Bohemianism is a social and cultural movement that has, at its core, a way of life away from society's conventional norms and expectations. The term originates from the French bohème and spread to the English-speaking world. It was used to describe mid-19th-century non-traditional lifestyles, especially of artists, writers, journalists, musicians, and actors in major European cities.

Bohemian is a 19th-century historical and literary topos that places the milieu of young metropolitan artists and intellectuals—particularly those of the Latin Quarter in Paris—in a context of poverty, hunger, appreciation of friendship, idealization of art and contempt for money. Based on this topos, the most diverse real-world subcultures are often referred to as "bohemian" in a figurative sense, especially (but by no means exclusively) if they show traits of a precariat.

Bohemians were associated with unorthodox or anti-establishment political or social viewpoints expressed through free love, frugality, and—in some cases—simple living, van dwelling or voluntary poverty. A more economically privileged, wealthy, or even aristocratic bohemian circle is sometimes referred to as haute bohème (literally "Upper Bohemian").

The term bohemianism emerged in France in the early 19th century out of perceived similarities between the urban Bohemians and the Romani people; La bohème was a common term for the Romani people of France, who were thought to have reached France in the 15th century via Bohemia (the western part of modern Czech Republic). Bohemianism and its adjective bohemian in this specific context are not connected to the native inhabitants of the historical region of Bohemia (the Czechs).

Literary and artistic bohemians were associated in the French imagination with the roving Roma people, often pejoratively referred to as "gypsies". Romani were called bohémiens in French because they were believed to have come to France from Bohemia.

The title character in Carmen (1875), a French opera by Georges Bizet set in the Spanish city of Seville, is referred to as a bohémienne in Meilhac and Halévy's libretto. Her signature aria declares love itself to be a "gypsy child" (enfant de Bohême), going where it pleases and obeying no laws.

The term bohemian has come to be very commonly accepted in our day as the description of a certain kind of literary gypsy, no matter in what language he speaks, or what city he inhabits .... A Bohemian is simply an artist or "littérateur" who, consciously or unconsciously, secedes from conventionality in life and in art.

— Westminster Review, 1862