This text presents the concept of the romantic author in a broader context. Firstly, it points out its roots connected with antics (Bennett, 2005), then it describes its pre-concept, which is rooted during the rise of the typography (Ong, 2005), and finally it directly concentrates on the era where this concept is truly formed (Abrams, 1958). Based on these opening statements, the author of this text defines the concept of the romantic author in the sense of an individual sovereign creator in the context of western traditional authorship he classifies the subject of his interest in three key categories: firstly, he defines the concept of the romantic author in terms of its birth and its non-global character; secondly, he is oriented on the metaphor of the death of the author (Barthes, 1984), which Carpentier (2011) considers as a starting point for the weakening of the sovereign authorial position in order to present fantasies, which reflect this shift; and thirdly, he is concentrated on the term produseage (Bruns, 2008), where the author eventually (not just metaphorically) disappears, and points out the necessity of the produsage liberation from its techno-optimism. The author points out several paradoxes which emerge from the findings mentioned in the article. In reality, the romantic author is overcome in the context of contemporary information society, but formally, we are still able to face his nowadays version via the gallery visits or (simply) by the efforts to keep him alive in the world where he has already disappeared. According to the author of this article, the only way to fully accept this disappearance is to accept the author/viewer convergence by the produsage, which has to be liberated from its exaggerated utopian expectations.