M4W10RomanticismPartOne.pptxPresentation by Dr. Marc A. Cirigliano
Romanticism: Part One
Romanticism begins near the end of the 18th century and carries well into the 19th. It is a break with Neoclassicism in art, the classical tradition in literature, and, as well, the traditional politics of authority.
However, it consists of no one single style or theme. As A.O. Lovejoy wrote in his “On the Discrimination of Romanticisms,” there are many romanticisms, not one single Romanticism. Moreover, it cannot be defined by the long-standing Reason vs. Emotion dichotomy, the metaphor of the mirror and the lamp. Again, it is a complex movement where no single style predominates
In art, we often see a mixture of Neoclassical, Romantic and Realist qualities in the same work.
We are still living with major aspects of Romanticism in our popular culture.
Enlightenment exploration of emotion, so there is a rejection of the limits of human reason
Rousseauian belief in innate goodness of humanity
Rise of the “I,” the first person singular, in literature. The relatively new artform of the novel is written in the first person POV.
Empowerment of the individual – the rise of human rights
Cult of youth – attention to the young – education become important, emphasizing nurture, not simply nature.
A strong belief in progress
Romanticism is affected by these trends:
At the same time, there are three major aesthetical ideas from the late 18th century that have an influence into the 19th century: the Sublime, the Beautiful & the Picturesque.
Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1756)
Sublime – fear or horror - "dark, uncertain, and confused." Jagged and large, overwhelming - Our pleasure from knowing it is a fictional – the rush we get
Beauty – attraction – light, soft, gently curving - smooth and manageable
William Gilpin’s Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770 (1782)
Picturesque is between the beautiful and the sublime
In 18th and 19th centuries, the rise of tourism and, generally, the leisure class idea of a pleasant time
The New Content
Artistic License = Imagination
Feeling & Intuition
Contemporary Events
Social Criticism
Realism – Contemporary Social Criticism
Rejected for New Content
History Painting
Portraiture
Genre Painting
Landscape Painting
Still Life Painting
The Romantic Rejection of the Hierarchy of Genres
6
The Blurred Line between Neoclassicism, Romanticism & Realism
Image from Wikipedia:
Jacques-Louis David
Oath of the Horatii,
1784
approx. 10’ x 14’
We can even say that David’s Oath has a Romantic element, because it is dramatic and emotional.
Image from Wikipedia:
Jacques-Louis David
The Death of Marat
1793
Oil on canvas
65 x 50-1/2″
Royal Museums of Fine Arts of Belgium, Brussels
Jean-Paul Marat was a leader of the Revolution murdered by the deranged Charlotte Corday.
Marat soaked in baths because of a skin condition, often working this way.
Corday stabbed him. Did not flee. Was later tried and executed.
David, then a member of the Committee for General Safety, painted Marat in his tub, much as a Christ-like figure taken down from the cross, as a martyr.
David learned while in Rome. He uses Caravaggio’s chiaroscuro. Pushes the action to the extreme foreground. Shows Marat heroically, working for the Revolution while ill.
Most importantly, David shows a contemporary event, emotionally, in the Grand Style tradition of History Painting, as if this were an event from the Bible or pagan mythology.
Image from Wikipedia: The_Entombment_of_Christ _(Caravaggio)
Detail of Caravaggio’s Deposition and David’s Marat
Dr. Beth Harris and Dr. Steven Zucker, "Jacques-Louis David, The Death of Marat ," in Smarthistory, January 7, 2016, accessed May 20, 2020, https://smarthistory.org/jacques-louis-david-the-death-of-marat/.
Click on the image to start the video.
Classical simplicity, clarity & balance
Romantic emotion
Realist inhumanity & suffering, because this is a murder
Dr. Beth Harris and Dr. Steven Zucker , "Jacques-Louis David, The Intervention of the Sabine Women ," in Smarthistory, November 20, 2015, accessed May 20, 2020, https://smarthistory.org/jacques-louis-david-the-intervention-of-the-sabine-women/.
Jacques-Louis David
The Intervention of the Sabine Women
1799
oil on canvas
12’8″ x 17’3/4″
(3.85 x 5.22 m)
Musée du Louvre, Paris
Neoclassical or Romantic?
Is this the anti-Oath of the Horatii?
Have France and David changed?
