Romantic Paintings

Storms, ruins, wild landscapes and strong feeling, painted against the age of reason.

1790s–1850s. 176 paintings here, dated 1769 to 1891, with works by Francisco de Goya, Camille Corot, Eugène Delacroix and Joseph Mallord William Turner. They suit the living room, bedroom and guest room most often.

Showing 1 to 48 of 176 paintings

Manuel Osorio Manrique de Zuñiga (1784–1792), Francisco de Goya, 1787–88, oil on canvas

Francisco de Goya Manuel Osorio Manrique de Zuñiga (1784–1792), 1787–88 The Met

We look across an expanse of a flat, grassy lawn at the towering spire of a stone church outlined against billowing clouds in this horizontal landscape painting.

John Constable Salisbury Cathedral from Lower Marsh Close, 1820 National Gallery of Art

We hover over a flax-yellow body of water lined with ships to our left and right, which are silhouetted against a moonlit, cloud-veiled sky in this horizontal landscape painting.

Joseph Mallord William Turner Keelmen Heaving in Coals by Moonlight, 1835 National Gallery of Art

Large English country landscape painting, farmers with horses, green trees.

John Constable Stoke-by-Nayland, 1836 Art Institute of Chicago

Large marine landscape of boats on rough waves, storm clouds.

Joseph Mallord William Turner Fishing Boats with Hucksters Bargaining for Fish, 1837–38 Art Institute of Chicago

Whalers, Joseph Mallord William Turner, ca. 1845, oil on canvas

Joseph Mallord William Turner Whalers, ca. 1845 The Met

A young, smiling boy in a ruffled collar, hat, and cumberbun rides outdoors on a brown ram, a small whip held aloft in his hand.

Francisco de Goya Boy on a Ram, 1786–87 Art Institute of Chicago

Condesa de Altamira and Her Daughter, María Agustina, Francisco de Goya, 1787–88, oil on canvas

Francisco de Goya Condesa de Altamira and Her Daughter, María Agustina, 1787–88 The Met

Two Men Contemplating the Moon, Caspar David Friedrich, ca. 1825–30, oil on canvas

Caspar David Friedrich Two Men Contemplating the Moon, ca. 1825–30 The Met

Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, Joseph Wright of Derby, 1779, oil on canvas

Joseph Wright of Derby Virgil's Tomb by Moonlight, with Silius Italicus Declaiming, 1779 The Met

The Burning of the Houses of Lords and Commons, 16 October 1834, Joseph Mallord William Turner, 1835, oil on canvas

Joseph Mallord William Turner The Burning of the Houses of Lords and Commons, 16 October 1834, 1835 Cleveland Museum of Art

Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm, Joseph Mallord William Turner, 1836–37, oil on canvas

Joseph Mallord William Turner Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm, 1836–37 Art Institute of Chicago

Portrait of Isidoro Máiquez, Francisco de Goya, c. 1807, oil on canvas

Francisco de Goya Portrait of Isidoro Máiquez, c. 1807 Art Institute of Chicago

Landscape (The Lock), John Constable, c. 1820–25, oil on canvas

John Constable Landscape (The Lock), c. 1820–25 Art Institute of Chicago

Branch Hill Pond, Hampstead, John Constable, 1828, oil on canvas

John Constable Branch Hill Pond, Hampstead, 1828 Cleveland Museum of Art

Greek Cavalry Men Resting in Forest, Eugène Delacroix, 1858, oil on fabric

Eugène Delacroix Greek Cavalry Men Resting in Forest, 1858 Cleveland Museum of Art

Mrs. James Pulham Sr. (Frances Amys, ca. 1766–1856), John Constable, 1818, oil on canvas

John Constable Mrs. James Pulham Sr. (Frances Amys, ca. 1766–1856), 1818 The Met

Basket of Flowers, Eugène Delacroix, 1848–49, oil on canvas

Eugène Delacroix Basket of Flowers, 1848–49 The Met

Christ Asleep during the Tempest, Eugène Delacroix, ca. 1853, oil on canvas

Eugène Delacroix Christ Asleep during the Tempest, ca. 1853 The Met

George Sand's Garden at Nohant, Eugène Delacroix, ca. 1842–43, oil on canvas

Eugène Delacroix George Sand's Garden at Nohant, ca. 1842–43 The Met

Madame Henri François Riesener (Félicité Longrois, 1786–1847), Eugène Delacroix, 1835, oil on canvas

Eugène Delacroix Madame Henri François Riesener (Félicité Longrois, 1786–1847), 1835 The Met

Sebastián Martínez y Pérez (1747–1800), Francisco de Goya, 1792, oil on canvas

Francisco de Goya Sebastián Martínez y Pérez (1747–1800), 1792 The Met

Ferdinand VII (1784–1833), When Prince of Asturias, Francisco de Goya, ca. 1800, oil on canvas

Francisco de Goya Ferdinand VII (1784–1833), When Prince of Asturias, ca. 1800 The Met

Saltash with the Water Ferry, Cornwall, Joseph Mallord William Turner, 1811, oil on canvas

Joseph Mallord William Turner Saltash with the Water Ferry, Cornwall, 1811 The Met

We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting.

