1. The first part of the eighteenth century had radiated with intellect and optimism. Educated men had faith in the power of Reason. But as the century wore on, Reason proved not enough. (Portrait of Joseph Bonnier de la Mosson, Jean-Marc Nattier, 1745, National Gallery of Art, Samuel H. Kress Collection, Washington, D.C.)
2. Man's eyes, ears, and imagination told him that there was a side to life beyond the intellect and Reason. Reason did not explain his longings or his passions,…(The Shootings of the third of May, 1808, Francisco Goya, ca. 1814, Prado, Madrid, Spain).
3. …his dreams or his nightmares. (Queen Catherine's Dream, William Blake, 1757-1827, National Gallery, Washington, D.C.)
4. During the "enlightened" eighteenth century, Reason gradually gave was…(Detail from number 1)
5. …to the passions and frenzy of emotion. (Detail from The Third of May 1808, Francisco Goya, 1814-15, Prado, Madrid, Spain)
6. (Tiger Hunt, Eugène Delacroix, 1798-1863, The Louvre, Paris, France)
7. (Detail from the Death of Saradanapalus, Eugène Delacroix, 1798-1863, The Louvre, Paris, France). Click here to go to the Delacroix page of the WebMuseum of Paris and a link to this painting.
8. (Detail from the Raft of the Medusa, Theodore Gerricault, 1818-19, The Louvre, Paris, France)
9. ("The Dreams of Reason Beget Monsters," Los Caprichos, Francisco de Goya, 1810-1815, Museum of Art, Philadelphia)
10. By the end of the eighteenth century, out of the Enlightenment, Romanticism was born! (St. George and the Dragon, Eugène Delacroix, 1847, Beaux-Arts Museum, Grenoble, France)
11. The Romantic Age was a time of turbulent emotions. (Detail from number 2)
12. Men were fascinated by the fantastic and the sublime. (Al Aquelarre, Francisco Goya, 1746-1828, Prado, Madrid, Spain)
13. They yearned for the distant past and distant lands. (Pont du Gard, Hubert Robert, 1787, The Louvre, Paris, France)
14. Even in religious scenes, the calm Reason of earlier periods…(Landscape with St. Matthew and the Angel, Nicolas Poussin, 1593-1665, Kaiser Fredrich Museum, Berlin, Germany)
15. …gave way to frenzied emotion. Here we see Christ and his disciples on the Sea of Galilee. (Christ on the Sea of Galilee, Eugene Delacroix, 1854, Walters Museum, Baltimore, Maryland).
16. Reason gave way to storm-and-stress. (Detail from Saint-Sulpice Mural: Jacob Wrestling with the Angel, Eugene Delacroix, The Louvre, Paris, France)
17. It gave way to a strong sense of the mysterious and the power of the imagination. (Soul and the Witch of Endor, Benjamin West, 1738-1820, Wadsworth Atheneum, Hartford, Connecticut)
18. (The Sleep of Endymion, Anne-Louis Girodet de Roucy-Trioson, 1767-1824, The Louvre, Paris, France)
19. (Job's Evil Dream, William Blake, 1818, the Pierpont Morgan Library, New York, New York)
20. (Ossian Receiving French Heroes, Anne-Louis Girodet de Roucy-Trioson, 1801, The Louvre, Paris, France)
21. Above all, Romanticism was the overflow of emotions. Even madmen became subjects of portraiture. (The Madman, Theodore Gèricault, 1791-1824, The Reinhart Stiftung, Winterthur, Switzerland)
22. The political ideals of the Enlightenment had been Unity and Indivisibility, Liberty, Equality, and Fraternity. By the eighteenth century, these ideals stirred men to an emotional fervor. It drove them to action. (Detail from a sketch for the painting, The Oath of the Tennis Court, Jacques-Louis David, ca. 1789, Museum of the Chateau, Versailles, France)
23. First, political action. (Whole of number 22)
24. Then, physical action. (The Barricade, Jean Louis Ernest Meissonier, 1815-1891, The Louvre, Paris, France)
25. And finally, on July 14, 1789, an angry mob stormed the Bastille! This was Revolution! This was Romanticism in action! (Taking of the Bastille, anonymous, late eighteenth century, Museum of the Chateau, Versailles, France)
26. With the French Revolution…(Detail from number 25)
27. …and the downfall of the aristocracy,…(Group portrait, Francois-Hubert Drouais, 1756, National Gallery of Art, Samuel H. Kress Collection, Washington, D.C.)
