hat created humanism and an emphasis on individual thought. The forces that would shape Europe and the art world for the nineteenth century were already in place at the turn of the century. The ideals of the French Revolution spread throughout Europe, and the goal of self-determination that had been at the root of that event took root in Holland, Germany, Italy, and Austria and affected not only nations but also individuals. Heightened sensibility was now a convention in literature, and intensified feeling became characteristic of the visual and musical arts. This tendency toward images of impassioned or poignant feeling lasted until about the middle of the century and cut across all national boundaries. Romanticism was the term applied to this movement of writers, musicians, painters, and sculptors away from rationalism toward the more subjective side of human experience, and feeling was then the subject and object of art (Cole and Gealt, 1989, 213-214).
To a degree, Romanticism in art was a reaction against the rational qualities of the Neoclassical, and the evocation of emotion became the chief goal of the Romantic artist. Foremost among the French painters of this movement was Eugène Delacroix. Romanticism would hold sway until the middle of the nineteenth century, when there would be other currents pushing the artistic world in new directions (Seven Centuries of Art, 1970, 104). By the 1830s, artists like Delacroix and Honoré Daumier
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