As is fairly common with stylistic rubrics, the word “Romanticism” was not developed to describe the visual arts but was first used in relation to new literary and musical schools in the beginning of the 19th century. Art came under this heading only later. Think of the Romantic literature and musical compositions of the early 19th century. The poetry of Lord Byron, Percy Shelley, and William Wordsworth and the scores of Beethoven and Chopin (by the way, the pianist Chopin and the painter Delacroix were friends) are concerned with the spectrum and intensity of human emotion. Even if you do not regularly listen to classical music you’ve heard plenty of Beethoven as his work has become a staple even in pop culture. The late director Stanley Kubrick used Beethoven in two of his earliest and most famous films: The primal kettle drums in Beethoven’s Fifth Symphony added to the drama and breathtaking majesty of “2001: A Space Odyssey” and the sweeping ecstasy of the Ninth Symphony greatly intensified the violence in “A Clockwork Orange.” As Kubrick understood, Beethoven’s music expressed the powerful drama of human emotion: anger and passion, but also quiet passages of pleasure and joy. So too, the French painter Eugene Delacroix and the Spanish artist Francisco Goya broke with the cool, cerebral idealism of David and Ingres’ Neo-Classicism. They sought instead to respond to the cataclysmic upheavals that characterized their era with line, color, and brushwork that was more physically direct, more emotionally expressive.