28. …the common man emerged. (Third Class Carriage, Honoré Daumier, 1864, Walters Gallery, Baltimore, Maryland)
29. (The Poor Fisherman, Pierre Puvis de Chavannes, 1881, The Louvre, Paris, France)
30. (Au Café, Honore Daumier, 1808-1879, The Reinhart Stiftung, Winterthur, Switzerland)
31. (Angelus, Jean Francois Millet, ca. 1858, The Louvre, Paris, France)
32. With the downfall of the aristocracy, nations emerged with patriotic fervor. (L'Arx de Triomphe, 1830s, Paris, France)
33. Here is a detail from Liberty Leading the People by Delacroix. (Detail from Liberty Leading the People, Eugène Delacroix, 1830, The Louvre, Paris, France).
34. Liberty is represented as a Roman goddess. (Detail from number 33)
35. Violence! The people storm the barricades in the streets—and Delacroix used a violent technique. His paint flows with passion across the canvas. (Detail from number 33)
36. His very style was emotional—impassioned and Romantic. (Detail from number 33)
37. A child of the French Revolution, Napoleon proclaimed himself savior of the ideals of the Revolution and of France. (Napoleon as First Consul, Jean Auguste Dominique Ingres, 1780-1867, Beaux-Arts Museum, Grenoble, France)
38. He was the Romantic hero—brilliant and bold, brooding, temperamental,…(Napoleon as Field Marshall, Pierre Guerin, 1774-1833, The Metropolitan Museum, New York)
39. …precocious, and misunderstood by the world he tried to save. Here he fearlessly touches a man consumed by the plague, much as Christ laid healing hands upon the lepers. (Detail from Napoleon visiting Victims of the Plague at Jaffa, Antoine Jean Gros, 1804, The Louvre, Paris, France)
40. But the stormy young general soon displayed imperial ambitions. (Apotheosis of Napoleon, Jean Auguste Dominique Ingres, 1780-1867, Carnevalet Museum, Paris, France)
41. His official court painter, Jacques-Louis David, painted this immense coronation scene. (Consecration of Emperor Napoleon and Coronation of empress Josephine, Jacques-Louis David, 1806-07, The Louvre, Paris, France)
42. Now, the Emperor, Napoleon, is himself placing the crown upon the head of his empress, Josephine. (Detail from number 41)
43. The ideals of the French Republic…(Declaration of the Rights of Man, Engraving, 1793, Biblioteque Nationale, Paris, France)
44. …were quickly exchanged for those of the court of the new Napoleonic Empire. (Detail from number 41)
45. Napoleon soon plunged Europe into a bloodbath, which washed away many of the constructive consequences of the French Revolution. (Napoleon in the Battlefields of Eylau, Antoine jean Gros, 1807, The Louvre, Paris, France).
46. His Spanish conquests were recorded by the painter Goya. Here we see the horror and hopelessness as a faceless firing-squad…(Detail from number 5)
47. …shot down patriotic Spanish citizens. In the arts, as in the times, the emotion-laden Romantic spirit was in full force. (Whole of number 5)
48. Just as political revolution was an expression of Romanticism…(Detail from number 23)
49. …so in a sense, was the Industrial Revolution. The new growth of industry stemmed from the scientific interests of the Enlightenment. But it was further fertilized by a profound faith in progress on the part of the Romantics. (Early nineteenth-century factory, contemporary lithograph, The Bettman Archive, Inc.)
50. Scientific experiments were converted into spooky melodrama by the Roman artists—Benjamin Franklin discovering electricity, for example. (Benjamin Franklin Drawing Electricity From the Sky, Benjamin west, ca. 1805, Private Collection, Philadelphia, Pennsylvania)
51. An early experiment in flying. (Method of Flying, Los Proverbios # 13, Francisco Goya, 1813-1820, Museum of Art, Philadelphia, Pennsylvania)
52. Or the excavation of a prehistoric monster. (Exhuming the First American Mastodon, Charles Wilson Peale, 1806, Peale Museum, Baltimore, Maryland)
53. During the nineteenth century, industrial developments spread their smoking chimneys across the face of every nation. (Mills in Lawrence, Massachusetts, nineteenth-century etching, The Bettman Archive, Inc.)
54. This was melodrama of a more serious kind, frequently dramatized by the Romantic artist. (Early nineteenth-century factory workers, contemporary lithograph, The Bettman Archive, Inc.)
