The Romantic Era

In response to the Enlightenment and  Neoclassical era’s order and reason, the Romantic era was characterized by the portrayal of sense and emotions with an emphasis on the individuals’ mind and imagination. The Industrial Revolution is in full swing with the development of transportation leading to the urbanization of cities. The Romantic movement opposed this change, stressing traditional rural life, the natural world, and idealizing the past. Within the Romantic Era, Realism was born. Set out to depict the reality and hardships of day-to-day life in a rapidly evolving world. The Romantic Era contains numerous art styles and substyles compared to its predecessors. (“Romanticism Movement Overview”)

At the beginning of each unit of this class, I think to myself, “This has to be my absolute favorite style.” However, with the Romantic Era and all its different styles, I think this is really true. I have always liked learning about this time period and the Industrial Revolution, but it is also bittersweet to me. The advancements we have made are incredible, but they come at the cost of the simplicity of life that I think so many of us crave. 

I had a hard time picking a favorite and not-so-favorite style from the Romantic Era. I think each style serves its own purpose. For this post, I will be comparing the Hudson River School and Art Nouveau. I love how Hudson River School artists capture the beauty of American wilderness and the impact the movement had on the United States. I like Art Nouveau but have a preference for the architect and applied art over the paintings/drawings. Each style emphasizes natural forms and the sense of grandeur either through visual landscapes or emotions.

Hudson River School

The United States was still considered a new country during the 19th century and was eager to create its own, unique culture. American artists were looking to create something distinctly different than their counterparts across the Atlantic. Westward expansion and Manifest Destiny ideas gained traction in the United States, encouraging the exploration of America’s wilderness. During this time, the first American art movement was created: the Hudson River School. Characterized by idealized landscapes and depictions of pastoral nature, the movement captured the stunning vastness of America’s wilderness. Hints of the themes of the Divine and nationalism are also seen in Hudson River School paintings with variations in the themes’ intensity. (“Hudson River School Overview”). Today, the movement is credited to the creation of American conservation and the beginning of the United States National Parks (“Treasured Landscapes”). 

The Oxbow by Thomas Cole (1836)

Background and Influences 

Thomas Cole (1801-1848) is considered the father of the Hudson River School. He emigrated to the United States with his family at age 18 from Lancashire, England. The scenery of the northeastern United States was vastly different compared to the urbanized area of Bolton le Moors. Much of his work was inspired by the Catskill Mountains in New York.  (“Thomas Cole”)

Description, Art Elements, and Intentions

The Oxbow, 1836, Oil on canvas, 130.8 x 193 cm

Painted in Catskill, New York, USA

Currently located at the Metropolitan Museum of Art in New York City, USA

The painting depicts a moving thunderstorm over the Connecticut River Valley inspired by the views from Mount Holyoke, Northampton, Massachusetts. On the summit, lush, storm-torn foliage and trees occupy the foreground. The “blasted tree” is a common motif used in Hudson River School paintings, conveying the sublime power of nature. Located in the bottom middle part of the painting is a tiny self-portrait of Thomas Cole, who is sitting on the rocks, painting the valley below, with his head turned towards the viewer. In the valley, an oxbow in the Connecticut River cuts through fields. The upper half of the painting contains dark storm clouds giving way to clear, sunny skies on the right. On the hill in the background of the painting, the clearing of trees is in the shape of נֹ֫חַ, the Hebrew writing of Nocah, also known as Noah. This is an ambigram, viewed upside down, the Hebrew word for “The Almighty” is seen (“Picturing America”). This subtle symbolism relates to the Hudson River School’s theme of the Divine. (“Thomas Cole, The Oxbow”)

The natural shapes and lush colors used in this painting are characteristics of every Hudson River School work, capturing the remarkable views of American landscapes. Curving lines make up the composition of the painting, as seen in the oxbow, the landscape, and the clouds. They offer comfort and ease from the turbulent weather to the left. The painting is split with a curved line moving upward from the middle, separating the atmosphere of the painting into two. The Hudson River School intended to highlight the power of nature and the wilderness of the West and juxtapose it to the serenity of rural, American life. The Oxbow does just that. 

Placement and Presentation

The painting has a golden frame and is surrounded by other Hudson River School Art in the MET. The painting itself is large, so surrounding it in a golden frame adds to its grandeur. The gold frame brings out the yellow tones in the landscape, creating even more contrast with the darkness of the storm. I think that this is the best way to showcase Cole’s work.

Personal Relation

This painting and how Cole depicts the falling rain and sunshine in the valley are breathtaking. The subject of The Oxbow is important to me. One of my favorite things when flying in and out of Fairbanks, Alaska is to see the curving of the Tanana and its countless tributaries. It takes me back to a fond conversation I had with my sister when she explained how oxbow lakes are formed from oxbow bends. I would love to own a copy of this painting.