Click on the image to start the video.
Dr. Beth Harris and Dr. Steven Zucker, "Anne-Louis Girodet , The Sleep of Endymion ," in Smarthistory, November 23, 2015, accessed May 20, 2020, https://smarthistory.org/girodet-the-sleep-of-endymion/.
Anne-Louis Girodet de Roussy-Trioson
The Sleep of Endymion
1791
oil on canvas
6′ 5-¾” x 8′ 6-¾”
(1.98 x 2.61 m)
Musée du Louvre, Paris
Neoclassic or Romantic?
Ideal male nude and a theme from classical mythology, but an erotic story with the haunting element of perpetual sleep from a spell by the queen of the gods, Juno.
Click on the image to start the video.
Marie-Guillemine Benoist
Portrait of Madeleine
(formerly known as Portrait of a Negress)
1800
Oil on canvas
We have problems at this point in the history of Western art and civilization. Slavery, racism and gender discrimination.
Africans are seen as inferior, not even as people. Slaves are considered both legal and an economic necessity. Women are considered people, but of a lesser quality than men.
As Dr. Susan Waller analyzes this painting:
Marie-Guillemine Benoist’s Portrait of Madeleine (formerly known as Portrait of a Negress) hangs today in the Louvre in a gallery devoted to paintings by Jacques-Louis David and his students. … In 1800 the work was exhibited in the Louvre for the first time, at the Salon—the state-sponsored presentation of works by contemporary artists. It hung in the Salon Carré … Contemporary art critics picked it out, but not all were impressed. The critic for a conservative paper derided it as a “noirceur” or “black stain.” Why did this work provoke such a negative response when first exhibited?
A black stain?
Well, to find out more, complete this article on this painting, slavery, racism and feminism, please click the following link to read “Marie- Guillemine Benoist, Portrait of Madeleine” by Dr. Susan Waller. Also, read the primary sources on slavery and also on feminism.
Let us compare Madeleine to a portrait by the Italian Renaissance master Raphael…
Image from Wikipedia:
Raphael
La Fornarina
(The Baker or The Baker’s Daughter)
1518–1519
Oil on wood
33” × 24”
Generally considered a portrait of Raphael’s mistress (girlfriend), he kept this in his studio through his death in 1520.
Seated semi-nude woman, an erotic portrait by the artist of his main squeeze.
Marie-Guillemine Benoist’s Portrait of Madeleine can be seen in the tradition of the Neoclassical Grand Style by emulating Raphael, but it can also be considered Romantic as it was of an African woman, hence, to Europeans, a subject of a distant non-Western land, therefore, exotic—and, semi-nude, hence, erotic.
One of the cornerstones of Romanticism is the Satanic or Byronic Hero.
Napoleon, the poet Lord Byron, the violinist Paganini, and certainly the fictional character Viktor Frankenstein were early 19th century examples. (Today, it is less about being a genuine “bad boy” than posing as such to market a product.)
One of the archetypes that inspired this image was Milton’s characterization of Satan in the first book of his Paradise Lost (1667), an archetype that the Romantic identified with, as they were, in the main, against the establishment.
…Thus far these beyond
Compare of mortal prowess, yet observed
Their dread commander: he above the rest
In shape and gesture proudly eminent
Stood like a tower; his form had yet not lost
All her original brightness, nor appeared
Less then archangel ruined, and the excess
Of glory obscured…
In fact, in this age of Revolution (American and France) Satan was, too, seen as a revolutionary (although, a failed one), as an isolated, alienated, talented, misunderstood figure who alone had the answer to major problems or had a special talent that separated him for everyone else.
Image from Wikipedia:
Jacques-Louis David
Napoleon Crossing the Alps
1801
We see the famous military leaders in history: Bonaparte, Hannibal & Charlemagne. Napoleon places himself in grand historic company.
We can see him a Classical military hero while, at the same time, as a lonely Romantic figure fighting the grand political establishments of England and Europe, hence, a Byronic Hero.
