The Mouseion · The Long Century · Romanticism & Realism

Romanticism & Realism

Storms, ruins, mountains and the sublime, then a turn to the real: peasants, labourers and the people painters passed in the street. Turner, Constable, Delacroix, Courbet and Millet argued over what painting was for.

Walk inThe whole museum

On the walls this month

• 
  New England Scenery — Thomas Cole (1801–1848), 1839, Oil on canvas
  Original: The Art Institute of Chicago
• 
  The Combat of the Giaour and Hassan — Eugène Delacroix (1798–1863), 1826, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Fish (Still Life) — Édouard Manet (1832–1883), 1864, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Tiger Resting — Pierre Andrieu (1821–1892), c. 1845, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Peasants Bringing Home a Calf Born in the Fields — Jean François Millet (1814–1875), 1864, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Landscape (The Lock) — John Constable (1776–1837), c. 1820–25, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Eleanor Margaret Gibson-Carmichael — Sir Henry Raeburn (1756–1823), 1802–03, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Sketch for The Revolt of Cairo — Anne-Louis Girodet de Roussy-Trioson (1767–1824), c. 1810, Oil and ink on paper, laid down on canvas
  Original: The Art Institute of Chicago
• 
  Mountain Brook — Albert Bierstadt (1830–1902), 1863, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Souvenir of the Environs of Lake Nemi — Jean Baptiste Camille Corot (1796–1875), 1865, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Dante's Bark — After Eugène Delacroix (1798–1863), c. 1840–60, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Crossing the Ford — George Inness (1825–1894), 1848, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Point Breeze, the Estate of Joseph Napoleon Bonaparte at Bordentown, New Jersey — Charles B. Lawrence (1813–1837), 1817–20, Oil on canvas
  Original: The Art Institute of Chicago
• 
  James William Wallack — Charles Robert Leslie (1794–1859), 1835–40, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Jesus Mocked by the Soldiers — Édouard Manet (1832–1883), 1865, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Elizabeth Grant Bankson Beatty (Mrs. James Beatty) and Her Daughter Susan — Joshua Johnson, c. 1805, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Head of a Guillotined Man — Jean Louis André Théodore Géricault (1791–1824), 1818–19, Oil on panel
  Original: The Art Institute of Chicago
• 
  Boston Common — Artist unknown, 1850–63, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Amédée-David, the Comte de Pastoret — Jean Auguste Dominique Ingres (1780–1867), 1823–26, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Rip Van Winkle — John Quidor (1801–1881), 1829, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Isabella Wolff — Sir Thomas Lawrence (1769–1830), 1803–15, Oil on canvas
  Original: The Art Institute of Chicago
• 
  View of Cotopaxi — Frederic Edwin Church (1826–1900), 1857, Oil on canvas
  Original: The Art Institute of Chicago
• 
  The Lovers — William Powell Frith (1819–1909), 1855, Oil on board
  Original: The Art Institute of Chicago
• 
  Portrait of a Man — Antonio Maria Esquivel (1806–1857), 1843, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Wounded Lioness — Pierre Andrieu (1821–1892), c. 1850, Oil on canvas
  Original: The Art Institute of Chicago
• 
  Bird's Nest and Ferns — Fidelia Bridges (1834–1923), 1863, Oil on panel
  Original: The Art Institute of Chicago
• 
  Landscape at Chailly — Frédéric Bazille (1841–1870), 1865, Oil on canvas
  Original: The Art Institute of Chicago

More of The Long Century

• Impressionism — Painting outdoors, fast, in broken colour: Monet, Renoir, Pissarro, Morisot, Degas and Cassatt caught the light of a…
• After Impressionism — Van Gogh’s brushwork, Cézanne’s solid geometry, Gauguin’s flat colour, Seurat’s dots, and the dreamlike Symbolists…
• New Worlds 1900–1930 — Fauvism, Expressionism, Cubism, Futurism and the first abstract paintings. In thirty years art broke with five…

Where the works come from

Every work in the Mouseion is a real piece, out of copyright everywhere, shown from the open collections of the museums that hold it — each label names the original’s museum and links to its page there.

• The Metropolitan Museum of Art — Open Access
• The Art Institute of Chicago — public-domain collection
• The Cleveland Museum of Art — Open Access
• Wikimedia Commons — public-domain photographs of works held elsewhere