Romantic & Realism: A Comparison of Four Works

Romanticism and Realism are almost polar opposites as far as subject matter. Talented artists from either classification chose vastly different subjects. One of the most distinctive differences between Romantic and Realism art forms was the glorification of ideals vs everyday normal activities. A Romantic artist would attempt to capture emotion or big ideals on canvas, while a Realist artist would attempt to capture routine everyday moments.

My personal preference is Romanticism over Realism. While both can evoke emotion, Realism seems so personal. If you were familiar with the task or had someone in your life who was, it can speak to you. That’s not to be underestimated. However, if you don’t, you may run the risk of appearing somewhat condescending or patronizing regardless of intention. While I don’t dislike Realism and there are many works that I find inspiring, the ideals captured by Romantic artists can transcend social and economic barriers and are very powerful and influential for a larger array of viewers.

Here we will discuss four works of art from the two schools. The pieces I chose for Romanticism are Jeune Orpheline Au Cimetière (also known as Young Orphan Girl at the Cemetery) by Eugène Delacroix and The Colossus attributed to Francisco de Goya y Lucientes. Alternatively, the pieces I chose to examine for Realism are The Brush Harrow by Winslow Homer and Cowboy Singing by Thomas Eakins. 

Romantic Artworks:

Delacroix, Eugène. Jeune Orpheline Au Cimetière. 1824. Musée Du Louvre. Paris France.  

Eugène Delacroix’s Jeune Orpheline Au Cimetière, otherwise known as Young Orphan Girl at the Cemetery, is an oil painting on canvas. The piece currently resides in the Musée Du Louvre in Paris, France. It was painted in Paris and was believed to have been an early work in preparation for the more famous Massacre at Chios in 1824 (Musée Du Louvre).

This scene is tragic and the artist really makes an appeal to your emotions here. A young girl looks upwards, a tear forming in her eye. The bleak use of color in the background suggests some sort of desolation or war-torn stage. We can see tiny shadowed crosses and some toppled headstones in the distance. The use of form as her limp arm rests against her knee is suggestive of a sense of helplessness. The slightly open mouth and upturned eyes give a sense of despair that threatens to overwhelm us. The use of tone suggests innocence getting enveloped by the dreariness of the environment. 

It is a powerful piece from the Romantic era and elicits some strong emotions of loss or the unseen cost of war. While I love this piece, it is much better suited to the museum setting surrounded by similar works for context. The era and subject matter require some explanation and, lacking any personal connection, this wouldn’t be a wall piece in my home. 

Goya y Lucientes, Francisco de. The Colossus. after 1808. Museo Del Prado. Madrid, Spain.  

The Colussus is attributed to Franciso de Goya y Lucientes. This is however the subject on ongoing debate. It is an oil painting on canvas. The piece currently resides in Museo Del Prado in Madrid, Spain. It was believed to have been painted after 1808 in Madrid and references the Spanish War of Independence (Museo Del Prado).

This is another powerful piece of Romanticism art. It is believed to have been inspired by a patriotic poem written by Juan Bautista Arriaza in 1810 called the Pyrenean Prophecy (The Colossus). The poem sees the Spanish people as a giant arising from the Pyrenees to stand up to the Napolean invasion and this painting exhibits that perfectly. Here we see a giant standing ominously over the background with his fist raised as if to fight. The use of form suggests anger or defiance. The use of tone here draws your eye to the scene transpiring in the valley beneath. Men, women, and animals are all running in different directions. People are waving their arms frantically or holding them over their heads in despair while dogs are barking and another man falls from his horse. A lone donkey stands looking oblivious to the chaos taking place around it. The dark colors of the sky and shadows are suggestive of the ominous events surrounding the valley. 

This piece is highly suggestive of the chaos war can have on common people. I also admire this piece. That said, it is much better suited to the museum setting surrounded by similar works for context. Unless you are familiar with the above-mentioned poem and context, this would be odd hanging on my wall.

Realism Artworks:

Homer, Winslow. The Brush Harrow. 1865. Harvard Art Museums. Cambridge, MA.

