Beginning with this... No absolutes, no.
But what we are taught is that the Romantics reached the very height of everything Western artistic civilization sought, beginning with the creation of ancient myths, and the examples you chose were absolutely perfect because they captured precisely what that Romantic moment showed, the artists revealing, through their personal experiences, Universal Experiences. We felt them because we knew them. That was the essence of Romanticism. And the more we learned about the artists and the experiences themselves the more deeply we felt them.
The problem with the postmoderns—as we are now discovering—was the same with the Romantics. If everyone, ultimately, can feel it, isn’t everyone, potentially, an artist? Which is how we (I don’t know about you, being so young) became beatniks!
Because you weren't a beatnik (bless you my child...) perhaps you feel more than some this need for the artists' presence. When John Cage and Merce Cunningham did their first great "collaborative" work at Black Mountain College in the late 1950s, Robert Rauschenberg hung his now-famous white canvases as part of that "piece." No one knew who he was or what they were. Today they hang in a special wing of the San Francisco Art Museum and are worth a fortune. Everyone sees them and see him in them. But what difference did it ever make that they were his or that he made them?
But now, if every “auditor” becomes a “creator”--and this is the problem--who knows what craziness will transpire?
At the end of the road, late in the 19th and early in the 20th century, the Romantics, as discovered by or through Schopenhauer and Nietzsche, all became fascists. All throughout Europe and beyond. We moved from the delicacies of Heine to Wagner to Hitler. Perhaps the same will be true now as postmodernism is dying and we move from Warhol to...TikTok to a takeover by China. I don’t know?
But, there are no absolutes. None, except birth, love, and death.