Romanticist Collection (page 6)

A drover urging a team of bullocks to swim the Tiber at the Ponte Milvio Crossing
449355 A drover urging a team of bullocks to swim the Tiber at the Ponte Milvio Crossing (pen & brown ink with brown wash on paper) by Vrancx

Bridge and Cows, c. 1803-04 (pencil with wash on paper)
780557 Bridge and Cows, c.1803-04 (pencil with wash on paper) by Cotman, John Sell (1782-1842); Leeds Museums and Galleries (Leeds Art Gallery) U.K.; eLeeds Museums and Galleries; English

When on the highest lift... plate 36 from Milton
NYL433497 When on the highest lift... plate 36 from Milton, a Poem in Two Books, c.1804-08 (hand-coloured etching) by Blake, William (1757-1827); New York Public Library

The Grand Canal: Scene - a Street in Venice, c. 1837 (oil on canvas)
HEH416336 The Grand Canal: Scene - a Street in Venice, c.1837 (oil on canvas) by Turner, Joseph Mallord William (1775-1851); 150.5x112.4 cm; Huntington Library, Art Museum, and Botanical Gardens

Bristol Harbour (oil on canvas)
2829698 Bristol Harbour (oil on canvas) by Muller, William James (1812-45); 56.5x84 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Bequest of J. W

Swiss Chalet, 1838 (oil on canvas)
2829692 Swiss Chalet, 1838 (oil on canvas) by Muller, William James (1812-45); 49.5x67.5 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Purchased, 1913.; English

Tivoli, 1837 (oil on canvas)
2829661 Tivoli, 1837 (oil on canvas) by Fripp, George Arthur (1813-96); Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Bequest of Charles Bowles Hare, 1911; English

Persecuted, but not Forsaken, 1882 (oil on canvas)
2829629 Persecuted, but not Forsaken, 1882 (oil on canvas) by Field, Walter (1837-1901); Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Bequest of Lord Winterstoke

The Doges Palace, Venice, 1835 (oil on canvas)
2829616 The Doges Palace, Venice, 1835 (oil on canvas) by Muller, William James (1812-45); 57.5x95 cm; Bristol Museum and Art Gallery, UK; eBristol Museums

The Pyramids, 1843 (oil on canvas)
2829546 The Pyramids, 1843 (oil on canvas) by Muller, William James (1812-45); 35.5x78.7 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Purchased, 1909.; English

A Surrey Cornfield, c. 1877 (oil on canvas)
2829489 A Surrey Cornfield, c.1877 (oil on canvas) by Lucas, George (1840-1912); Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Given by Mrs E. W

Lago Maggiore and Isola Bella (oil on canvas)
2829393 Lago Maggiore and Isola Bella (oil on canvas) by Muller, William James (1812-45); 41x81 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Given by Lady Weston

Winter Scene, Porlock, 1836 (oil on canvas)
2829389 Winter Scene, Porlock, 1836 (oil on canvas) by Muller, William James (1812-45); 60.5x92.5 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Given by Lady Weston

Heidelberg (oil on canvas)
2831120 Heidelberg (oil on canvas) by Muller, William James (1812-45); 86x129 cm; Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Purchased, 1923; English, out of copyright

The Setting-up of the First Printing Press in Bristol, 1546, in the Castle Precincts, c
2830941 The Setting-up of the First Printing Press in Bristol, 1546, in the Castle Precincts, c.1917-18 (oil on canvas) by Gotch, Thomas Cooper (1854-1931); Bristol Museum and Art Gallery

View of the Avon Gorge, 1831 (oil on canvas)
2829743 View of the Avon Gorge, 1831 (oil on canvas) by Fripp, George Arthur (1813-96); Bristol Museum and Art Gallery, UK; eBristol Museums, Galleries & Archives; Purchased, 1966.; English

Distant View of Niagara Falls, 1830 (oil on panel)
2967928 Distant View of Niagara Falls, 1830 (oil on panel) by Cole, Thomas (1801-1848); 47.9x60.6 cm; The Art Institute of Chicago, IL, USA; Friends of American Art Collection; American

Invitation to Mr. Whistlers Ten O Clock, 1885
2972791 Invitation to Mr. Whistlers Ten O Clock, 1885 (engraving in black with additions in pen and black ink and watercolour on tan card, with metal grommet) by Whistler

Robert Burns (Pub Sign) (oil on board)
3115269 Robert Burns (Pub Sign) (oil on board) by Scottish School; 107x91.5 cm; National Trust for Scotland, UK; eNational Trust for Scotland; Photo eNational Trust for Scotland; Scottish