Image from the Louvre:
napoleon- bonaparte -visiting-plague-stricken- jaffa
Baron Antoine-Jean Gros (1771-1835)
Bonaparte Visiting the Victims of the Plague at Jaffa, March 11, 1799
1804
From The Louvre on The Plague House:
The painter Antoine-Jean Gros depicts the courage of General Bonaparte visiting plague-stricken soldiers in Jaffa, Syria, in 1799. Napoleon is touching one of the plague victims, as Christ did a leper. This huge canvas, hugely acclaimed at the 1804 Salon, was the first masterpiece of Napoleonic painting. Although the heroic nudes recall the work of Gros's master David, the warm colors, chiaroscuro, and oriental decor foreshadow Romantic painting…
…When he commissioned Gros to paint this canvas, Bonaparte, who had become First Consul, wanted it to help clear the accusations of the British press, who had alleged that he had wanted to execute the plague-stricken during his retreat to Cairo. The painting, presented at the 1804 Salon shortly before his coronation—a particularly opportune moment for Bonaparte — is the first masterpiece of Napoleonic history painting. Bonaparte and then Napoleon the emperor drew the painters of the time away from classical subjects and had them paint contemporary battles and imperial pomp instead, with himself as the heroic center of attention.
Dr. Beth Harris and Dr. Steven Zucker, "Baron Antoine-Jean Gros, Napoleon Bonaparte Visiting the Pest House in Jaffa ," in Smarthistory, November 23, 2015, accessed May 21, 2020, https://smarthistory.org/baron-antoine-jean-gros-napoleon-bonaparte-visiting-the-pest-house-in-jaffa/.
Baron Antoine-Jean Gros
Napoleon Bonaparte Visiting the Pest House in Jaffa
1804
oil on canvas
209 x 280″
Musée du Louvre, Paris
Click on the image to start the video.
Image from the Louvre:
Baron Antoine-Jean Gros
Napoleon on the Battlefield at Eylau, February 9, 1807
1808
,
February 7 and 8, 1807
Bloody and uncertain battle between Napoléon's Grande Armée and a Russian Empire army under Levin August, Count von Bennigsen
Near Eylau in East Prussia
Russians received a late reinforcement from a Prussian division to end the battle in a draw
First real setback for Napoleon, with heavy losses on both sides
The realism of the dead bodies in the foreground of the painting is a first.
Iconography of Napoleon at Eylau
As The Louvre relates:
…The emperor, on a light-colored horse and surrounded by doctors and marshals, surveys the scene with great compassion, his arm outstretched as if blessing the wounded. A Lithuanian soldier, leaning against the surgeon Percy, has raised himself to say to him, "Caesar, if you want me to live, then heal me. I will serve you faithfully as I did Alexander“…
…Gros exhibited the picture at the 1808 Salon. Police spies present at the Salon suspected the painting of rendering the war unpopular. However, Napoleon himself appreciated the work and at the artists' awards ceremony presented the painter with his own cross of the Légion d'honneur…
As The Louvre relates (cont.):
…The canvas's composition is reminiscent of one of Gros's previous paintings, Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa (1804, Louvre). But his realism has greater brutality here, and would be equaled by no other Napoleonic history painting. The cadaver-strewn foreground takes on more importance than in the Jaffa painting and fixes one's attention. The feeling of horror and the sublime instilled in the viewer is partly due to the huge size Gros gave the dead - the faces at the bottom of the picture are twice life-size. Some of the figures are cut off by the edge of the picture, as if the canvas were a fragment of a real-life scene. Gros painted the picture in broad brushstrokes and, as in The Plague-Stricken at Jaffa, broke with the teachings of his neoclassicist master David. The canvas heralds the works of the Romantic painters Théodore Géricault and Eugène Delacroix.
A detail of the central foreground. An attempt to make a comment on Napoleon’s continuous wars?
Not just naturalism (reality as it is), but Realism, that is to say, social criticism demonstrating the reality of human suffering.
Next is Gericault, quintessential Romantic , avant-garde painter.
Image from Wikipedia:
Théodore Géricault
Raft of the Medusa
1818-19
oil on canvas
16’ X 23.5”
(4.91 x 7.16 m)
Musée du Louvre, Paris
The Raft of the Medusa depicts the wreck of a French frigate off the coast of Senegal in 1816, with over 450 passengers, 150 of whom were soldiers. The Medusa, a French Royal Navy frigate, set sail in 1816 to colonize Senegal.
An incompetent captain who got the job through connections to the King, ran the ship aground off the coast, where it broke apart.
