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A great, grrreat piece of news is that Little Chip-Chip is going to give a grrreat concert," wrote the cigar-smoking, larger-than-life George Sand in 1841. The news was indeed significant, because Chip-Chip – one of Sand's numerous nicknames for her unlikely lover, Frédéric Chopin – had all but retired from the concert platform. "He doesn't want any posters, he doesn't want any programmes, he doesn't want anyone to talk about it. He is afraid of so many things that I have suggested he play without candles, without an audience on a mute piano."
In the event, the concert, given to an audience of some 300 friends and admirers, was a great success. The tone of the reviews – "heart and genius alone speak" and "[Chopin] should not and cannot be compared with anyone" – shows how the cultish aura surrounding the composer-pianist was well on its way to becoming a fully fledged religion.
Both then and now, Chopin has always been a largely mythical creature. Child prodigy, divinely inspired improviser, poetic genius, his posthumous reputation has been claimed by Poles, French and even Germans, and told in biographies, novels, poems and an opera. During his lifetime, his person was thought to partake of something otherworldly; during ours, his grave remains a place of pilgrimage and veneration.

As in his works of political history, Adam Zamoyski's mission in this biography, an expanded and revised version of his 1979 study of the composer, is a revisionary one: to sweep away the mythical cobwebs. The aim to demystify, however, only half succeeds: in matter-of-fact but still lively prose, Zamoyski sheds balanced light on the composer's physical condition, and the role of his Polish origins in shaping his musical sensibilities, but the book still retains the outlines of a romantic biography, predicated on the journey towards death as the apotheosis of genius.

But this is in many respects one of its merits. The extraordinariness of Chopin is something we tend to forget nowadays. Performances of his music are ubiquitous, even routine, in a way that can blind us to its unique and revolutionary formal qualities. Today, when thousands of Chinese students rattle through the Études as if they were mere child's playthings, it is perhaps better for the music that our picture of the man retains something of its full poetic flavour.
with literary studies, the meaning of the term Romanticism and how it is used in art history and criticism has been extensively debated. What we can safely say about "Romantic" art is that it was created from the mid-eighteenth century to the mid-nineteenth. Furthermore, it expressed a marked aesthetic and ideological shift away from the lavish and decadent styles of the courtly Rococo, exploring sensibility as the new human law of the heart, or capturing rebellious heroism of a revolutionary age, or representing the emotional excesses of the sublime and the psychological darkness of the Gothic. Lastly, it eventually gave way to the stark rationalism and scientific positivism of Realism in the second half of the nineteenth century (against which the Pre-Raphaelites rebelled with their own form of "Romantic" tone, style, and mood).

I found few university Web sites for Romantic artists; however, the sites listed below do provide excellent biographical and historical background along with many fine image files. Any study of Romanticism would not be complete without considering how the historical events and emerging political ideals of this era influenced painting, sculpture, and architecture.

Though Princess Diana’s August 1997 death forever linked her to a flashy playboy named Dodi Al Fayed, that fatal Paris tryst may have been intended as a message to the man she’d just broken up with—Pakistani heart surgeon Hasnat Khan—the only one who would never use or betray her. Talking to those who knew the couple during their two-year relationship, Sarah Ellison examines Diana’s yearning for normalcy, Khan’s fears about life with a global celebrity, and her struggle to bridge the chasm between them.
n London, there is a Princess Diana memorial fountain in Hyde Park, not far from the Princess Diana memorial playground. In gift shops, you can buy a Princess Diana memorial tartan. But perhaps the best-known monument to the late Princess can be found in the basement of Harrods department store, which was, from 1985 to 2010, owned by Mohamed Al Fayed, the father of Dodi Al Fayed, with whom Diana had her last fling. In a city of monuments, it is one of the newest, put up in the aftermath of the August 31, 1997, car crash that took Diana’s and Dodi’s lives.

A Harrods salesclerk gave me directions: “Downstairs, to the right, through the shoe department.” The memorial consists of side-by-side color photos of Dodi and Diana, framed by golden interlocking D’s and sculpted albatross. Set in an acrylic pyramid in front of the photographs is the famous and controversial “engagement ring” that Dodi bought Diana the day before their deaths, along with a smudged wineglass—preserved, as the inscription notes, “in the exact condition it was left on the couple’s last evening together at the Imperial Suite at the Hotel Ritz in Paris.”

