This thesis serves as a study of Victor Hugo's artistic works and discusses the Romantic influences of his artistic output throughout his life, from the 1830s and into the later years of his exile in the 1860s. The overall goal of this thesis is to orient Hugo's artworks within the artistic framework of Romanticism as opposed to the more traditional framework of pseudo or proto surrealism. In order to do this, this thesis catalogs his works into their Romantic influences, and discusses the art historical basis of study for what Romanticism is in a broader context. Chapter one covers Hugo's images of landscapes and cityscapes and discusses the Romantic context of place and the idea of the wanderer, as well as Hugo's interest in sublimity. Chapter two involves a discussion of works Hugo produced for his novel Toilers of the Sea and the images he produced as part of his interest in the removal of the death penalty. These images deal with the Romantic understanding of the grotesque and narratives of fragmentation, as well as involve an interest in nature as understood in the Romantic context. The final chapter involves a discussion of Hugo's relationship to Frenetic Romanticism and the rise of the sketch as a motif of 'individual genius' within Romantic artworks as well as in Romantic thought more generally.