The Grand Canyon of Yellowstone by Thomas Moran (1872)

Background and Influences 

Thomas Moran (1837-1926) is best known for the work above. He was born in Bolton le Moors, Lancashire, England, and emigrated to the United States when he was seven (sounds like someone else we know!). Moran worked in a wood engraving firm and came across works of J. M. W. Turner, who influenced Moran’s art. After Moran illustrated two articles about Yellowstone, he knew he had to visit the land. In 1871, Moran went on Ferdinand Vandeever Hayden’s survey team to the Yellowstone region and spent forty days recording his time and the scenery alongside William Henry Jackson, a survey photographer. From this adventure, Moran created The Grand Canyon of Yellowstone (1872). (“Thomas Moran”)

The painting was used alongside Jackson’s photographs to convince the United States Congress to withdraw the land from public auction. They were successful. President Ulysses S. Grant signed The Act of Dedication shortly after, thus creating Yellowstone National Park. (“Yellowstone National Park”)

Description, Art Elements, and Intentions

The Grand Canyon of Yellowstone, 1872, Oil on canvas mounted on aluminum, 213 cm × 266.3 cm

Likely painted in New Jersey, USA

Currently located at the National Statuary Hall, Washington, D.C., USA

The painting depicts an idealized view of the Grand Canyon in Yellowstone. In the background, you can see Tower Fall and its mist framed by eroded volcanic pinnacles and yellow cliffs of the canyon. The vibrant blue of the Yellowstone River is seen between the trees. In the foreground, you can see two figures standing on a ledge. The figures are an explorer and a Native American, highlighting the importance of a strong relationship between the two during the 19th century. To the left of them, Thomas Moran and William Henry Jackson are portrayed resting and taking in the view. 

Moran uses natural shapes and strong vertical and diagonal lines to exemplify the greatness of Yellowstone. The lines of the trees, rock, and mist lead the eye forward and upwards, reflecting the sense of the Divine. His colors are vibrant, but not overwhelming, displaying the land's beauty. The tones throughout the painting add to the depth of the scene. While the painting is not a completely accurate portrayal of the region, it captures the feelings of standing amongst the dramatic landscape and of the sublime.

Placement and Presentation

I could not find the most current presentation of the painting in the National Statuary Hall. However, the Smithsonian American Art Museum placed it on its own wall. It stands alone on the wall, nearly completely covering it, framed by gold. On the wall to the side is The Grand Canyon of the Yellowstone (1993-1901). The walls are painted brown, which brings out the earthy hues in the work. 

Personal Relation

It is my dream to visit every national park and eventually work for the National Park Service. Since Moran’s artwork was critical to the creation of the United States’ first national park, I wanted to focus on him and what better way to do that than to feature this painting. I have never been to Yellowstone, but have always been enamored by its breathtaking views. I would own a copy of this and place it among the other works I have of national parks.

Art Nouveau 

The style is defined by its asymmetrical, curving lines and elaborate, natural designs. It drew inspiration from natural forms found in plants, flowers, and animals. Art Nouveau sought to break away from traditional art practices and the industrial aesthetic, favoring decorative and intricate designs that merged art with daily life. It set out to prove that art is found in good, careful craftsmanship of everyday objects and can be found in everyday objects. It can be seen in various mediums such as glass and furniture, besides paint on a canvas. (“Art Nouveau Movement Overview”)

The Kiss by Gustav Klimt (19097-1908)

Background and Influences

Gustav Klimt (1862-1918) was an Austrian painter who was a renowned artist in Vienna, Austria during the late 19th and early 20th century. At first, his work was more conservative, but being influenced by modern trends in European art, he developed an eccentric style that often had more scandalous subjects for the time. (“Gustav Klimt”)

In Klimt’s travels, he saw the artwork in the Basilica of San Vitale, which Byzantine artists would decorate with gold leaf. This had a lasting influence on Klimt's work, especially those in his golden period. The influence of Japanese prints is seen as well due to its imports as transportation was becoming easier. (“10 Facts”)

Description, Art Elements, and Intentions

The Kiss, 1907-1908, Oil and gold leaf on canvas, 180 x 180 cm

Painted in Vienna, Austria-Hungary

Currently located at the Österreichische Galerie Belvedere (Austrian Gallery), Vienna, Austria

The Kiss is part of Klimt’s “golden phase” and is known worldwide for its depiction of romantic love. It shows a couple embracing each other during a kiss. They are standing on the edge of a green, flowered meadow and surrounded by gold. The man adorns a yellow robe, checkered by black and white and the woman wears a yellow dress, patterned with circular flowers of red, blue, and pink. The people are surrounded and decorated by rich, vibrant colors and patterns, but their physical bodies are painted plainly.

The gold background is reminiscent of Byzantine and medieval works that depict religious icons surrounded by golden light, adding to the idea that the subject’s love transcends all. It highlights that love is a universal feeling that disregards space and time. The intricate patterns convey a sense of beauty to the overall feel of the painting. The subjects are formed from curved lines, making them feel natural and content.

Placement and Presentation

The painting is framed in black and set on a protruding white wall in the Belvedere. To the sides are wooden doors with gold accents. The room is brightly lit which lets the gold shine. I do like how the painting is displayed. The black frame brings out the patterns on the robes and balances the gold. The gold accents in the room bring out the gold and yellow tones in the painting.

