Romantic Paintings (page 4)

Showing 145 to 176 of 176 paintings

Cool light filters through a thick, verdant forest in this vertical landscape painting. Most of the trees have high canopies with celery, matcha, and olive-green leaves.

Asher Brown Durand Forest in the Morning Light, c. 1855 National Gallery of Art

A man stands with one arm resting over the back of a chestnut-brown horse as two women approach the animal in this horizontal portrait painting set in a landscape. The people have pale skin, dark eyes, and ash-brown or gray hair.

George Stubbs Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances, 1769 National Gallery of Art

This painting depicts buildings under a clear blue sky. The horizon line is low, mostly obscured by the structures. The buildings have pointed brown roofs, and they are a pale yellow color.

Charles-François Daubigny The Farm, 1855 National Gallery of Art

A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair.

Joseph Wright of Derby The Corinthian Maid, 1782-1784 National Gallery of Art

Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun, Francisco de Goya, c. 1806, oil on panel

Francisco de Goya Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun, c. 1806 Art Institute of Chicago

Friar Pedro Wrests the Gun from El Maragato, Francisco de Goya, c. 1806, oil on panel

Francisco de Goya Friar Pedro Wrests the Gun from El Maragato, c. 1806 Art Institute of Chicago

Friar Pedro Clubs El Maragato with the Butt of the Gun, Francisco de Goya, c. 1806, oil on panel

Francisco de Goya Friar Pedro Clubs El Maragato with the Butt of the Gun, c. 1806 Art Institute of Chicago

Mlle. Alexandrine-Julie de la Boutraye, Eugène Delacroix, c. 1832–34, oil on fabric

Eugène Delacroix Mlle. Alexandrine-Julie de la Boutraye, c. 1832–34 Cleveland Museum of Art

Marguerite-Juliette Pierret, Eugène Delacroix, c. 1827, oil on fabric

Eugène Delacroix Marguerite-Juliette Pierret, c. 1827 Cleveland Museum of Art

Saint Ambrose, Francisco de Goya, c. 1796–99, oil on canvas

Francisco de Goya Saint Ambrose, c. 1796–99 Cleveland Museum of Art

Figure in Turkish Costume, Eugène Delacroix, c. 1856–1863, oil on paper, glued to canvas

Eugène Delacroix Figure in Turkish Costume, c. 1856–1863 Cleveland Museum of Art

Majas on a Balcony, Francisco de Goya, ca. 1800–1810, oil on canvas

Francisco de Goya Majas on a Balcony, ca. 1800–1810 The Met

Male Academy Figure: Half-Length, Side View, Eugène Delacroix, ca. 1818–20, oil on paper laid down on panel (formerly canvas)

Eugène Delacroix Male Academy Figure: Half-Length, Side View, ca. 1818–20 The Met

A person at the center of this loosely painted horizontal landscape rides a dark horse across a field as a man to the left works the field behind a horse-drawn plow.

Camille Corot View near Epernon, 1850/1860 National Gallery of Art

This painting shows a man depicted from two angles; on the left, he faces us, while on the right, his back is to us. In both views he wears the same clothes and is in the same position.

Eugène Delacroix Two Studies of a Standing Indian from Calcutta, c. 1823/1824 National Gallery of Art

The painting contains two full-body depictions of a man with dark skin in different postures and clothing, placed next to each other against a dark background. On the left, the man stands upright, holding a cane.

Eugène Delacroix Two Studies of an Indian from Calcutta, Seated and Standing, c. 1823/1824 National Gallery of Art

A crouching tiger to our left bares its fangs at a hissing snake wound around a tree to our right in this nearly square painting.

Eugène Delacroix Tiger and Snake, 1862 National Gallery of Art

This painting shows a woman sitting, her body facing the left and her head turned to look at us, with one arm resting on a wooden surface on the right.

Camille Corot Italian Woman (La Morieri), c. 1872 National Gallery of Art

A young boy with pale skin, wearing a black suit with densely pattered gold trim and decoration, stands holding an open book in front of a brown background in this vertical portrait painting.

Francisco de Goya Victor Guye, 1810 National Gallery of Art

Shown from the hips up, a pale-skinned, heavy-set, elegantly dressed man sits at the corner of a table, looking at us in this vertical portrait painting.

Francisco de Goya Don Antonio Noriega, 1801 National Gallery of Art

This painting is a portrait of a man from the waist up. He is positioned slightly to the left, with his head turned toward us. He has light skin, green eyes, a faint moustache, and a neutral expression.

Francisco de Goya The Duke of Wellington, c. 1812 National Gallery of Art

Shown from the knees up against a dark gray background, a young woman with peachy skin stands with her body angled to our left and she looks at us with brown eyes in this vertical portrait painting.

Francisco de Goya Young Lady Wearing a Mantilla and Basquina, c. 1800/1805 National Gallery of Art

Shown from the knees up, a woman stands facing us as she turns her head to look off to our right in this vertical portrait painting. The woman has pale, peachy skin, deeply shadowed, hooded eyes, and a straight nose.

Camille Corot Agostina, 1866 National Gallery of Art

A young man sets out in a golden boat on a river that winds from the bottom right corner of this horizontal painting across a lush landscape and into the distance before disappearing beyond two rocky outcroppings far off to our right.

Thomas Cole The Voyage of Life: Youth, 1842 National Gallery of Art

A man looks up as he kneels with his hands clasped in prayer in a small golden boat on a river that rushes toward craggy rocks in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Manhood, 1842 National Gallery of Art

A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Old Age, 1842 National Gallery of Art

A woman with pale skin, wearing a silvery-gray dress adorned with white ribbons and light pink roses, stands looking out at us with a small, pug dog by her feet in this vertical portrait painting.

Francisco de Goya The Marquesa de Pontejos, c. 1786 National Gallery of Art

Shown from the waist up in front of a black background, a young woman with pale white skin and curly brown hair looks directly out at us over her shoulder with her body angled to our left in this vertical portrait.

Francisco de Goya Señora Sabasa Garcia, c. 1806/1811 National Gallery of Art

Shown from the knees up, a cleanshaven, young man with pale, peachy skin leans on his right elbow, to our left, against a ledge and holds a black top hat in that hand in this vertical portrait painting.

Francisco de Goya Bartolomé Sureda y Miserol, c. 1803/1804 National Gallery of Art

Shown from the knees up, a pale-skinned woman wearing a muted, sapphire-blue gown sits ramrod straight in a chair and looks at us in this vertical portrait painting.

Francisco de Goya Thérèse Louise de Sureda, c. 1803/1804 National Gallery of Art

We look out across a band of broad, craggy boulders at an ocean bay dotted with boats in this horizontal landscape painting. The tops of the flat boulders are caramel brown in the sunlight and darker, rust-brown shadows down the sides.

William Stanley Haseltine Narragansett Bay, 1864 National Gallery of Art

This painting shows a slightly elevated viewpoint looking out across a green landscape towards a reflective body of water. In the green sky, the pale-yellow moon glows brightly, illuminating the scene.

Ralph Albert Blakelock Moonlight, 1886/1895 National Gallery of Art

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