Art History Today

Romanticism & the Medieval Revival 9.

Slides used in Lecture.

1) Karl Friedrich Schinkel, Gothic Cathedral with Imperial Palace, 1815, Oil on canvas, 94 x 140 cm, Nationalgalerie, Berlin.

2) John Constable, Salisbury Cathedral from the Meadows, 1831, oil on canvas, Private Collection, prev on loan to National Gallery, London.

3) J .M. W. Turner, Tintern Abbey: The Transept, c. 1794, watercolour, Tate, London.

4) Eugene Delacroix, The Abduction of Rebecca, (from Ivanhoe), 1846, Oil on canvas, 100 x 82 cm, Metropolitan Museum of Art, New York.

5) K. F. Schinkel, Study for a Monument to Queen Louise, 1810, Watercolour, 720 x 520 mm, Nationalgalerie, Berlin.

6) William Blake, Angels hovering over the Body of Jesus, 1805, watercolour, Victoria and Albert Museum, London.

7) Architectural Diagram: Arches.

8) William Blake, Joseph of Arimathea (after Michelangelo), 1773, line engraving, 22.8 x 12 cm, British Museum, London.

9) William Blake, Isaac Newton, 1795, Copper engraving with pen and ink and watercolour, 460 x 600 mm, Tate Gallery, London.

10) Michelangelo, Abias, Ancestors of Christ group, c. 1511, fresco, Sistine Chapel, Vatican, Rome.

11) William Blake, The Penance of Jane Shore in St Paul’s , 1793, ink, watercolour and gouache on paper, Tate, London.

12) Angelica Kauffmann, Queen Eleanor sucking the Poison from her Husband King Edward I's Wound, late 18^th century, engraving.

13) William Blake, The Ordeal of Queen Emma, c. 1780, watercolour, whereabouts unknown.

14) Anon, Aveline of Lancaster, erected 1290s, Westminster Abbey, London.

15) William Blake, The Body of Christ borne to the Tomb, 1799-1800, Tempera on canvas mounted onto cardboard, Tate, London.

16) William Blake, The Sea of Time and Space, 1821, Pen and ink, watercolour and gouache on gesso ground on stiff paper, National Trust, Arlington Court, Devon.

17) William Blake, The Ancient of Days, from Europe: A Prophecy, “When he sets a compass upon the face of the deep” (Proverbs 8:27), watercolour, black ink and gold paint over a relief etched outline painted in yellow, 23.5 x 17, Whitworth Art Gallery, Manchester.

18) William Blake, Europe: “Mildew blighting Ears of Corn”, page 9, 1794, 22.9 x 16.3, British Museum, London.

19) William Blake, St Michael binding Satan, "He Cast him into the Bottomless Pit, and Shut him up," 1805, Watercolor, black ink, and graphite on off-white wove paper, Harvard Museums, Boston, MA.

20) Anon, Alexandre Lenoir trying to prevent the destruction of the monuments in Saint-Denis, pen and ink with wash, Museé du Louvre, Rothschild Coll.

21) François Girardon, Tomb of Cardinal Richelieu, 1675-77, marble, Sorbonne, Paris.

22) Antonio and Giovanni Giusti and assistants, Tomb of Louis XII and detail, 1515-31, Saint Denis, Paris.

23) Enguerrand Quarton (or Charonton), The Avignon Pietà and detail, 1455, Tempera on wood, 162 x 218 cm, Musée du Louvre, Paris,

24) Jean Lubin Vauxelle, La Salle d’introduction du Museé Monuments Française, 1795.

25) Jean Lubin Vauxelle, La Salle d’XVth, Museé Monuments Française, 1795.

26) École des Beaux-Arts, Paris with a bust of Nicolas Poussin.

27) Anon, English engraver, Tomb of Abelard and Héloise, designed by Lenoir, now Pere Lachaise Cemetery, Paris, 1831.

28) Tomb of Abelard and Héloise, Pere Lachaise Cemetery.

29) Same: figures of Abelard and Héloise

30) J.A. D. Ingres, Portrait of E.J. Delecluze, 1856, Graphite and white chalk on cream wove paper, 33.2 x 25.1 cm, Harvard Museums, Boston, MA.

