Gallery
- Emerging Romanticism in the 18th century
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Joseph Vernet, 1759, Shipwreck; the 18th century "sublime"
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Joseph Wright, 1774, Cave at evening, Smith College Museum of Art, Northampton, Massachusetts
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Henry Fuseli, 1781, The Nightmare, a classical artist whose themes often anticipate the Romantic
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Philip James de Loutherbourg, Coalbrookdale by Night, 1801, a key location of the English Industrial Revolution
- French Romantic painting
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Théodore Géricault, The Charging Chasseur, c. 1812
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Ingres, Death of Leornardo da Vinci, 1818, one of his Troubadour style works
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Eugène Delacroix, Collision of Moorish Horsemen, 1843–44
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Eugène Delacroix, The Bride of Abydos, after the poem by Byron
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Joseph Anton Koch, Waterfalls at Subiaco 1812–1813, a "classical" landscape to art historians
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James Ward, 1814–1815, Gordale Scar
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John Constable, 1821, The Hay Wain, one of Constable's large "six footers"
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J. C. Dahl, 1826, Eruption of Vesuvius, by Friedrich's closest follower
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William Blake, c. 1824–27, The Wood of the Self-Murderers: The Harpies and the Suicides, Tate
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Karl Bryullov, The Last Day of Pompeii, 1833, The State Russian Museum, St. Petersburg, Russia
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J. M. W. Turner, The Burning of the Houses of Lords and Commons (1835), Philadelphia Museum of Art
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Hans Gude, Winter Afternoon, 1847, National Gallery of Norway, Oslo
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Ivan Aivazovsky, 1850, "The Ninth Wave", State Russian Museum, St. Petersburg
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John Martin, 1852, The Destruction of Sodom and Gomorrah, Laing Art Gallery
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Frederic Edwin Church, 1860, Twilight in the Wilderness, Cleveland Museum of Art
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Albert Bierstadt, 1863, The Rocky Mountains, Lander's Peak
Read more about this topic: Romanticism
Famous quotes containing the word gallery:
“It doesnt matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serves a great cause: accretion of the national wealth.”
—Anton Pavlovich Chekhov (18601904)
“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.”
—Lewis H. Lapham (b. 1935)
“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 milliners doll.”
—Herman Melville (18191891)