John Constable Wivenhoe Park, Essex, 1816 National Gallery of Art

Painted in golden tones of butter and harvest yellow, tawny brown, and olive green, this horizontal landscape painting has a low wall stretching diagonally from the lower right corner off to our left, dividing a river to our right from a…

Joseph Mallord William Turner Mortlake Terrace, 1827 National Gallery of Art

Butter-yellow clouds and water, a periwinkle-blue sky, and pale plum-purple buildings blend in hazy, indistinct bands across this horizontal landscape painting.

Joseph Mallord William Turner Approach to Venice, 1844 National Gallery of Art

We look across a glittering waterway lined with long, low boats and sailboats at an ivory-white church in the distance to our right in this horizontal landscape painting.

Joseph Mallord William Turner Venice: The Dogana and San Giorgio Maggiore, 1834 National Gallery of Art

A band of indigenous Americans ride horses toward and through a herd of buffalo, which spreads along a river that winds through plains to mountains in the deep distance in this horizontal landscape painting.

Albert Bierstadt The Last of the Buffalo, 1888-1889 National Gallery of Art

The top three-quarters of this horizontal landscape painting is filled with roiling, deeply shadowed clouds that tower over a line of buffalo crossing a grassy meadow below.

Albert Bierstadt Buffalo Trail: The Impending Storm, 1869 National Gallery of Art

We look across the gleaming, forest-green surface of a lake at the foot of tall, jagged mountains in this horizontal landscape painting.

Albert Bierstadt Mount Corcoran, c. 1876-1877 National Gallery of Art

We hover over the bottle-green surface of a river as it rushes toward a horseshoe-shaped waterfall that curves away from us in this horizontal landscape painting.

Frederic Edwin Church Niagara, 1857 National Gallery of Art

We look across a palm-tree lined river winding into the distance before a monumental, snow-covered mountain at the center of the composition in this horizontal landscape.

Frederic Edwin Church Tamaca Palms, 1854 National Gallery of Art

Honey-gold sunlight from low along the horizon to our left falls across the copper and bronze-colored canopies of trees that frame our view of a stone church with stained glass windows and ornate spires in this horizontal landscape…

Thomas Cole The Return, 1837 National Gallery of Art

In a verdant green landscape, a stone castle sits on a tree-lined hill in the distance in front of a high, craggy mountain peak while eighteen armored knights ride toward us along a bridge and path in this horizontal painting.

Thomas Cole The Departure, 1837 National Gallery of Art

Landscape, Camille Corot, c. 1870/1875, oil on canvas

Camille Corot Landscape, c. 1870/1875 National Gallery of Art

Two thick, twisting, splintered tree trunks with broken branches stripped of leaves are set against a dark, wooded landscape beneath a nearly black sky in this horizontal landscape painting.

Thomas Cole Tornado in an American Forest, 1831 National Gallery of Art

This painting displays an outdoor scene with a large tree to the left and a low horizon with a few buildings and what look like boats floating on blue water on the right.

Camille Corot Souvenir of Terracina, 1864, reworked slightly later National Gallery of Art

Four people wearing earthy brown gather near a stream that runs through a lush forest carpeted and filled with moss, pine, and sage green trees and undergrowth, interlaced with thin, willowy tree trunks in this horizontal landscape…

Camille Corot The Eel Gatherers, 1860/1865 National Gallery of Art

Through a golden haze and across an expanse of gently rippling water dotted with boats, ghostly ivory and parchment-white buildings rise along a distant shore in this loosely painted horizontal landscape.

Joseph Mallord William Turner The Dogana and Santa Maria della Salute, Venice, 1843 National Gallery of Art

This painting depicts a young woman from the chest upwards, seated in a slightly turned position to the left.

Camille Corot Portrait of a Young Girl, 1850 or 1859 National Gallery of Art

Dense green vegetation surrounds a band of sun-dappled boulders that arc shallowly across this horizontal landscape painting. Just to our left of center and on our side of the boulders are several slender tree trunks.

Camille Corot Rocks in the Forest of Fontainebleau, 1860/1865 National Gallery of Art

We look slightly down onto a man riding a white horse away from us on a dirt road winding through a sun-drenched, rocky landscape in this horizontal painting.

Camille Corot A View near Volterra, 1838 National Gallery of Art

A bearded man, a young man, and five monks stand in a cream-white hall hung with a map and paintings in this horizontal painting. The people all have pale, peachy skin.

Eugène Delacroix Christopher Columbus and His Son at La Rábida, 1838 National Gallery of Art

We look across a wide, low clearing at a mountain rising beyond rocky hills, which are mostly covered in pines and blazing red and orange autumn trees, in this horizontal landscape painting.

Thomas Cole A View of the Mountain Pass Called the Notch of the White Mountains (Crawford Notch), 1839 National Gallery of Art

A sand-colored riverbank stretches in front of us to meet an arched bridge that spans a pale blue river to our right in this horizontal landscape painting. The scene is loosely painted so many details are indistinct.

Camille Corot Bridge on the Saône River at Mâcon, 1834 National Gallery of Art

Moss-green land rising to a tree-topped bluff follows the curve of a sandy beach surrounding a pale blue cove in this horizontal landscape painting.

Camille Corot Beach near Etretat, c. 1872 National Gallery of Art

Hulking mountains are mostly backlit against a watery blue sky edged with shell pink along the horizon, which comes about two-thirds of the way up this horizontal landscape painting.

Thomas Cole Sunrise in the Catskills, 1826 National Gallery of Art

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