31) François Fleury-Richard, The Young Francois I presented to Louis XII, c. 1840, oil on canvas, Museé d’Art Thomas Henry, Cherbourg.

32) François Fleury-Richard, Montaigne and Tasso, 1821, Oil on canvas, 130 x 100 cm, Musée des Beaux-Arts, Lyon

33) Pierre Révoil, Mary, Queen of Scots, Separated from Her Faithfuls, 1822, Oil on canvas, 57 x 70 cm, Private collection.

34) J.A. D. Ingres, François-Marius Granet, 1809, Oil on canvas, 75 x 53 cm, Musée Granet, Aix-en-Provence.

35) François Marie Granet, Interior of the Choir in the Capuchin Church on the Plaza Barberini in Rome, 1818, Oil on canvas, 175 x 127 cm, The Hermitage, St. Petersburg.

36) François Marie Granet, Crypt of San Martino ai Monti, Rome (detail), 1806, Oil on canvas, Musée Fabre, Montpellier

37) Eugene Delacroix, Interior of a Dominican Convent at Madrid, 1831, oil on canvas, 130 x 163 cm, Philadelphia Museum of Art.

38) Frans Pforr, The Entry of Emperor Rudolf of Habsburg into Basel, 1809-10, Oil on canvas, 90 x 119 cm, Städelsches Kunstinstitut, Frankfurt.

39) Albrecht Dürer, View of Nürenberg, 1496-97, watercolour, Kuntshalle, Bremen.

40) K. F. Schinkel, Medieval Town by Water, after 1813, Oil on canvas, 94 x 126 cm, Neue Pinakothek, Munich.

41) Friedrich Overbeck, Raphael, Fra Angelico and Michelangelo over Rome, 1810, Pencil on paper, 311 x 200 mm, Städelsches Kunstinstitut, Frankfurt.

42) Friedrich Overbeck, Italia and Germania, after 1828, Oil on canvas, 95 x 105 cm, Gemäldegalerie, Dresden.

43) C. D. Friedrich, Monk by the Sea and detail, 1809, Oil on canvas, 110 x 172 cm, Nationalgalerie, Berlin.

44) C. D. Friedrich, Winter Landscape with Church, 1811, Oil on canvas, 33 x 45 cm, Museum für Kunst und Kulturgeschichte, Dortmund.

Romanticism & the Medieval Revival 8.

Medievalism & Romanticism in Germany (2): The Nazarenes

Finally, a word should be said about the band of painters united under the banner of St Luke- the Nazarenes. Unlike Schinkel, they had no interest in following the soaring lines of Gothic cathedrals skywards, but instead limited their horizons to the intimacy of the hearth and workshop. The Nazarene movement was born in 1809 when six students at the Vienna Academy formed an association called the Brotherhood of St Luke (Lukasbrüder), named after the patron saint of painting. They actually didn’t use the label “Nazarenes” but acquired it from their detractors who observed that they affected biblical dress and hairstyles. Their aim was to communicate a Spartan simplicity in painting whose corollary was the spiritual ethos of the Middle Ages. Again, we are not far away from the monkish life because these painters lived and worked together in a quasi-monastic fashion. In contrast to the Nazarenes one might compare Friedrich’s Monk by the Sea (above) which is an essay in romantic pessimism.

Romanticism & the Medieval Revival 7.

One of the reasons for Germany’s interest in the middle-ages is thought to have been dictated by a political solution to modern conditions. Unlike medieval times Germany consisted of several autonomous, self-governing bodies; thus, intellectuals turned back to a time when their country was united under the aegis of the Holy Roman Empire (800-1648). Then, the pre-Reformation Catholic Church exercised power, and the guild system provided a model for social organization and commercial activity.[1] Writings like the previously mentioned Goethe’s essay “On German Architecture” reflects this need for defining the German nation through a philosophy of political coherence, which was a debate that crossed over into theorising on style and the arts, especially the difference between the Greek and Gothic styles. This is most evident in Wilhelm Wackenroder’s splendidly titled Outpourings from the Heart of an Art Loving Monk, written just before his death in 1797. Set in the eighteenth-century this is a fiction about a monk who looks back to the middle-ages while articulating key romantic ideas such as theories of inspiration. Not seeking to place neoclassical art above Gothic art, Wackenroder pleaded for tolerance; he stated that his monk found the “Gothic temple as pleasing as the Greek temple” and looked fondly back to the age of Dürer (above) whose achievement though full of the spirit of the renaissance, was rooted in the craft traditions of Nürenberg and the middle-ages. Artists like K.F. Schinkel were influenced by this call for a romantic return to the middle-ages and the renaissance captured in poetic views of medieval towns and cathedrals against colourful landscapes and skies.

