Romanticism - Gallery

Gallery

  • Emerging Romanticism in the 18th century
  • Joseph Vernet, 1759, Shipwreck; the 18th century "sublime"

  • Joseph Wright, 1774, Cave at evening, Smith College Museum of Art, Northampton, Massachusetts

  • Henry Fuseli, 1781, The Nightmare, a classical artist whose themes often anticipate the Romantic

  • Philip James de Loutherbourg, Coalbrookdale by Night, 1801, a key location of the English Industrial Revolution

  • French Romantic painting
  • Théodore Géricault, The Charging Chasseur, c. 1812

  • Ingres, Death of Leornardo da Vinci, 1818, one of his Troubadour style works

  • Eugène Delacroix, Collision of Moorish Horsemen, 1843–44

  • Eugène Delacroix, The Bride of Abydos, after the poem by Byron

  • Joseph Anton Koch, Waterfalls at Subiaco 1812–1813, a "classical" landscape to art historians

  • James Ward, 1814–1815, Gordale Scar

  • John Constable, 1821, The Hay Wain, one of Constable's large "six footers"

  • J. C. Dahl, 1826, Eruption of Vesuvius, by Friedrich's closest follower

  • William Blake, c. 1824–27, The Wood of the Self-Murderers: The Harpies and the Suicides, Tate

  • Karl Bryullov, The Last Day of Pompeii, 1833, The State Russian Museum, St. Petersburg, Russia

  • J. M. W. Turner, The Burning of the Houses of Lords and Commons (1835), Philadelphia Museum of Art

  • Hans Gude, Winter Afternoon, 1847, National Gallery of Norway, Oslo

  • Ivan Aivazovsky, 1850, "The Ninth Wave", State Russian Museum, St. Petersburg

  • John Martin, 1852, The Destruction of Sodom and Gomorrah, Laing Art Gallery

  • Frederic Edwin Church, 1860, Twilight in the Wilderness, Cleveland Museum of Art

  • Albert Bierstadt, 1863, The Rocky Mountains, Lander's Peak

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Famous quotes containing the word gallery:

    I should like to have seen a gallery of coronation beauties, at Westminster Abbey, confronted for a moment by this band of Island girls; their stiffness, formality, and affectation contrasted with the artless vivacity and unconcealed natural graces of these savage maidens. It would be the Venus de’ Medici placed beside a milliner’s doll.
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    I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
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    Each morning the manager of this gallery substituted some new picture, distinguished by more brilliant or harmonious coloring, for the old upon the walls.
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