Romanticism and Realism At the end of the Baroque Period in the eighteenth and nineteenth century art was divided into two distinct categories, Romanticism and Realism. Romanticism, the passion-filled works illustrating stimulating accounts of specific events with symbolic gestures emerging from the scene, separated itself from the more politically correct stance taken by Realists. A fine example of Romanticism is Géricault's Raft of the Medusa. The brutal scene, set afloat on the wild seas, is emphasized by the chiaroscuro modeling of the lump of figures in the center of the raft. The X form of the composition draws your eye all around the composition. The eye starts at the top right with the Revolutionary figure holding on to a piece of cloth in the colors of the French Revolution and then is drawn down the diagonal. Géricault then depicts the striving, the dying, and the dead as they overlap each other in a fierce struggle to survive. The eye is then drawn up and down the dark opposing diagonal. This whole scene is then placed on the mighty ocean to delineate the fact that the raft is a metaphor for France being on a hostile ocean of depravity. The Grande Odalisque also typifies Romanticism. Ingres, using example such as the Mannerist Parmaganino's Madonna with a long neck, takes the artistic license to elongate the figure of this Turkish harem girl. Influenced by the neo-classical revival Ingres draws upon the Greek technique of flat linear forms and depicts his model in an impossible position allow us the view of both her shoulders and her breast; the figure is given an extra three vertebrae in order to maintain this position. Ingres endows a feeling of sensuality into the figure instead of the paint. The chromatic effect of the composition pulls the harem girl to the front as she is the only warm color in the piece. Ingres also gives her a very exotic feel with her accessories: the peacock fan, velvet drapes, and ot...