55. (Borsig foundry)
56. (early nineteenth-century factory workers, contemporary lithograph of workers in a puddling foundry.
57. For although a few men benefited from this new wealth,…(Wall Street, Cafferty and Rosenberg, 1858, Museum of the City of New York, New York)
58. …to many, industry brought slums and suffering. (Patronizing the Poor, nineteenth-century etching, The Bettman Archive, Inc.)
59. (The Washerwoman, Honore Daumier, 1808-1879, The Louvre, Paris, France).
60. (Slum Scene, nineteenth-century etching, The Bettman Archive, Inc.)
61. To many of the Romantics, the Industrial Revolution defiled the beauties of the natural landscape. (The Foreign Factories at Canton, unknown, ca. 1845-1850, Collection of Ellen N. LaMotte)
62. With more optimism, the British painter, Turner, integrated aspects of the new technology into his Romantic art. A locomotive hurtles across a bridge in the swirling mist of a rainstorm. (Rain, Steam and Speed, Joseph Mallord William Turner, 1775-1851, National Gallery, London, England)
63. Because of its mood of melancholy, this Turner painting is particularly Romantic. The Fighting Temeraire, towed to her last resting place, contrasts the old with the new. (The fighting Temeraire, Joseph Mallord William Turner, 1838, National Gallery, London, England)
64. The man-o-war, from an earlier and more Romantic era, is being towed to her destruction by a symbol of the new age, a small black tugboat belching smoke. (Detail from number 63)
65. Both the industrial age and political revolutions created a crowded urban environment which caused the poets to say: "The world is too much with us!" (Slum Scene, nineteenth-century engraving, The Bettman Archive, Inc.)
66. From such a world, they escaped into Nature. (Landscape with Swan, Thomas Doughty, 1793-1856, Academy of Fine Arts, Philadelphia, Pennsylvania) or as in this
Landscape in the Campagna, c. 1859 by Arnold Böcklin (oil on canvas Nationalgalerie, Staatliche Museen zu Berlin)
67. Many men, such as Thorequ in America, longed for the simple rustic life. (Haywain, John Constable, 1821, National Gallery, London, England)
68. There, among the pastoral beauties of nature, they could escape all revolutions, political and industrial. (Landscape, Thomas Doughty, 1793-1856, Academy of Fine Arts, Philadelphia, Pennsylvania)
69. (The White Horse, Thomas Doughty, 1793-1856, Academy of Fine Arts, Philadelphia, Pennsylvania)
70. (Dell at Helmingham, John Constable, ca. 1828, Museum of Art, Philadelphia, Pennsylvania)
71. The poets who "wandered lonely as a cloud" communed with the wisdom of Nature, which was for them far greater than the book learning of the Enlightenment. (Beach With Figures, Richard Parks Bonington, 1801-1828, Walters Gallery, Baltimore, Maryland)
72. Said Wordsworth: "Enough of Science and of Art/Close up those barren leaves…" meaning books. (Detail from La Musique, Jacques Francois Courtin, 1672-1752, Musee Dobree, Nantes, France)
73. And elsewhere he wrote: "Books! 'tis a dull and endless strife: Come hear the woodland linnet, How sweet his music! On my life, There's more wisdom in it." (The Raft, Thomas Doughty, 1793-1856, Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania)
74. For the Romantic poet or artist, alone in Nature, it was not the intellect which mattered. (Lock, Dedham, John Constable, 1824, Museum of Art, Philadelphia, Pennsylvania)
75. The important things were feelings and emotions. Wordsworth defined poetry a "the spontaneous overflow of powerful feelings…" (Storm, Pierre Aguste Cot, 1880, The Metropolitan Museum, New York, New York)
76. …and "emotion recollected in tranquility." (Spanish Girl, Washington Allston, 1779-1843, The Metropolitan Museum, New York, New York)
77. That same sense of Nature, which seems to overwhelm mere man, fills Beethoven's "Pastoral" symphony. Listen as you look at these Romantic landscapes. (Imaginary Landscape, Asher Brown Duran, 1850, The Metropolitan Museum, New York, New York)
78. (Water at Wentworth, Existing State, Humphrey Repton, mid-nineteenth century, Cooper Union, New York, New York)
79. (High Point, Shandaken Mountain, Asher Brown Durand, 1796-1886, The Metropolitan Museum, New York, New York)
80. (Autumn Meadows, Albert Pinkham Ryder, 1847-1917, The Metropolitan Museum, New York, New York)
81. Do you see the painter's emotional response to nature—the "spontaneous overflow of powerful feelings"—to which Wordsworth referred? (Weymouth Bay, John Constable, 1776-1837, Wadsworth Atheneum, Hartford, Connecticut)
82. (Lake of Brienz, Joseph Mallord William Turner, 1840-45, Victoria and Albert Museum, London, England)
83. (The Coming Storm, George Innes, 1878, Albright Gallery, Buffalo, New York)
84. End of Part One

Romanticism: Part Two

1. The yearning for other times and places sent the imaginations of the Romantics to exotic lands:…(Arab Horseman in Combat, Theodore Chasseriau, 1819-1856, Smith College Museum, Northampton, Massachusetts)
2. …to the mountains of Arabia,…(Arabs Riding, Eugène Delacroix, 1798-1863, The Reinhart Stiftung, Winterthur, Switzerland)
3. …to Turkish baths,…(Turkish Bath, Jean Auguste Dominique Ingres, 1862, The Louvre, Paris, France).
