bustling shops, the square is a popular gathering place for locals and tourists alike.

Samara is home to several prestigious universities and research institutions.

The city offers excellent educational opportunities, attracting students from all over the world.

The Samara State Aerospace University is renowned for its aerospace engineering programs.

It has produced many accomplished professionals in the field of space exploration.

The Samara State Medical University is one of the top medical institutions in Russia.

It has a strong reputation for its academic excellence and medical research.

Samara has a rich literary heritage.

Many prominent Russian writers, including Maxim Gorky and Alexey Tolstoy, have ties to the city.

The Samara Philharmonic Orchestra is known for its exceptional performances.

It attracts renowned musicians and hosts various concerts throughout the year.

The city’s architectural landmarks include the Samara Academic Drama Theater.

This beautiful theater showcases outstanding performances and boasts a stunning neoclassical design .

Samara is famous for its vibrant nightlife.

The city offers a wide range of bars, clubs, and restaurants that cater to different tastes and preferences.

The Samara Krasnaya Glinka Airport offers domestic and international flights.

It serves as an important gateway to the city and the surrounding region.

The Samara Railway Station is one of the busiest in the country.

It connects Samara with major cities across Russia and neighboring countries.

The Samara State Art Museum houses a diverse collection of artworks.

Visitors can explore various artistic styles and admire masterpieces by both Russian and international artists.

The Zhiguli Hydroelectric Station is located near Samara.

This impressive structure generates electricity and plays a vital role in the region’s energy production.

The Samara Arena hosted matches during the 2018 FIFA World Cup.

It is a state-of-the-art stadium that can accommodate over 40,000 spectators .

Samara is a haven for nature enthusiasts.

The city is surrounded by picturesque landscapes, including national parks and forests.

The Samara State Historical and Architectural Museum is a treasure trove of local history.

It showcases artifacts and exhibits that highlight the city’s past and its contributions to Russian history.

Samara is a city of festivals.

Throughout the year, various cultural events and celebrations take place, attracting artists and performers from all over the world.

The iconic Stalin’s House of Culture is a symbol of Soviet architecture.

It is now a popular cultural center that hosts concerts, exhibitions, and theatrical performances.

The Samara Square named after V.V. Kuibyshev is a major gathering place for locals.

Surrounded by shops and cafes, it provides an ideal spot for people-watching and enjoying the city’s vibrant atmosphere.

Samara has a thriving film industry.

The city hosts several international film festivals and has produced many acclaimed Russian filmmakers.

The Kurumoch International Airport serves as a gateway to Samara.

It offers domestic and international flights , connecting the city to destinations around the world.

The iconic Samara State University is one of the oldest and most prestigious universities in Russia.

It has a rich academic heritage and offers a wide range of degree programs .

Samara is known for its delicious traditional cuisine.

Visitors can savor local dishes such as zharkoye, pirozhki, and Samara-style pickles.

The Samarskaya Luka National Park is a paradise for outdoor enthusiasts.

It boasts diverse ecosystems, stunning landscapes, and numerous hiking trails.

The Samara State Technical University is renowned for its engineering and technical programs.

It prepares students for successful careers in various industries.

Samara is a city of sports.

The city has produced many accomplished athletes and has hosted numerous national and international sporting events .

Samara is a city of bridges.

The city’s numerous bridges, including the iconic Zhiguli Bridge, provide convenient river crossings and add to the city’s architectural charm .

As you can see, Samara (Samarskaya oblast) is a city teeming with history, culture, and natural beauty. Whether you are interested in exploring its architectural wonders, immersing yourself in the arts, or enjoying the outdoor adventures it offers, Samara is sure to captivate your heart. Plan a visit and experience the magic of this remarkable city firsthand!