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[1] Michelle Facos, An Introduction to Nineteenth-Century Art, (Routledge, 2011), 104.

Romanticism & the Medieval Revival 6.

Medievalism & Romanticism in France (2): Painting & the Gothic Style.

The deeds and adventures of heroes from the middle-ages permeate the literature of the early nineteenth-century, most conspicuously in the novels of Scott. In France, the Gothic sensibility is present in writers like Chateaubriand with his celebration of the Catholic religion, Genius of Christianity, not to mention his novels and memoirs where one deduces he prefers women to wear veils, lurk in cemeteries and possess the kind of sorrowful blanched face seen in many Gothic situations. Chateaubriand’s aesthetic view of the French Revolution as a transitional movement in style that bears a resemblance to the fusion of classic and Gothic art found in the time of Louis XII, sounds suspiciously like Lenoir’s own manipulation of art history in the Museé des Monuments. But Chateaubriand’s is more of a metaphor drawing on art history; the Florentine classical style is full of optimism, hope for the future; the Gothic, sweetly moribund taste evoking the sombre reality of the violence of everyday life in the French Revolution with death forever at one’s side. And then in the next generation of the romantics there is Victor Hugo with his tales set in medieval Paris, especially Notre-Dame, the most famous cathedral in Paris. Cathedrals themselves became encyclopaedic symbols of the middle- ages in France. As for the painters, the middle-ages provided inspiration for scenes full of atmosphere and religious mystery as well as medieval battles and the history of the French kings. The latter were known as paintings in the “troubadour style” named after French medieval minstrels whose poetry transmitted French history through its songs.

A group of artists in David’s workshop, Révoil, Fleury-Richard, Granet and others assiduously studied the monuments in Lenoir’s museum which inspired them to inaugurate this blend of genre and history painting.[1] Francois Fleury-Richard painted such subjects from French history as Francois I as a child presented to Louis XII; but he was also proficient in the other Gothic branch which represented monks and clerics in cavernous, dim interiors to enhance the sense of mystery. These genres betray interest in Gothic architecture, especially religious buildings. A more famous pupil, François Granet- the subject of one of Ingres’s finest romantic portraits- did one of the best of these monkish scenes of Capuchins which was mistaken by one official for a work by Ingres, much to Delacroix’s amusement.[2] As well as being thoroughly versed in the literature of romanticism Delacroix himself was interested in Gothic architecture. Not only did he tour ecclesiastical buildings in Northern Europe, but he also planned to write an essay on the Gothic, which sadly never came to fruition. To his advantage, one of his cousins owned the medieval abbey of Valmont which may have served as a backdrop to some gloomy interiors in Delacroix’s paintings, like the 1831 Interior of a Dominican Convent in Madrid, based on a scene from the Anglican priest Charles Maturin’s Melmoth the Wanderer, a Gothic shocker published in 1820.[3]

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[1] E. J. Delecluze, David, son École et son temps, (Didier 1855, Editions Macula, Paris, 1983), 244. Delecluze calls this « genre anecdotique ».

[2] Delacroix, Journal, 14^th Feb, 1849.

[3] Paul Joannides, “Delacroix and Modern Literature” in the Cambridge Guide to Delacroix (Cambridge, 2001), 134; Nina Athanassoglou- Kallmeyer, “Eugene Delacroix and Popular Culture”, p. 56, in the same volume.

Romanticism & the Medieval Revival 5.

Medievalism & Romanticism in France (1): “Gloomy Magic” at the Museé des Monuments Français in Paris.