Not enough lifeboats for everyone, so the important people got them, with 150 put on a raft made from the crashed ship.
The captain cut the tow line and the raft drifted for two weeks.
There was drunkenness, murder and cannibalism. Some were carried off by sharks.
When rescued 13 days later, there were 10 survivors.
This was a huge public scandal in France.
Gericault researched the story in detail based on interviews with survivors and the account of two survivors who wrote their story.
He did numerous sketches and studies in preparation.
It is THE Romantic painting.
A struggle for survival and rescue after a shipwreck at sea, with the wave on the left about to crash over the raft while an African beckons for liberation from this mess. Is this a painting larger than its simple theme?
The big competition for Gericault at the Salon of 1819 was …
Image from Wikipedia: Pygmalion_et_Galatea
Anne-Louis Girodet
Pygmalion & Galatea
Oil on canvas
8 ′ 4 ″ x 6 ′ 8 ″
1819
Iconography: The sculptor Pygmalion falls in love with an an ivory statue of a beautiful young woman. Granting his prayers, the goddess Aphrodite brings it to life, they fall in love (symbolized by the young cupid Eros) and they get married.
This ideal beauty of this painting was the hit of the 1819 Salon in Paris, preferred by many over the gruesome realism of Gericault’s Raft.
Jean-Louis André Théodore Géricault (1791-1824) is part of an informal movement that begins at this time and is still with us, the avant-garde, the advance guard, agents for social change.
We get the core ideas of this movement from this 1825 statement by Olinde Rodrigues, a follower of the Socialist Saint-Simon. Rodrigues, in his essay “L’artiste, le savant et l’industriel’’ first used the term “avant-garde” in Saint Simon’s book Literary, Philosophical and Industrial Opinions. He advocated for artists, scientists and industrialists as leaders against oppression and alienation in favor of social reform:
Let us unite. To achieve our one single goal, a separate task will fall to each of us. We, the artists, will serve as the avant-garde: for amongst all the arms at our disposal, the power of the Arts is the swiftest and most expeditious. When we wish to spread new ideas amongst men, we use in turn the lyre, ode or song, story or novel; we inscribe those ideas on marble or canvas…We aim for the heart and imagination, and hence our effect is the most vivid and the most decisive.
The Avant-Garde
We will see two strains of development from this point forward:
Experimenting with artistic form, breaking with traditions
Experiment with subject matter, engaging in social criticism
Often both done together
Understanding The Avant-Garde
Critics who liked Girodet’s Pygmalion & Galatea disliked Géricault’s Raft of the Medusa. However, no matter how you considered it, it was the hit of the Salon of 1819. As The Louvre writes:
Géricault's Raft was the star at the Salon of 1819: "It strikes and attracts all eyes" (Le Journal de Paris). Critics were divided: the horror and " terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses," whose realism they considered a far cry from the "ideal beauty" incarnated by Girodet's Pygmalion and Galatea (which triumphed the same year). Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Coupin was categorical: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel."
The painting had fervent admirers too, including Auguste Jal who praised its political theme, its liberal position (the advancement of the "negro", the critique of ultra-royalism), and its modernity. For Michelet, "our whole society is aboard the raft of the Medusa [...]."
Dr. Beth Harris and Dr. Steven Zucker, "Théodore Géricault, Raft of the Medusa ," in Smarthistory, November 23, 2015, accessed May 22, 2020, https://smarthistory.org/theodore-gericault-raft-of-the-medusa/.
Click on the image to start the video.
Let us examine the composition and forms of the Raft of the Medusa.
Image from Wikipedia: The_Raft_of_the_Medusa
The color scheme is muted, centered on black, browns, dark golds and dark blues.
The color chart of 19 dominant colors in the Raft is from Wikipedia, which cites it from:
Christiansen, Rupert. The Victorian Visitors: Culture Shock in Nineteenth-Century Britain". New York Times, 3 June 2001. Retrieved on 4 January 2008.
The composition is asymmetrical.
Image from Wikipedia: Oath_of_the_Horatii
Contrast the composition to this schematic showing how the architectural perspective of the composition helps focus our attention on the climactic moment of the oath.
Note that this composition is symmetrical and balanced in comparison to the Raft.
Here we see implied lines leading away from the center.