In conclusion, Samara, also known as Samarskaya oblast, is a fascinating city with a rich history and numerous interesting facts. From its iconic landmarks to its vibrant culture, there is so much to discover and explore in this beautiful region of Russia. Whether you are interested in architecture, nature, or simply immersing yourself in the local atmosphere, Samara has something to offer everyone.With its strategic location on the Volga River and its diverse population, Samara has grown into a thriving city that offers a unique blend of modernity and tradition. Its impressive aerospace industry, stunning beaches, and vibrant nightlife make it an ideal destination for both business and leisure travelers. Don’t miss the opportunity to experience the warmth and hospitality of the Samara people, who are known for their friendly nature and welcoming spirit.Plan your visit to Samara and prepare to be captivated by its charm and allure. Whether you’re strolling along the iconic promenade , exploring the beautiful parks, or indulging in the local cuisine, you’re sure to create memories that will last a lifetime in this enchanting city.

Q: What is the population of Samara?

A: According to the latest estimates, the population of Samara is around 1.2 million people.

Q: What is the best time to visit Samara?

A: The best time to visit Samara is during the summer months from June to August when the weather is warm, and various outdoor activities can be enjoyed.

Q: Are there any famous landmarks in Samara?

A: Yes, Samara is home to several iconic landmarks, including the Samara State Philharmonic Hall, the Samara Academic Opera and Ballet Theater, and the Samara Embankment.

Q: Can I explore nature in Samara?

A: Absolutely! Samara boasts stunning natural landscapes, including the Samarskaya Luka National Park , Zhiguli Mountains, and the Volga River, where you can enjoy activities such as hiking, boating, and picnicking.

Q: Is it easy to get around in Samara?

A: Yes, Samara has a well-developed transportation system, including buses, trams, and taxis, making it convenient for visitors to navigate the city and explore its attractions.

Q: Are there any traditional festivals or events in Samara?

A: Yes, Samara hosts various festivals throughout the year, including the Samara International Music Festival, the Samara Aerospace Show, and the Samara Summer Festival, showcasing the city’s rich cultural heritage.

Q: What are some popular dishes to try in Samara?

A: Some popular dishes to try in Samara include Zharkoye (meat stew), Pryaniki (gingerbread), Kulesh (a traditional Russian soup), and Blini (thin pancakes served with various fillings).

Q: Is English widely spoken in Samara?

A: While English may not be widely spoken, especially in rural areas, most hotels, restaurants, and tourist attractions in Samara have staff members who can communicate in English.

Q: What are some nearby attractions to visit from Samara?

A: Some nearby attractions to visit from Samara include Togliatti, known as the “motor city” of Russia, the Samara Bend, and the historical town of Volgograd .

Q: Are there any shopping opportunities in Samara?

A: Yes, Samara has several shopping malls, street markets, and boutique stores where you can find a variety of goods, from local souvenirs to international brands.

Samara's fascinating history and cultural richness make it a captivating destination for anyone interested in exploring the wonders of Russia. Dive deeper into Russian culture by learning about the intricacies of the Russian language. Discover more about the heart of the Russian Federation with intriguing facts about the Kremlin . And don't forget to explore the natural beauty of the region by uncovering the secrets of the mighty Volga River , which has played a significant role in shaping Samara's identity.

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Our commitment to delivering trustworthy and engaging content is at the heart of what we do. Each fact on our site is contributed by real users like you, bringing a wealth of diverse insights and information. To ensure the highest standards of accuracy and reliability, our dedicated editors meticulously review each submission. This process guarantees that the facts we share are not only fascinating but also credible. Trust in our commitment to quality and authenticity as you explore and learn with us.

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Top 10 Things To Do In Samara, Russia

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Samara is a large city in Russia and it lies along the Volga River. There are plenty of things to do in this beautiful city. It has buildings with amazing architecture, monuments full of history, the largest square from Europe, and good weather. There are a lot of quiet places as well, or if you feel like you want to party, there are a lot of bars where you can dance until morning. Here’s a list of the best things to do while you’re visiting Samara:

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1. Enjoy a day at Samara Embankment

The embankment is a great public space along the Volga River. This is one of the most beautiful places in Samara and it’s the best way to make a sunny day unforgettable. You can do some exercise over there, lay on a sandy beach and catch a tan, jog, or take a boat cruise on the Volga. Many different kinds of food and drinks all over, so you can enjoy a coffee on the beach.