Mohamed Al Fayed has attempted to preserve a similarly lasting impression of his version of the relationship between Diana and his late son. Mohamed, a self-styled enemy of the British establishment, has long maintained that Dodi was murdered by the British secret service, as part of a conspiracy involving members of the royal family, because he was a Muslim about to marry the mother of a future King of England. Al Fayed’s insistence on this plot outline—and on the allegation that Diana was pregnant when she died—has been so zealous that in 2008, more than 10 years after the fact, it engulfed what would otherwise have been a bureaucratic and largely pro forma coroner’s inquest into the deaths of Diana and Dodi. (The inquest had had to await the completion of a French police investigation, which lasted until 2003, and of an independent follow-on British police investigation, which began in 2004.) The coroner’s inquest lasted 89 days.

Diana’s closest confidants in her last years did not need an inquest to know the absurdity of Al Fayed’s claims. Not only was she not planning to marry Dodi Al Fayed, or pregnant with his child, they say, but she was in fact still “madly in love,” as one of them describes it, with another man, an unassuming Pakistani heart surgeon named Hasnat Khan.
o monument recalls their romance. Diana’s love affair with Hasnat Khan was secret. He was as understated as Dodi was flashy, as remote as Dodi was public, as somber as Dodi was carefree. Though they were together for two years, Diana and Hasnat were largely unknown as a couple. They spent much of their time together in Kensington Palace, where they could avoid the paparazzi and their cameras. When they ventured out, it was often in Hasnat’s Chelsea neighborhood, sometimes with Diana wearing a dark wig and sunglasses.

Hasnat Khan has been described as a serious man. More specifically, at the time he met Diana, he was a modestly paid junior surgeon employed by the National Health Service. He worked 90-hour weeks and, like most surgeons at his stage of career, he simply wanted to sleep when he got home. Diana threw herself into the almost aggressive normalcy of his existence. Her friends tell stories about how she puttered around his small one-bedroom apartment and tidied up, doing the dishes and folding his laundry. Hasnat didn’t ride or hunt. He liked jazz and Guinness, so he and Diana stood in line to see the late-night acts. If they argued, Diana sometimes sent her butler, Paul Burrell, to talk things over with Hasnat at a local pub, the Anglesea Arms, in Chelsea. It’s hard to imagine Dodi socializing with the help.

In recent months I have sought out the people who knew Diana and Hasnat when they were together. In my reporting, I also combed through inquest transcripts, police reports, and the published writings of friends, acquaintances, journalists, biographers, and employees in Diana’s circle. Diana has given rise to a lucrative memoir niche, but Hasnat has been noteworthy in not sharing his story. He has given occasional interviews to British tabloids but, according to a friend of his who agreed to talk to me on his behalf, regretted them all for the headlines that resulted, like this one from the Mirror in 2002: POOR HASNAT IS LOCKED IN GRIEF. HE SAYS IT IS ONE BIG NIGHTMARE. Hasnat’s most significant disclosures came in 2008, when the British inquest looking into Diana’s death required his testimony, and even then Hasnat elected to stay in Pakistan and instead offered the inquest his responses from his official interview with the British police, in 2004, as their own investigation got under way. The contents of this interview had never before been made public.
More recently, in January 2012, Hasnat received a letter from Scotland Yard, notifying him that the police had found his name and cell-phone number during its investigation into phone hacking by the News of the World. The hacking, if it occurred, would have been done either at the time of his relationship with Diana or before the inquest, when the press was eager to determine if Hasnat was going to attend. He has brought a civil claim against News Corporation. Whatever money he might get from the company, he has said, he will donate to the hospital cardiac unit he has opened in Pakistan to serve impoverished children. In September, the British production companies Embankment Films and Ecosse Films will release a movie called Diana, starring Naomi Watts in the title role and focusing on the last two years of Diana’s life and specifically on her relationship with Hasnat. He has not cooperated and is said to have laughed at some of the scenes the movie conjures.