Romanticism

The movement emphasized the beauty of nature and human feeling. It was inspired by reactions against classical traditions, social injustices, technological change, and the philosophy of the Enlightenment. Although the movement spanned literature, visual art, music, poetry, and architecture, some of its most recognizable works are paintings.

The Enlightenment was a period of discovery, innovation, and political change. Roman and Greek visuals came into fashion in reaction to the excess and wealth of royalty and the church. Romanticism rebelled against the rigidity of neoclassicism’s simplicity and structure.

Neoclassical artists believed in the promise of the Enlightenment—that logic was a cure-all for society’s problems—and sought to apply a similar rationality to their artwork. That meant straightforward, realistic work that portrayed historical scenes as close to real life as possible without any visible evidence of the artist’s handiwork.

French painter Jacques Louis David was a defining figure of the neoclassical movement, using historical scenes and a polished sheen to present work that was as close to the real world as humanly possible. That made him an obvious foil for the romantics, who embraced raw feeling over accuracy.

“Sublime” may be a word that’s still used in popular culture, but when Irish philosopher Edmund Burke used it in a 1757 essay, he was attempting to define an astonishment at something that was beyond full human understanding.

Caspar David Friedrich’s painting portrays man’s fascination with the natural world and emphasizes his smallness in the midst of its grandeur, epitomizing Edmund Burke's concept of "the sublime."

Romantic painter Caspar David Friedrich’s art uses vast, massive scale and masterful compositions to convey complex ideas of power, decay, permanence, and more. But his landscapes also present beautiful, overwhelming portraits of nature that perfectly embody philosopher Edmund Burke’s concept of “the sublime.”

Friedrich produced several works, including "Wanderer," portraying figures with their back to the viewer. The effect—called Rückenfigur, or ”figure from the back”—can create complex emotions of longing, immersion, or awe.

Samuel Beckett was an admirer of art and, while touring German art galleries in 1937, saw Caspar David Friedrich’s Two Men Contemplating the Moon. A directorial notebook for the original production of “Waiting for Godot” notes that the end of the play’s first act was inspired by the 19th-century work.

The massive painting, at over 8 feet by 10 feet, is striking, especially considering the warfare being depicted. Paintings of this size were usually reserved for historical events, but Delacroix was portraying what the people of Paris experienced just a few months earlier.