Self-Portrait, 1850s (wall painting)
1275707 Self-Portrait, 1850s (wall painting) by NavrAatil, Josef Matoj (1798-1865); Postal Museum, Prague, Czech Republic; (add.info)

Blois, c. 1830 (watercolour with bodycolour and pen and brown and black ink on blue paper
1217285 Blois, c. 1830 (watercolour with bodycolour and pen and brown and black ink on blue paper) by Turner, Joseph Mallord William (1775-1851); 13.5x18.3 cm; Ashmolean Museum, University of Oxford

The Canal of the Loire and Cher, near Tours, c. 1830 (watercolour with bodycolour
1217280 The Canal of the Loire and Cher, near Tours, c. 1830 (watercolour with bodycolour and pen and brown ink) by Turner, Joseph Mallord William (1775-1851); 12.2x18.1 cm; Ashmolean Museum

Nantes, 1826 - 1830 (watercolour with bodycolour and pen and black and brown ink)
1217277 Nantes, 1826 - 1830 (watercolour with bodycolour and pen and black and brown ink) by Turner, Joseph Mallord William (1775-1851); 18.5x13.4 cm; Ashmolean Museum, University of Oxford

A November Rainbow, Dolwyddelan Valley, November 11 1866, 1 p. m
1216835 A November Rainbow, Dolwyddelan Valley, November 11 1866, 1 p.m. 1866, 1866 (watercolour on paper) by Hunt, Alfred William (1830-96); 50.3x75.5 cm; Ashmolean Museum, University of Oxford

Ruins with a Sibyl and other Figures, c. 1720 (oil on canvas)
1216756 Ruins with a Sibyl and other Figures, c.1720 (oil on canvas) by Pannini or Panini, Giovanni Paolo (1691/2-1765); 64x49 cm; Ashmolean Museum, University of Oxford

Distant View of Lowther Castle (Park Scene), 1809 (watercolour and graphite on wove paper
1218028 Distant View of Lowther Castle (Park Scene), 1809 (watercolour and graphite on wove paper) by Turner, Joseph Mallord William (1775-1851); 22.4x35.2 cm; Ashmolean Museum, University of Oxford

Saint-Florent-le-Vieil, c. 1826-30 (watercolour and bodycolour with pen and black
1217946 Saint-Florent-le-Vieil, c. 1826-30 (watercolour and bodycolour with pen and black and brown ink on blue paper) by Turner, Joseph Mallord William (1775-1851); 14x19 cm; Ashmolean Museum

Ruth the Dutiful Daughter in Law, 1803 (pencil & w / c on paper)
SOU314964 Ruth the Dutiful Daughter in Law, 1803 (pencil & w/c on paper) by Blake, William (1757-1827); Southampton City Art Gallery, Hampshire

Nurses Song, plate 37 from Songs of Experience
XYC309888 Nurses Song, plate 37 from Songs of Experience, 1794 (relief etching with w/c) by Blake, William (1757-1827); 18.4x12.1 cm; Yale Center for British Art, Paul Mellon Collection

The Angel, plate 40 from Songs of Experience
XYC309863 The Angel, plate 40 from Songs of Experience, 1794 (relief etching with w/c) by Blake, William (1757-1827); 18.4x12.1 cm; Yale Center for British Art, Paul Mellon Collection, USA; English

Shipwreck (oil on canvas)
AGN284343 Shipwreck (oil on canvas) by Danby, Francis (1793-1861); 45.7x61 cm; Private Collection; Photo eAgnew s, London; English, out of copyright

On Albions Angels... plate 17 from America: A Prophecy
XYC285562 On Albions Angels... plate 17 from America: A Prophecy, 1793 (relief etching printed in blue with pen & ink and w/c) by Blake

The morning comes... plate 8 from America: A Prophecy
XYC285551 The morning comes... plate 8 from America: A Prophecy, 1793 (relief etching printed in black with pen & ink and w/c) by Blake

Thus the Eternal Prophet was divided... plate 20 from
XYC256906 Thus the Eternal Prophet was divided... plate 20 from The First Book of Urizen, 1794 (colour-printed relief etching with ink and w/c on paper) by Blake

Two nostrils bent down to the deep... plate 16 from
XYC256902 Two nostrils bent down to the deep... plate 16 from The First Book of Urizen, 1794 (colour-printed relief etching with ink and w/c on paper) by Blake