4. …to the Algerian casbah,…(Women of Algeria, Eugene Delacroix, 1834, The Louvre, Paris, France)
5. …to ancient Assyrian orgies. (Death of Sardanapulus, Eugene Delacroix, 1826, The Louvre, Paris, France).
6. Some built Chinese pagodas. (Pagoda in Victoria Park, nineteenth-century engraving, The Bettman Archive, Inc.)
7. This English resort pavilion, with its exotic Indian architecture, was built by the prince Regent of England in 1815. It aptly fits the description of the Romantic poet Coleridge: (Brighton Pavilion, 1815-1823)
8. "In Xanadu did Kubla Khan

A stately pleasure dome decree:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea." (Different view of number 7)

9. Further along in this same poem, Coleridge describes:

"That deep romantic chasm which slanted

Down the green hill athwart cedarn cover!" (Bonneville, Savoy, Joseph Mallord William Turner, 1775-1851, Museum of Art, Johnson Collection, Philadelphia, Pennsylvania)

10. "A savage place:…And from this chasm, with ceaseless turmoil seething…"(Course of Empire: savage State or Primitive, Thomas Cole, 1801-1848, The New York Historical Society, New York, New York)
11. "A mighty fountain momently was forced." It was in such terms that the Romantics created imaginative and exotic worlds of fancy. (Mountain Landscape with Waterfall, Thomas Cole, 1801-1848, Museum, Providence, Rhode Island)
12. And if it was not the faraway, such as the war going on in Greece,…(The War in Greece, Eugène Delacroix, 1827, The Reinhart Stiftung, Winterthur, Switzerland)
13. …then the long-ago served well. (Entry of the Crusaders into Constantinople on 12 April 1204, Eugene Delacroix, 1840, The Louvre, Paris, France).
14. The artist charges this imaginary scene of classical antiquity with the drama of a stormy, primordial sky. (The Course of Empire: Destruction, Thomas Cole, 1801-1848, New York Historical Society, New York, New York)
15. Architecture of bygone eras was often imitated during the eighteenth and nineteenth centuries and was a favorite theme of painters. They concocted romantic scenes of classical antiquity…(The Course of Empire: Arcadian or Pastoral State, Thomas Cole, 1801-1848, New York Historical Society, New York, New York)
16. (Classical Landscape, Washington Allston, 1779-1843, Addison Gallery, Andover, Massachusetts)
17. (Dram of Arcadia, Thomas Cole, 1801-1848, Museum, Toledo, Ohio)
18. …and the Gothic Age. (Ruins of an Old Gothic Castle, Emanuele Aiderani, ca. 1859, Cooper Union Museum, New York, New York)
19. (The Departure, Thomas Cole, 1801-1848, Corcoran Gallery, Washington, D.C.)
20. (The Return, Thomas Cole, 1801-1848, Corcoran Gallery, Washington, D.C.)
21. Even Baroque architecture was copied and enlarged upon—the nineteenth-century Opera in Paris, for example. (The Opera, Charles Garnier, 1861-1874, Paris, France)
22. And since the Romantics loved ruins, this Gothic church was purposely left in a crumbled state. (Finchdale Priory, nineteenth-century lithograph, The Bettman Archive, Inc.)