The revival of medieval art appreciation in France was largely a response to the destruction of sculpture and monuments during the French Revolution which were considered “royalist” or which symbolised the old order which was being swept away. One heroic scholarly figure intervened as the saviour as Gothic and medieval art, Alexandre Lenoir, and his achievement was realized in the Museé des Monuments Français (Museum of French Monuments) which housed examples of art from the middle- ages to the 17^th century. As one commentator has noted, the art within this museum was not part of the canon of appreciated art (then and now) and had it not been for Lenoir, it would have probably been destroyed for aesthetic just as much as political reasons.[1] Art owned by the Bourbons such as Raphael would have been spared because its symbolic and aesthetic status would have put it “outside history” while statues and monuments connected with royals and dignitaries and therefore explicitly with history would have been at the mercy of the mob.[2] Against a background of chaotic administration and strong anti-monarchical sentiment, the government approved the removal of ear-marked works of art to the Petit Augustin (on the left bank of the Seine opposite the Louvre) the present site of the École des Beaux-Arts (1816).

A failed painter and dramatist, it is surprising that Lenoir was appointed Governor in 1791 which involved administration, surveying churches and compiling inventories. One of these churches was St Denis containing the Giustis’ Tomb of Louis XII which retains something of the Gothic style in its gisants.[3] This tomb was installed in the Petit Augustin, but “creatively restored” by Lenoir to make it conform to his view of stylistic transition.[4] Another centre was the Sorbonne where Lenoir suffered an injury to his hand when he tried to stop a vandal with a bayonet desecrating Girardon’s Tomb of Richelieu which became part of the “Lenoir mythology.”[5] Girardon’s equestrian statue of Louis XIV was not so lucky; it was destroyed in the Revolution. Perhaps the monument that most appealed to Lenoir (and to the public) was the strange tomb of the medieval lovers Héloise and Abelard which was placed in the grounds of the convent which with the “silence and tranquillity” occasioned melancholy musings consistent with a romantic temperament. This extraordinary monument was later moved to Paris’s most famous resting place- the cemetery of Père Lachaise.[6]

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[1] See the chapter on Lenoir and the Museum of French Monuments in Andrew McClellan, Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-Century Paris (University of California Press, 1994), 155f.

[2] McLennan, Inventing the Louvre, 156.

[3] Blunt detected the influence of the Florentine Sansovino in this monument, but the heads of the gisants puzzled him; he noted that the hollowing out of the cheeks resembled the head of the donor in the Avignon Pieta. Anthony Blunt, Art and Architecture in France 1500-1700, Pelican History of Art (1953, rep. 1982), 39.

[4] McLennan who uses the phrase “creative restoration,”Inventing the Louvre, 184.

[5] The phrase is McClelland’s who observes that the prints (above) showing this incident were probably apocryphal, Inventing the Louvre, 159.

[6] Francis Haskell, History and its Images: Art and the Interpretation of the Past (Yale, 1993), 243.

Romanticism & the Medieval Revival 4.

Blake & the Gothic (2): Illuminations.

The mediocre watercolours and engravings of English medieval subjects hardly attest to Blake’s genius; but with his decision to create illustrated books of his poetry, his art reached a new level of accomplishment which ensured his posthumous fame. Of significance here is the word “illuminated” which might refer to enlightenment in a mystical sense, and Blake drew and painted many esoteric subjects like The Sea of Time and Space (above); but might equally, as Clark reasonably states, allude to the world of the middle-ages with its monks and illustrators of the illuminated manuscripts in scriptoriums which Blake saw as more important then the art of Greece and Rome.[1] Clark quotes Blake’s words: “Greece and Rome, so far from being parents of Arts and Sciences, as they pretend, were destroyers of all art. Grecian is mathematical form; Gothic is living Form; Mathematical Form is external in the Reasoning Memory; Living Form is External Existence.” Claims have been made between Blake’s images and the illuminated manuscripts. To give just one example: Blunt suggested that the St Michael subduing Satan is thought to be based on the Winchester Bible “which contains one initial strikingly similar in design.”[2] As well as medieval style, the language here is also Michelangelo-esque, but the energy of the high renaissance filtered through the “mannerist revival of Michelangelo and Tibaldi” which was brought back to England through Fuseli, all of which would fuel the imagination of Blake.[3]

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[1] Kenneth Clark, The Romantic Rebellion: Romantic verses Classical Art, (John Murray, 1973), 152. As Clark memorably put it Blake “would have been more at home in an inward-turning scriptorium than in the life-class of an eighteenth-century academy.”