Windermere (w / c on paper)
WRD274286 Windermere (w/c on paper) by Smith, John Warwick (1749-1831); 34.8x51 cm; Wordsworth Trust; eThe Wordsworth Trust; English, out of copyright

Dove Cottage, Grasmere, c. 1806 (w / c on paper)
WRD274283 Dove Cottage, Grasmere, c.1806 (w/c on paper) by Wordsworth, Dora (1804-47); 12.8x20.7 cm; Wordsworth Trust; (add.info)

Dove Cottage, Grasmere, c. 1806 (w / c on paper)
WRD274281 Dove Cottage, Grasmere, c.1806 (w/c on paper) by Green, Amos (1735-1807); 13.1x20.3 cm; Wordsworth Trust; (add.info)

Samuel Taylor Coleridge, 21st March 1804 (pencil on paper)
WRD274277 Samuel Taylor Coleridge, 21st March 1804 (pencil on paper) by Dance, George (1741-1825); 16.2x19.8 cm; Wordsworth Trust; (add.info)

Mock away! Mock! The Nibelung makes for your toy!, illustration from
STC324213 Mock away! Mock! The Nibelung makes for your toy!, illustration from The Rhinegold and the Valkyrie, 1910 (colour litho) by Rackham

The frolic of the Rhinemaidens, illustration from The Rhinegold and the Valkyrie
STC324211 The frolic of the Rhinemaidens, illustration from The Rhinegold and the Valkyrie, 1910 (colour litho) by Rackham, Arthur (1867-1939); Private Collection; The Stapleton Collection; English

Title page of America: A Prophecy, 1793 (relief etching printed in blue with
XYC285568 Title page of America: A Prophecy, 1793 (relief etching printed in blue with pen & ink and w/c) by Blake, William (1757-1827); 36.8x26.7 cm; Yale Center for British Art

View of the coffered Library ceiling with gilded stucco framework surrounding spandrels
PWI82848 View of the coffered Library ceiling with gilded stucco framework surrounding spandrels illustrating biblical and classical scenes, 1844 (photo) by Delacroix

Winter Landscape, c. 1811 (oil on canvas)
CH133722 Winter Landscape, c.1811 (oil on canvas) by Friedrich, Caspar David (1774-1840); 32.5x45 cm; National Gallery, London, UK; German, out of copyright

Spring (pencil and sepia on paper)
XKH159434 Spring (pencil and sepia on paper) by Friedrich, Caspar David (1774-1840); 19.2x27.5 cm; Hamburger Kunsthalle, Hamburg, Germany; German, out of copyright

Two nostrils bent down to the deep... plate 11 from
XYC239820 Two nostrils bent down to the deep... plate 11 from The First Book of Urizen, 1794 (colour-printed relief etching with watercolour) by Blake

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"Exploring the Romanticist Movement: A Journey through Art and Emotion" Step into the world of Romanticism, where emotions run wild and nature takes center stage. Dedham Lock and Mill, 1820, a captivating oil on canvas by John Constable, transports us to a serene riverside scene, evoking feelings of tranquility and nostalgia. In contrast, Mount Vesuvius in Eruption, 1817, William Turner's watercolor on paper masterpiece captures the raw power of nature as fire engulfs the sky. The vibrant hues ignite our senses with awe and wonder. Moving forward in time to explore photography's role in Romanticism, we encounter View of a folly in Roundhay Park. This albumen print showcases the beauty found within man-made structures amidst lush greenery—a testament to human creativity harmonizing with nature. The Young Martyr by Paul Delaroche tells a tragic tale through his skillful brushstrokes. Painted in 1855 with oils on canvas, this artwork portrays an innocent figure surrounded by darkness—an embodiment of sacrifice for one's beliefs. Blake's engraving I Want. I Want. From For the Sexes: The Gates of Paradise (1793) delves into desire and longing. Its intricate details depict humanity yearning for fulfillment beyond material possessions—a timeless theme that resonates even today. Caspar David Friedrich's Monk by the Sea (1808-10) invites contemplation as we witness a solitary figure standing before an expansive ocean landscape—symbolic of mankind's insignificance against nature’s vastness. The Wanderer above the Sea of Fog (1818), painted by Caspar David Friedrich once again mesmerizes viewers with its enigmatic portrayal. Here we see a lone figure gazing out at an ethereal mist-covered landscape—inviting introspection about life's mysteries. William Blake returns with The Ancient of Days - Urizen measuring out the material world, a captivating depiction of divine creation.