All the major lines give an unbalanced composition
that reinforces the unsettling theme.
Two scalene triangles underscore the imbalance.
Note: 1) Monumental figures, à la Michelangelo 2) contorted in a life of death struggle. Next, we’ll see one possible inspiration for these two qualities.
Detail from Michelangelo’s Last Judgement above the altar in the Sistine Chapel (1536-41). Charon ferries the damned across the River Styx to get to Hell.
Théodore Géricault, Raft of the Medusa, 1818-19
Portrait of a Woman Suffering from Obsessive Envy (The Hyena)
1822
oil on canvas, 72 x 58 cm
Musée des Beaux-Arts, Lyons
Portrait of a Child Snatcher
1822
oil on canvas
65 x 54 cm
Museum of Fine Arts, Springfield, Massachusetts
A Woman Addicted to Gambling
1822
oil on canvas
77 x 64 cm
Louvre, Paris
Gericault’s Portraits of the Insane
Gericault’s Portraits of the Insane, 10 portraits of mentally in people, 1822, with five portraits surviving the two centuries since they were painted.
Read about these in the below article by Ben Pollitt:
Ben Pollitt, "Théodore Géricault , Portraits of the Insane," in Smarthistory, August 9, 2015, accessed May 22, 2020, https://smarthistory.org/gericault-portraits-of-the-insane/.
What are the qualities central to Romanticism?
Defiance
Shock effect
Social protest
Pointing out Injustice
Exoticism
Eroticism
And, the quest for:
Experimentation
Freedom from rules
The near constant theme of Man’s Inhumanity to Man.
Image from Wikipedia:
Eugène Delacroix
Scene of the Massacre at Chios; Greek Families Awaiting Death or Slavery
1824
oil on canvas
164″ × 139″
(419 cm × 354 cm)
Musée du Louvre, Paris
Dr. Beth Harris and Dr. Steven Zucker, "Eugène Delacroix, Scene of the Massacre at Chios ," in Smarthistory, November 18, 2015, accessed May 25, 2020, https://smarthistory.org/delacroix-scene-of-the-massacre-at-chios/.
Click on the image to start the video.
Ottoman Turks attacked Chios in April 1822.
20,000 citizens killed, with the rest deported into slavery.
A contemporary event presented as a History Painting.
An anonymous contemporary critic writing in Le Mercure du Dix-Neuvieme Siecle (vol. 7, 1824) recorded his response to Delacroix’s Massacre at Chios:
“I felt repulsed, not by the horrors of the subject, but by the hideous aspect of the painting….Cadavers already marked by the imprint of destruction and the livid color which announce the second stage of death busy disfiguring them; living bodies which resemble the cadavers, a poor even degraded nature….Why does he give it an even more hideous air with those clashing touches of a brush that heaps colors one next to another, without uniting them or establishing any harmonious relation among them?”
So, 1) An ugly subject and 2) Heavy impasto of clashing colors.
Lee Johnson also notes that contemporaries considered the painting path-breaking:
From the moment it was hung at the Salon…the Massacres de Scio was interpreted as making a new departure, as posing a threat to the accepted standards of the neo-classical school, and Delacroix himself looked back on it as marking the point where, he supposed, ‘I began to become an object of antipathy for the academy and a kind of nuisance...For the first time a painting was labeled romantic in contrast to the classicism of David: [art critic] Chauvin…after arguing that the classicist satisfies both heart and mind by drawing on ‘la belle nature’ [beautiful nature] whereas the romantic ‘has an unknown kind of power, outside of nature, that shocks at the very first glance,’ concluded ‘I label [David’s] Léonidas classical and Massacre de Scio romantic.’
Lee Johnson, The Paintings of Eugène Delacroix. A Critical Catalogue. 1816-1831, vol. 1 (Oxford: Oxford University Press, 1981), 87, http://www.19thcenturyart-facos.com/artwork/massacre-chios.
Image from Wikipedia:
Jean-Auguste Dominique Ingres
The Vow of Louis XIII
1824
oil on canvas
Jean-Auguste Dominique Ingres, Jacques-Louis David’s student, was the major rival to Delacroix. He is considered Neoclassical, but often with certain Romantic qualities.
The Vow was in the same room as Delacroix’s Massacre in the Salon of 1824.
