(→19th century: Neo-classicism, History painting, Romanticism, Impressionism, Post Impressionism, Symbolism)
(→19. vijek: Neoklasicizam, Historijsko slikarstvo, Romantizam, Impresionizam, Postimpresionizam, Simbolizam)
File:JEAN LOUIS THÉODORE GÉRICAULT - La Balsa de la Medusa (Museo del Louvre, 1818-19).jpg|[[Théodore Géricault]] 1819.
File:Caspar_David_Friedrich_-_Mondaufgang_am_Meer_-_Google_Art_Project.jpg|[[Caspar David Friedrich]] c. 1822.
File:Karl Brullov - The Last Day of Pompeii - Google Art Project.jpg| [[Karl
File:Eugène Delacroix - La liberté guidant le peuple.jpg|[[Eugène Delacroix]], 1830.
File:The Fighting Temeraire, JMW Turner, National Gallery.jpg|[[J. M. W. Turner]] 1838.
File:Vincent Willem van Gogh 128.jpg|[[Vincent van Gogh]] 1888.
[[File:VanGogh-starry night.jpg|[[Vincent van Gogh]] 1889.
File:Ilja Jefimowitsch Repin 009.jpg|[[
File:ChelmonskiJozef.1896.Burza.jpg|[[Józef Chełmoński]] 1896.
File:Woher kommen wir Wer sind wir Wohin gehen wir.jpg|[[Paul Gauguin]] 1897–1898.
Nakon [[rokoko]]a u kasnom se 18. vijeku pojavljuje strogi stil [[neoklasicizam]], najprije u arhitekturi, potom u slikarstvu. Vjerojatno najznačajniji predstavnici neoklasicizma su [[Jacques-Louis David]] i njegov nasljednik [[Jean Auguste Dominique Ingres]]. Ingresov rad sadrži mnogo senzualnosti, ali bez spontanosti karakteristične za [[romantizam]].
Romantizam je pak usmjerio svoju pažnju na pejzaže i prirodu kao i ljudski lik i superiornost prirodnog reda u odnosu na čovjekovu volju.
The leading [[Barbizon School]] painter [[Jean-Baptiste-Camille Corot|Camille Corot]] painted in both a romantic and a [[Realism (visual arts)|realistic]] vein; his work prefigures [[Impressionism]], as does the paintings of [[Eugène Boudin]] who was one of the first French landscape painters to paint outdoors. Boudin was also an important influence on the young [[Claude Monet]], whom in 1857 he introduced to [[Plein air]] painting. A major force in the turn towards [[Realism (visual arts)|Realism]] at mid-century was [[Gustave Courbet]]. In the latter third of the century Impressionists like [[Édouard Manet]], [[Claude Monet]], [[Pierre-Auguste Renoir]], [[Camille Pissarro]], [[Alfred Sisley]], [[Berthe Morisot]], [[Mary Cassatt]], and [[Edgar Degas]] worked in a more direct approach than had previously been exhibited publicly. They eschewed allegory and narrative in favor of individualized responses to the modern world, sometimes painted with little or no preparatory study, relying on deftness of drawing and a highly chromatic palette. Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject. Both Manet and Degas reinterpreted classical figurative canons within contemporary situations; in Manet's case the re-imaginings met with hostile public reception. Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work. While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in his series of monumental works of [[Water Lilies]] painted in [[Giverny]].