You prefer romanticist portraits, which is a sign of great insight and sensitivity. These portraits stand out from among their analogues in other styles. In classicist portraits we see uptight people as if paralyzed by the laws and boundarites induced by reason and morale that subdued any form of individual desires and pursuits.

In impressionist portraits we are not so much attracted to the people as to the play of light on drapery, glass, sparkling in the eyes and in the hair, and the paintings produce an impression similar to the one you get casting a glance at a person in the street, just a general impression. Realists sought to portray a type rather than an individual character, with typical features prevailing over the unique traits: a banker would be depicted sitting at a solid oak table surrounded by piles of antiques  – and never at a picnic, in a bathrobe or – God forbid – in love!

With romanticists any person in the portrait is one-of-a-kind, telling the one-of-a-kind story and overwhelming the viewer. Romanticists glorified freedom and refused to see the world as driven and ruled by some common moral imperatives and laws. Their universe is a chaos of inimitable events and personalities. The more extraordinary a person, the closer and more exciting this person is for a romanticist. Romantic characters are rebels, great men who left mark in history, adventurers, highwaymen, gypsies, people who stand out from the crowd in any way possible. Analyzing these characters you need to look for the peculiar traits an artist admired, to listen to their unique story, to see the feelings that devour them.

The paintings contain numerous cues for that matter – the sharp mountain spikes, the tormented sea in the background, the contrast between lurid skies and the shining drapery of the dress. Yet the major key to understanding romanticist paintings is the look, the glance, the stare of a character, emanating misery or ecstasy, love or bitter envy. Portraits of romanticists are exotic by default – they feature unusual surroundings, clothes, landscapes or actions. The composition is highly dynamic, reflecting inner struggle, frozen postures or mannerism are roughly ruled out. And of course, you get the raving colours and striking colour contrasts against the reigning colour of romanticists – the deep brown symbolizing the absolute power of the time.