23. This garden house was actually built to resemble a broken, ancient column. (English garden house, nineteenth-century chromo)
24. Here, a classical temple was set into an artificial rustic cave. (Artificial cave enclosing miniature temple, nineteenth-century English garden, contemporary chromo)
25. The Romantics delighted in craggy ruins. (The Roman Aqueduct, Thomas Cole, 1838, The Metropolitan Museum, New York, New York)
26. Here, the imagination could generate a fantasy life endlessly rich and dream-like. (Cicero's Villa, Richard Wilson, 1714-1782, City Art Gallery, Manchester, New Hampshire)
27. (The Course of Empire: Desolation, Thomas Cole, 1801-1848, The New Historical Society, New York, New York)
28. (Italian Landscape, Thomas Cole, 1801-1848, Butler Art Institute, Youngstown, Ohio)
29. Although he affirmed the brotherhood of all mankind, the acutely sensitive Romantic man felt himself to be alone in a vast and measureless world. (Kindred Spirits, Asher Brown Durand, 1849, The New York Public Library, New York, New York)
30. He glorified sunsets…(Marine, Johan Jongkind, 1863, Museum of Art, Johnson Collection, Philadelphia, Pennsylvania)
31. (Sunset at Heidelberg, Joseph Mallord William Turner, 1775-1851, City Art Gallery, Manchester, New Hampshire)
32. …and moonlight! (Moonlight, Johan Jongkind, 1819-1891, Stedelijk Museum, Wichita, Kansas)
33. (Moonlight on the Sea, Alfred Pinkham Ryder, 1847-1917, Museum, Wichita, Kansas), (Moonrise over the Sea, 1822 Caspar David Friedrich, , oil on canvas Nationalgalerie, Staatliche Museen zu Berlin)
34. What kind of men were the Romantics? Mysterious, highly sensitive, and misunderstood men. Like Napoleon—brooding and brilliant. (Napoleon at Arcole, Antoine Jean Gros, 1796, The Louvre, Paris, France)
35. Like Chopin—passionate the creative. (Portrait of Frédéric Chopin, Eugène Delacroix, 1838, The Louvre, Paris, France)
36. Paganini, the demon virtuoso, who enthralled audiences with his violin pyrotechnics. (Portrait of Paganini, Jean Auguste Dominique Ingres, 1819, The Louvre, Paris, France)
37. Baudelaire, himself a legend as fabulous as his famous "Flowers of Evil." (Portrait of Charles Baudelaire Gustave Courbet, 1819-1877, Musee Fabre, Montpellier, France)
38. (Victor Hugo, the intense creator of The Hunchback of Notre Dame. (Victor Hugo sketch, Auguste Rodin, 1840-1917, Rodin Museum, Paris, France)
39. And William Blake–mystic poet who illustrated many of his own works himself. (When the Morning Stars Sang Together, William Blake, 1818, The Pierpont Morgan Library, New York, New York)
40. The Romantic artists were usually lonely, self-conscious geniuses, who frequently lived outside the standards of a society which did not understand them. (The Painter in His Garden, Karl von Spitzweg, 1808-1885, The Reinhart Stiftung, Wintherthur, Switzerland)
41. They identified themselves with tormented heroes like Romeo and Juliet…(Romeo and Juliet in the Garden, John Henry Fuseli, 1741-1825, Randal Gallery)
42. …and like Hamlet. (Hamlet and Horatio Eugène Delacroix, 1839, The Louvre, Paris, France)
43. They brooded over death and lost love. (After Death, Theodore Géricault, 1791-1824, Art Institute, Chicago, Illinois)
44. They lived by faith in intuition and imagination, lonely and introspective. (Homecoming at Night, Karl von Spitzweg, 1808-1885, The Reinhart Stiftung Winterthur, Switzerland)
45. The Romantic hero was pensive and melancholy. (Return from the Market, Honoré Daumier, 1808-1879, The Reinhart Stiftung, Winterthur, Switzerland)
46. He responded willingly to the dictates of his emotions. (Detail Liberty Leading the People, Eugène Delacroix, 1830, The Louvre, Paris, France)
47. Often, these emotions were turbulent and stormy. (Detail from Raft of the Medusa, Theodore Géricault, 1818-1819, The Louvre, Paris, France)
48. To express such feelings, the artist painted violent scenes of struggle and conflict, such as stormy scenes of shipwrecks and ocean tempests. (Whole of number 47)
49. (Calais Pier, Joseph Mallord William Turner, 1803, National Gallery, London, England)
50. (Shipwreck, Thomas Birch, 1829, Museum, Brooklyn, New York)
51. (Junction of Thames and Medway, Joseph Mallord William turner, ca. 1805-1810, National Gallery, London, England)
52. In summary, the Romantic Age was an age of many conflicting reactions—a violent reaction to Reason…("The Dreams of Reason Beget Monsters," Los Caprichos, Francisco de Goya, 1810-1815, Museum of Art, Philadelphia, Pennsylvania)
53. …which resulted in Revolution. (Whole of number 46)
54. In reaction to the rapid industrialization of many Western Nations,…(English Factory Scene, nineteenth-century etching, The Bettman Archive, New York, New York)
55. …the artist dramatized the exploitation of the common man,…(The Beggars, Honoré Daumier, 1808-1879, The National Gallery of Art, Chewter Dale Collection, Washington, D.C.)