Winslow Homer’s The Brush Harrow is an oil painting on canvas. The piece currently resides in the Harvard Art Museums in Cambridge MA. It was painted in New York City in 1865 (Harvard Art Museums).

At first glance, this piece reflects two young men preparing a field using a harrow made of tree branches. The use of form here shows just how boring and tedious they find it. A figure of a young man is slumped on the horse barefoot, while the younger boy sits and wistfully looks out at the surroundings for any signs of entertainment. The background’s light tone is in stark contrast to the dim and muted tone of the foreground. The dark earthy colors give the sense of forlornness. Upon closer inspection, the horse bears the markings of a retired US Cavalry horse from the Civil War era (Schaffer). The tools used are also outdated and the lack of shoes is further suggestive of poverty. These details from the artist create an even more ominous feeling. What has happened to the father? 

It is a powerful piece of Realism and it’s easy to pass over at first glance. I would definitely hang this in my home. It is a scene of post-war America where many families were tragically impacted by the absence of loved ones they've lost. Homer was much better known for his maritime works, but this is one of my favorites. 

Eakins, Thomas. Cowboy Singing. c. 1892. Denver Art Museum. Denver, CO

Thomas Eakins’ Cowboy Singing is an oil painting on canvas. The piece currently resides in the Denver Art Museum in Denver, CO. It was painted in New York City in c. 1892 (Denver Art Museum).

This piece is somewhat whimsical in comparison to the rest. The dark tone in the background draws your eyes to the central figure of a cowboy strumming his instrument. His jacket and face are illuminated almost angelically. The use of form further gives the impression of a pending note by the subject. His mouth is open, ready to belt out the next verse. The relaxed figure leaning back in the chair with his legs crossed creates a light-hearted image of the nature of the character. Through the use of texture, you can almost feel your fingers running through the frills of his clothing or in his beard. This piece was believed to have been painted after the artist spent some months in the Dakota Territory for two months in 1887 (Denver Art Museum). 

During this time, cowboy music was just beginning to take root in America’s culture. While I’m not an avid fan of cowboy music, I appreciate the influence it’s had on American culture. That carefree drifter persona is something every young man in the United States can relate to on some level. I would hang something like this in an office just to remind myself to take it easy.  

Conclusion:

I know it seems at odds that the pieces I would own are not my Art preference. As I mentioned previously, the works of Realism require context for me. While I would own a piece showing agriculture, I also grew up in rural America. While I would own a piece showing someone playing a guitar in a cowboy outfit, I also thought being a cowboy was the epitome of the American dream once.  

Romanticism is more transcendent and I can certainly appreciate the bold ideas the artists hope to communicate to us minus the context. The historical context helps of course, but it is not always necessary. It makes many of these works timeless. I also enjoy most art in a proper museum setting where I can pause to examine the context and history of the piece. As an introvert, I don't normally display much art in my home that I may need to explain to someone.  

Works Cited:

Delacroix, Eugène. “Jeune Orpheline Au Cimetière.” Musée Du Louvre, 1824. https://collections.louvre.fr/en/ark:/53355/cl010064060. Accessed: 15 July 2024.

Eakins, Thomas. “Cowboy Singing” Denver Art Museum, c. 1892. https://www.denverartmuseum.org/en/object/2008.491. Accessed 15 July 2024.

Goya y Lucientes, Francisco de. “The Colossus.” Museo Del Prado, after 1808, https://www.museodelprado.es/en/the-collection/art-work/the-colossus/2a678f69-fbdd-409c-8959-5c873f8feb82?searchMeta=the%20colossus. Accessed: 15 July 2024.

Homer, Winslow. “The Brush Harrow.” Harvard Art Museums, 1865. https://harvardartmuseums.org/collections/object/230621. Accessed 15 July 2024.

“The Colossus, 1808-12 by Francisco Goya.” https://www.franciscogoya.com/the-colossus.jsp.

Schaffer, Anne. “Clarity on Homer’s Brush Harrow | Index Magazine | Harvard Art Museums.” https://harvardartmuseums.org/article/clarity-on-homer-s-em-brush-harrow-em. Accessed 15 July 2024.