Samara Embankment Address : Maksima Gorkogo St., Samara, Russia Website : Samara Embankment (in Russian)

2. Let yourself feel overwhelmed by Volga's Gates and Zhiguli mountains view

This is a stunning panorama of Zhiguli Gate where the Volga River runs between two mountains. If you’re looking for a romantic date, this is the perfect place to watch the sunset with someone you love. It’s a little far from the city. You can get there by taking the bus, which drives you exactly from the station to the place. It’s quite a small place and sometimes might be crowded, but the view is overwhelming.

Volga's Gates and Zhiguli mountains view Address : Region Upravlencheskij Gorodok | region Upravlencheskij Gorodok, Samara, Russia Website : Volga’s Gates and Zhiguli mountains (in Russian)

3. Visit Stalin's Bunker

Stalin’s Bunker is a very particular construction that was secretly built in a very short period of time during the second world war. This is a place that takes you back in time. Stalin’s Bunker is an interesting place to visit, but quite hard to get into, but the struggle is worth it. You will learn a lot from the guide and there would probably be someone there to translate everything in English.

Stalin's Bunker Address : Frunze st., 167, 443010 Samara, Russia Website : Stalin’s Bunker (in Russian)

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5. Municipal Museum Cosmic Samara

Are you interested in technology? If so, you must visit this museum. It is relatively small. You’ll only need one hour to visit, but it’s worth it.

The museum is easy to find, because of the great big rocket outside. It is accessible by tram, and there is a metro station not too far away. You can learn interesting things by taking an English tour. The descriptions next to the exhibits are only in Russian.

Municipal Museum Cosmic Samara Address : pr-t. Lenina, d.21 | Metro Rossiyskaya, 443110 Samara, Russia Contact : +7 846 263-39-35

6. Enjoy an evening at the Samara Academic Opera and Ballet Theatre

This is a magical way to spend an evening. Everything here is perfect, good operas and ballets with good decorations, orchestra, and actors! The opera building itself is indeed beautiful and is within walking distance of the historic areas of Samara. You should buy tickets early, so the price is cheaper. Before or after the performance, you can walk through the gardens surrounding the square.

Samara Academic Opera and Ballet Theatre Address : Kuibysheva Sq., 1 | Metro Rossijskaja, 443010 Samara, Russia Website : Samara Academic Opera and Ballet Theatre

7. Go for a walk in Strukovskiy Garden

This is a lovely and romantic place. This park is situated near the historic center of Samara, and it has a lot to offer. In winter it gets really magical, with figurines for the little ones, and bright lights everywhere. So if you want a quiet place to visit, this park will remain in your heart.

Strukovskiy Garden Address : Krasnoarmeiskaya, 2A, 443010 Samara, Russia Website : Strukovskiy Garden (in Russian)

8. Visit the Botanical Garden of Samara State University

This is a “hidden” place in Samara. This place looks like a real jungle, and it will make you feel like you’re living in the wild. You’ll see tropical plants and learn how the black pepper or coffee trees are growing. You can take really stunning photos here, but you’ll have to pay an extra fee. Make sure you’ll have time to come during working days, as on weekends, it’s closed.

Botanical Garden of Samara State University Address : Moskovskoye Hwy., 36, 443086 Samara, Russia Contact : +7 846 334-43-82

9. Chapaev Monument

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This is a famous monument of a Soviet hero. Many tourists come here and take photos with this monument, but there is no background info provided, so if you’re interested in history, make sure you learn about this monument before you get there. Nearby, you will find parks and a great view of the Volga River.

Chapaev Monument Address : pl. Chapaeva, 443010 Samara, Russia

10. Modernist style museum

This museum is located in the historical city center and it’s perfect for a visit even if you have just a few hours to kill in Samara. The owner was a millionaire so the things you’ll see here are of exceptional quality. You will find an exhibition of fine Belle Époque dresses, examples of furniture and decorations of the Art Nouveau era.

Modernist style museum Address : Frunze, 159, 443010 Samara, Russia Website : Modernist Style Museum (in Russian)

Put these on your list!

So now that you know the main attractions in Samara, get ready to experience a different kind of city and learn about its history!

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