His prestige was confirmed by his role as director of Revue de Paris from 1851 to 1856.
Gautier experienced a prominent time in his life when the original romantics such as Hugo, François-René de Chateaubriand, Alphonse de Lamartine, Alfred de Vigny and Alfred de Musset were no longer actively participating in the literary world. In his essay La République de l'avenir, he celebrated the advent of the new republic and the onward march of individual liberty. Gustave Boulanger, Théophile Gautier and Marie Favart in Roman costumes, 1861, a study for Boulanger's painting Répétition du "Joueur de flûte" et de "La femme de Diomède" chez le prince NapoléonĪbsorbed by the 1848 Revolution, Gautier wrote almost one hundred articles, equivalent to four large books, within nine months in 1848. When Carlotta rebuffed him, he began a longterm relationship and had two daughters with her sister Ernestina, a singer. Gautier was a celebrated abandonné (one who yields or abandons himself to something) of the Romantic Ballet, writing several scenarios, the most famous of which is Giselle, whose first interpreter, the ballerina Carlotta Grisi, was the great love of his life. Gautier's travel literature is considered by many as being some of the best from the nineteenth century often written in a personal style, it provides a window into Gautier's own tastes in art and culture. Gautier's many travels inspired many of his writings including Voyage en Espagne (1843), Trésors d’Art de la Russie (1858), and Voyage en Russie (1867). Throughout his life, Gautier was well-traveled, taking trips to Spain, Italy, Russia, Egypt and Algeria. Gautier began writing poetry as early as 1826, but the majority of his life was spent as a contributor to various journals, mainly La Presse, which also gave him the opportunity for foreign travel and for meeting many influential contacts in high society and in the world of the arts. Le Petit Cénacle soon gained a reputation for extravagance and eccentricity, but also for being a unique refuge from society. The group counted among its members the artists Gérard de Nerval, Alexandre Dumas, père, Petrus Borel, Alphonse Brot, Joseph Bouchardy and Philothée O’Neddy (real name Théophile Dondey).
The group was a more irresponsible version of Hugo's Cénacle. Towards the end of 1830, Gautier began to frequent meetings of Le Petit Cénacle (The Little Upper Room), a group of artists who met in the studio of Jehan Du Seigneur. Gautier with Ernestina Grisi and their daughters Estelle and Judith.
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