It shows Louis XIII (1601=1643) consecrating France to the Virgin Mary in 1638. Plus, in the 1630s, France was ravaged by the plague. When Ingres displayed it, it reinforced the union in France of Church and State.
It earned him entrance into the Académie des Beaux-Arts.
We considered this Neoclassical, emulating Raphael
Let us contrast it with Delacroix’s Massacre in the next slide.
And the Neoclassical vs. Romantic battle continues on …
Image from Louvre:
Eugène Delacroix
Dante and Virgil in Hell (also known as The Barque of Dante)
Salon of 1822
Dante is with Virgil, his companion in Dante’s Inferno.
The horrific setting of Hell, with fires and billowing smoke, with bodies of the damned around Charon’s boat as the cross the River Styx.
The Romantics expanded their literary subject matter beyond the great classics of Antiquity to now focus on such writers as Dante, Shakespeare and Goethe (who wrote Faust).
No doubt Gericault’s Raft is a creative source here, but Delacroix provides a classically balanced composition with dark colors applied with a heavy painterly style.
Jean-Auguste Dominique Ingres
The Apotheosis of Homer
1827
oil on canvas
3.86 x 5.12 meters
Louvre, Paris
Also see, Dr. Beth Harris and Dr. Steven Zucker, "Jean-Auguste-Dominique Ingres, Apotheosis of Homer," in Smarthistory, August 8, 2015, accessed May 25, 2020, https://smarthistory.org/ingres-apotheosis-of-homer/.
Here Ingres crowns Homer as the father of all Ancient Greek and Roman poetry. As the Britannica writes:
A kind of pan-historical group portrait of cultural luminaries influenced by Homer, this picture came to function as a manifesto for the increasingly embattled Neoclassical aesthetic. It also helped establish Ingres as a standard-bearer of cultural conservatism. Critics saw that he was defending the tenets of the waning tradition of French academic Classicism: namely, an unwavering faith in the authority of the ancients, an insistence upon the superiority of drawing over colour, and a commitment to the idealization as opposed to the mere replication of nature. In extreme contrast to this vision was the work of Eugène Delacroix…
Neoclassic vs. Romantic
Palette (color scheme)
Composition
Linear vs. Painterly
Ideal vs. Grotesque Figures
Harmony vs. Struggle
Dr. Bryan Zygmont, "Eugène Delacroix, Liberty Leading the People," in Smarthistory, November 22, 2015, accessed May 25, 2020, https://smarthistory.org/delacroix-liberty-leading-the-people/.
Eugène Delacroix, Liberty Leading the People (July 28, 1830), September – December 1830, oil on canvas, 260 x 325 cm (Musée du Louvre, Paris)
Click on the image to start the video.
Jean-Auguste-Dominique Ingres
La Grande Odalisque, 1814
oil on canvas. 91 x 162 cm
Louvre, Paris
Neoclassical linear form of a classical nude, but in an “Oriental” setting in Turkish harem, hence is both erotic and exotic, again, blurring the line between Neoclassical and Romantic.
Please read the following article by Dr. Bryan Zygmont, "Between Neoclassicism and Romanticism: Ingres, La Grande Odalisque ," in Smarthistory, November 12, 2015, accessed May 25, 2020, https://smarthistory.org/between-neclassicism-and-romanticism-ingres-la-grande-odalisque-2/.
Image from Wikipedia: Greece_on_the_Ruins_of_Missolonghi
Eugène Delacroix
Greece Expiring On the Ruins of
Missolonghi
1826
One of my favorite paintings, capturing the essence of Man’s Inhumanity to Man, with a Greek woman, plaintively asking, why?
A masterful depiction of an innocent victim.
After a year of the Third Siege of Missolonghi by the Ottoman Turks in 1826, the Greeks tried to break out of the city, but were slaughtered. We see the triumphant Turk in the upper right and the hand of a victim under the ruins of a destroyed building.
Images from Smarthistory: delacroix
Eugène Delacroix,
Self-Portrait, c. 1837
Musée du Louvre
Jean-Auguste-Dominique Ingres,
Self Portrait at the age of 24, 1804
Musée Condé
Contrasting self-portraits of Neoclassical Ingres and Romantic Delacroix.
Which is more the Byronic hero? Or, both to some degree?