56. …or else he escaped into Nature,…(The Old Mill at Sunset, Thomas Cole, 1801-1848, Museum, Brooklyn, New York). Caspar David Friedrich was the personification of the Romantic. He was melancholic! When he was 13, his brother drowned while rescuing him from a scating accident. He could never shake that memory. After marrying well an moving to Dresden where he became acquainted with German Romantic writers, Göthe, Novalis and Kleist, he suffered a stroke and died poor. In this Oak Tree in the Snow he edges from landscape-painting into abstraction and then adds the shepherd lying under the tree to keep it earthbound.
57. …or turned for inspiration to the exotic East,…(Massacre at Chios, Eugene Delacroix, 1822-1824, The Louvre, Paris, France)
58. …or the distant past. (Romantic Landscape, Samuel Finley Breese Morse, ca. 1830, New York Historical Society, New York, New York)
59. In reaction to the emerging tide of nationalism,…(4^th of July, Center Square, Philadelphia, John Lewis Krimmel, 1781-1821, Pennsylvania Historical Society, Philadelphia, Pennsylvania)
60. …the cult of the individual flourished. (Napoleon Crossing the Alps, Jacques-Louis David, 1748-1825, Kunsthistorisches Museum, Vienna, Austria).
61. Above all, Romanticism was the overflow of the emotions, expressed in scenes of…(The Tempest, Alfred Pinkham Ryder, 1847-1917, Private Collection)
62. …storm-and-stress,…(Storm at Sea, Emile Jean Horace Vernet, 1789-1863, Wadsworth Atheneum, Hartford, Connecticut)
63. …mystery and imagination,…(Titian's Goblet, Thomas Cole, 1801-1848, The Metropolitan Museum, New York, New York)
64. …the fantastic and the sublime. (Una and the Lion, Benjamin West, 1738-1820 Wadsworth Atheneum, Hartford, Connecticut)
65. Artists exalted the peaks of emotion, from impassioned frenzy…(Riderless Racers at Rome, Theodore Géricault, ca. 1817, Walters Gallery, Baltimore, Maryland)
66. …to tragic grief. (The Return of Marcus Sextus, Pierre Guerin, 1774-1883, The Louvre, Paris, France)
67. (Detail from Crusaders Taking Constantinople, Eugène Delacroix, 1840, The Louvre, Paris, France) Click here for access to the Delacroix page in the WebMuseum of Paris.
68. (Detail from The Poor Fisherman, Pierre Puvis de Chavannes, 1881, The Louvre, Paris, France)
69. But in his quest for scenes of excessive emotion, such as this frenzied allegory of death, the Romantic artist moved further and further away from everyday reality. (Death on a Pale Horse, Benjamin West, 1738-1820, Museum of Art, Philadelphia, Pennsylvania)
70. This finally led to a reaction against Romanticism istelf! A new concern for the sober, unemotional facts became apparent by the mid-nineteenth century—in this matter-of-fact treatment of death, for example. Note the gravedigger, still in shirt-sleeves, and the stray dog in the foreground. (Detail from Funeral at Ornans, Gustave Courbet, 1849, The Louvre, Paris, France). Click here for Courbet page in the WebMuseum of Paris.
71. Thus, as the artist turned away from the Romantic, Realism was born! (Whole of number 70)

*Visual references and script numbers refer to video program F524-CV located in the Curriculum Library of the Kennedy Library.