[2] Blunt, Art of William Blake, 33.

[3] Kenneth Clark, The Nude: A Study of Ideal Art, (Penguin, 1956), 207.

Romanticism & the Medieval Revival 3.

Blake & the Gothic (1): The “Double Re-appraisal.”

In later life William Blake re-worked a plate of a figure taken from Michelangelo’s Crucifixion of St Peter inscribing it with the following words:

“This is one of the Gothic Artists who built the Cathedrals in what we call the Dark Ages wandering around in sheepskins and goatskins of whom the world was not worthy; such were the Christians in all ages.”

This was an example of what Francis Haskell called the “double-reappraisal” in which two seemingly contradictory types of art are reassessed and found not incompatible with the artists’s outlook.[1] An “entirely alien art” to use Haskell’s words is liked by a painter because it offers “an alternative, but not a threat to his current practice.” References to Michelangelo abound in Blake’s writings and his famous image of Isaac Newton on the seabed (above) was shown by Blunt to be based on an engraving of Michelangelo’s figure of Abias in the Sistine Chapel.[2] At about the same time that he was discovering Michelangelo, the young artist was engraving and painting scenes from English medieval history, and as his Victorian biographer Gilchrist claimed, Blake may have been planning a series of illustrations to the early history of England. In choosing English medieval subjects Blake was not alone: other artists like Angelica Kauffmann and John Hamilton Mortimer were pursuing the same aim; but neither of these artists strove to show their figures clothed in the costume of the medieval period, or lend a Gothic air to their paintings. Though Blake was equally inexact in his own way, his representations of English medieval history betray his studies of the Gothic sculpture in Westminster Abbey. For example in his watercolour Ordeal of Queen Emma, the folds in the drapery are based upon the statue of Aveline of Lancaster in Westminster Abbey, though as Blunt points out the “rendering of late Gothic architecture can hardly be considered accurate.”[3]

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[1] Francis Haskell, Rediscoveries in Art: some aspects of taste, fashion and collecting in England and France ( 1976), 94. Haskell gives another example: Rodin who admired both Michelangelo and medieval art.

[2] Ghisi’s engraving; see Blunt, The Art of William Blake, (Columbia, 1959), no. 4.

[3] Blunt, Art of William Blake, 8.

Romanticism & the Medieval Revival 2.

Gothic into Romanticism.

As Clark points out, when one studies the historical shift in architecture and the arts known as the “Gothic Revival,” one ends up considering the Romantic movement itself because in this period the middle-ages “took the place of classical times as an ideal in art.”[1] And though “Romantic Gothic” was mainly found in literature in the 18^th century, in the following century it had spread across the cultural sphere to all expressions of romantic creativity. For example the phenomenon known as the picturesque depended heavily on the presence of ruined Gothic buildings, abbeys and castles which would induce feelings of melancholy in the mind of their visitors. For those visitors who had the gift of putting their feelings into words or art, e.g., Wordsworth’s Tintern Abbey or Constable’s views of Salisbury Cathedral, the result was a form of expression that encapsulated a mood or an atmosphere. Then there is the literature that dealt with the valour and chivalry of the Middle-Ages ranging from the antiquarianism of Bishop Hurd’s Letters on Chivalry and Romance (1762) to the Waverly novels of Sir Walter Scott which democratised the Gothic by making it available to every class of reader rather than just the close-knit circle of scholiasts and antiquarians who were less interested in the aesthetic possibilities of the Gothic Revival and Romantic movement. Scott’s novels were to inspire several painters of the romantic generation, but particularly Delacroix whose fiery expression, though rigidly controlled, was to give shape to these stories of battles, intrigues and romances in such paintings as the Abduction of Rebecca, ( above) from Scott’s Ivanhoe published in 1819.

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[1] Clark, Gothic Revival, 66.

Romanticism & the Medieval Revival 1.

Gothic: What’s In A Word?

