When in New Haven for the joint Medical Museums Association/American Association for the History of Medicine meeting, I was lucky enough to see, with Michael Sappol and Eva Åhrén, the wonderful exhibition The Critique of Reason: Romantic Art, 1760-1860 at the Yale University Art Gallery. A fabulous and thought provoking exhibition drawing from the rich collections of The Yale Center for British Art, and intending to challenge "the traditional notion of the Romantic artist as a brooding genius given to introversion and fantasy. Instead, the exhibition’s eight thematic sections juxtapose arresting works that reveal the Romantics as attentive explorers of their natural and cultural worlds."
Some highlights: (in order, top to bottom): a tempera painting by William Blake of the Madonna and Child from 1825; hand-painted pages from Blake's "America. A Prophecy," 1793; John Martin's "The Deluge," 1834; "A Lion Attacking a Horse," 1762, by George Stubbs; and James Gillray's "The Blood of the Murdered Crying for Vengeance," 1793.