Personal Relation

In all honesty, I dislike this painting. I think Klimt is a great artist, but I do not find the same amount of enjoyment that others get from his work. I will admit I do like the gold leaf background and the patterns of the man’s robe. But, I’m not a fan of how the subjects in The Kiss are composed. I would not own a copy of this work. 

The Peacock Skirt by Aubrey Beardsley (1893)

Background and Influences 

Aubrey Beardsley (1872-1898) was an English illustrator and writer. He was a man plagued with illness throughout his life. He was known for his black-and-white illustrations that featured Art Nouveau’s style with darker themes. He was influenced by Japanese prints and Pre-Raphaelite art. His work was controversial for its time. He critiqued Victorian ideas and featured grotesque and erotic themes. He was influential to the Art Nouveau movement and paved the way for modern art. (“Aubrey Breadsley”)

Inspired by Oscar Wilde’s play, Salomé, Beardsley created J'ai baisé ta bouche, Iokanaan (1893). Wilde saw the illustration and commissioned the artist to illustrate the first English edition of the one-act tragedy. He created ten illustrations, one being The Peacock Skirt. You can also see the other illustrations at this link. (“The Peacock Skirt”)

Description, Art Elements, and Intentions

The Peacock Skirt, 1893, Black ink and graphite on white wove paper, 23 x 16.8 cm

Likely created in Sussex, England

Currently located at the Fogg Art Museum of Harvard Art Museums, Cambridge Massachusetts, USA

The drawing is illustrated in black and white. It depicts Salomé, wearing a headdress and a long robe both decorated with peacock feathers. Above her left shoulder is an image of a peacock, an animal Salomé is associated with. A second figure to the right wears a pleated tunic, noted to be the “Young Syrian”, from the tragedy. The figures are turned towards each other and are in conversation.

The elements found in this painting reflect Art Nouevua’s style. The curving lines and detailing referencing the peacock add to the elaborateness of the character. The contrast throughout the drawing, especially in the bottom portion of Salomé’s skirt focuses the viewer’s attention to Beardsley's skill for incredible detail. While this work doesn’t display the usual level of erotica and grotesque in Beardsley’s work, it still fights against the 19th century culture’s view of women and sexuality.

Placement and Presentation

I could not find a current presentation of this work and I believe it is not currently on view. If I were to display The Peacock Skirt, I would frame it in a simple, black frame. It would be displayed next to the other illustrations made for Salomé, in order that they appear in the play. I would also display a copy of Salomé for viewers to read so that they could fully understand the context of the work. 

Personal Relation

I found this painting while looking through works in the Art Nouveau style. I don’t have much of a connection with it and it is probably something I would not own a copy of. However, it stood out to me because of the influence of Japanese woodblock prints and the lack of color compared to other Art Nouveau. I do like the careful detailing found on the skirt and headdress. 

Works Cited

“10 Facts You Don’t Know About ‘The Kiss’ by Gustav Klimt.” Gustav Klimt, www.gustav-klimt.com/The-Kiss.jsp. Accessed 24 Mar. 2025.

“Art Nouveau Movement Overview.” The Art Story, www.theartstory.org/movement/art-nouveau/. Accessed 24 Mar. 2025.

“Aubrey Beardsley.” The Art Story, www.theartstory.org/artist/beardsley-aubrey/. Accessed 24 Mar. 2025.

“Gustav Klimt.” The Art Story, www.theartstory.org/artist/klimt-gustav/. Accessed 24 Mar. 2025.

“The Hudson River School Overview.” The Art Story, www.theartstory.org/movement/hudson-river-school/. Accessed 24 Mar. 2025.

“The Peacock Skirt.” Wikipedia, Wikimedia Foundation, 21 Dec. 2023, en.wikipedia.org/wiki/The_Peacock_Skirt. Accessed 24 Mar. 2025.

“Picturing America.” Wayback Machine, web.archive.org/web/20220922190441/https:/picturingamerica.neh.gov/downloads/pdfs/Resource_Guide_Chapters/PictAmer_Resource_Book_Chapter_19A.pdf. Accessed 24 Mar. 2025.

“Romanticism Movement Overview.” The Art Story, www.theartstory.org/movement/romanticism/. Accessed 24 Mar. 2025.

“Thomas Cole, The Oxbow.” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/enlightenment-revolution/a/cole-the-oxbow. Accessed 24 Mar. 2025.

“Thomas Cole.” The Art Story, www.theartstory.org/artist/cole-thomas/. Accessed 24 Mar. 2025.

“Thomas Moran.” Wikipedia, Wikimedia Foundation, 24 Jan. 2025, en.wikipedia.org/wiki/Thomas_Moran. Accessed 24 Mar. 2025.

“Treasured Landscapes: Hudson River School.” National Parks Service, U.S. Department of the Interior, www.nps.gov/museum/exhibits/landscape_art/hudson_river_school.html. Accessed 24 Mar. 2025.

“Yellowstone National Park.” Wikipedia, Wikimedia Foundation, 22 Mar. 2025, en.wikipedia.org/wiki/Yellowstone_National_Park. Accessed 24 Mar. 2025.