As we learnt last week, defining romanticism has much to do with the origin of the word itself. The same is true of “Gothic”, though in this case the word has always been tinged with a certain disdain even by those who celebrated its achievement and recognised its aesthetic and archaeological values. In his 1812 meditation on Strasbourg Cathedral, Goethe firmly rejected the word “Gothic” and proposed instead to call the building an example of German art; thus nationality became fused with a distinctive style.[1] Probably the linking of the word Gothic with architecture was of Italian derivation with some claiming that the term was first used by Raphael in Rome, but the artist did not actually use the word; in a report he referred to “architectura Tedescha” (German architecture).[2] Gothic as a word was mainly popularised by Vasari who extended it to painting where he made distinctions between Northern and Southern art which have lasted to this day. Vasari coined this use of the term in opposition to the German, or Northern style which he associated with the art of “Goths” or barbarians who sacked Rome. This use of the word was to survive into the 18^th century, though those admirers of medieval art who “found the term misleading” introduced synonyms for the Gothic such as “Pointed”, “Plantagenet”, “Christian” and even “English” which had the most purchase and was adopted by the Society of Antiquaries. Here was another example of nationalism being raised on the foundation of a dispute about the merits of the term.[3]  Above image- Karl Friedrich Schinkel, Gothic Cathedral with Imperial Palace, 1815

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[1] “Strasbourg Minister” in Goethe on Art ed John Gage (Scolar Press, London, 1980), 115-117, 117: “.I found the merit of this building a challenge, and dared to change the hitherto disparaging term “Gothic style of building”, so as to vindicate our nation with the title “German Architecture.”

[2] Kenneth Clark, The Gothic Revival: An Essay in the History of Taste (1950), 13, n.2

[3] Clark, Gothic Revival, 75.

The Romantic Rebellion: Romantic and Classical Art (7). List of slides used in lecture.

1) Theodore, Gericault, The Raft of the Medusa, 1818-19, oil on canvas, 491 x 716 cm, Museé du Louvre, Paris.

2) William Blake, Frontispiece to The Marriage of Heaven and Hell, 1790-93.

3) Anon, prev att to Constance Meyer, Phrosine et Mélidore, from Mehul’s opera (1794), early 19^th century, oil on canvas, 32.5 x 24 cm, Musée Magnin, Dijon.

4) Pierre Joseph Prudhon, Les Amours de Phrosine et Mélidore, 1797, etching and engraving.

5) Att. to Antoine- Jean Gros, Portrait of Étienne Méhul, 1799, oil on canvas, Museé Carnavalet, Paris.

6) Silvestro Valeri, Portrait of Henri Marie Beyle (Stendhal) as Consul, Museé Stendhal, Grenoble, oil on canvas, early 19th century.

7) Xavier Sigalon, Locusta trying out poison on a slave in front of Narcissus, from Racine’s Britannicus, 1824, oil on canvas, Museé des Beaux-Arts, Nimes.

8) Eugène Delacroix, Desdemona cursed by her Father, 1850-54, oil on panel, 40.6 x 32. 1 cm, Brooklyn Museum, New York.

9) Eugène Delacroix, Othello and Desdemona, c. 1847-49, oil on canvas, 50.3 x 60.7 cm, National Gallery of Canada, Ottawa.

10) Anne Louis Girodet, The Deluge, Salon of 1806, oil on canvas, 441 x 341 cm. Museé du Louvre, Paris.

11) Ary Scheffer, The Death of Géricault, 1824, Oil on canvas, 36 x 46 cm, Musée du Louvre, Paris.

12) Anne Louis Girodet, Portrait of François-René, Vicomte de Chateaubriand in Rome, oil on canvas, Museé Saint-Malo, Brittany.

13) Anne Louis Girodet, The Burial of Atala (from Chateaubriand’s Atala), 1808, oil on canvas, Oil on canvas, 207 x 267 cm, Musée du Louvre, Paris.

14) Horace Vernet, The Artist's Studio, c. 1820, Oil on canvas, 52 x 64 cm, Private collection.

15) Eugène Delacroix, Massacre of Scios, oil on canvas, 419 cm × 354 cm, Museé du Louvre, Paris.

16) John Constable, The Haywain, 1821, oil on canvas, 130.2 x 185.4 cm, National Gallery, London.

17) J.A.D Ingres, The Vow of Louis XIII, 1824, oil on canvas, 262 x 421 cm, Montauban Cathedral.

18) G. B. Piranesi, Self-Portrait, engraving.

19) G. B. Piranesi, Carceri, «The Round Tower, Plate III, Second Edition, 1749.

20) Henry Fuseli, Lady Macbeth Seizes the Daggars, exhibited 1812, oil on canvas, Tate, London.

21) Henry Fuseli, The Nightmare, exhibited 1782, Oil on canvas, 1210 x 1473 x 89 mm, Tate, London.

22) James Barry, Satan, Sin and Death at Hell’s Gate, Paradise Lost,1792-98, etching on paper, Tate, London.

23) William Blake, Satan, Sin and Death at Hell’s Gate, Paradise Lost, 1806, pen and watercolour, Huntingdon Library, San Marino, California.

24) William Blake, Stonehenge, 1804, illustration to Milton-A Poem,

25) John Constable, Stonehenge, 1835, watercolour, Victoria and Albert Museum, London.

26) Eugène Delacroix, Self-Portrait, 1837, oil on canvas, 65 x 54.5 cm, Museé du Louvre, Paris.

27) J A D Ingres, Self-Portrait at 79, 1859, oil on canvas, 65.4 x 53.7 cm, Fogg Art Museum, Cambridge, Mass.,

28) J. A. D. Ingres, Ambassadors of Agamemnon, 1801, oil on panel, 82.5 x 63.5 cm, École Nationale Superieure des Beaux-Arts, Paris, France

29) Eugène Delacroix, The Barque of Dante (Dante and Virgil in Hell), 1822, oil on canvas, 189 x 246 cm, Museé du Louvre, Paris.

30) Theodore Gericault, Portrait of Eugène Delacroix, 1817-19, oil on canvas, 54 x 45 cms, Parisian Art Market, 2016.

31) Jacques Louis David, The Oath of the Horatii, Salon of 1785, oil on canvas, 329.8 cm × 424.8 cm, Museé du Louvre, Paris.

32) François Gérard, Corinne at Cape Miseno, 1819, Oil on canvas, 266 x 277 cm, Musée des Beaux-Arts, Lyon.

33) Pierre-Narcisse Guerin, The Return of Marcus Sextus, 1799, Oil on canvas, 217 x 243 cm, Musée du Louvre, Paris.

34) J. A. D Ingres, Venus wounded by Diomedes, oil on canvas, 33 x 26.5 cm, Kunstmuseum Basel, Basel, Switzerland.

35) Anon, engraving from William Hamilton’s Collection of Vases, Antique Dealer, New York.

36) J.A.D. Ingres, Portrait of Mademoiselle Rivière, 1805, oil on canvas, 100 x 70 cm, Museé du Louvre, Paris.

37) Pierre Joseph Prud’hon, Divine Vengeance and Justice pursuing Crime, 1808, oil on canvas, 33 x 41 cm, Museé du Louvre.

38) Pierre Joseph Prud’hon, The Union of Love and Friendship, 1793, oil on canvas, 115 x 146 cm, Minneapolis Institute of Arts, Minneapolis.

39) Theodore Gericault, Leda and the Swan, black chalk and watercolour, Museé du Louvre, Paris.

40) Theodore Gericault, Study for The Race of the Barbarian Horses, 1817, oil on canvas, Walters Art Museum, Baltimore.

41) Theodore Gericault, Epsom Derby, 1821, oil on canvas, 92 x 123 cm, Museé du Louvre, Paris.

42) Friedrich Heinrich Füger, Alcestis Sacrifices Herself for Admetus, 1804-05, Oil on canvas, 194 x 139 cm, Akademie der bildenden Künste, Vienna.

43) Friedrich Overbeck, Portrait of the Painter Franz Pforr, c. 1810, Oil on canvas, 62 x 47 cm, Nationalgalerie, Berlin.

44) Franz Pforr, Shulamit and Mary, 1810-11, Oil on panel, 34 x 32 cm, Private Collection.

45) Peter Cornelius, Plate 10 of illustrated Faust, 1783, “Faust and Mephistopheles ascending the Brocken.”

46) Karl Friedrich Schinkel, Gothic Cathedral with Imperial Palace, 1815, Oil on canvas, 94 x 140 cm, Nationalgalerie, Berlin.