#neo classical painting

[pmamtraveller]

THE DEATH OF CLEOPATRA | 1881| by JUAN LUNA

The painting is a captivating one that captures the tragic demise of the legendary EGYPTIAN queen. Painted in 1881 during LUNA'S stay in ROME, the work showcases the artist's remarkable talent and attention to detail.

The painting's central focus is CLEOPATRA'S lifeless body, adorned in royal regalia and lying on an ornate golden bed. The transparent cloth around her upper body plays into the common "eroticized" portrayal of CLEOPATRA in 19th century art. Surrounding CLEOPATRA are her two servants, IRAS and CHARMION , also in various states of collapse, signifying the dramatic nature of the scene.

The funerary setting, with elements like the sphinx, canopic jars, and a statue of ANUBIS, creates a somber and mysterious atmosphere. The barely visible slithering snake's tail at the foot of the bed is a nod to the popular legend of CLEOPATRA'S death by snake bite. LUNA'S masterful use of composition, attention to detail, and dramatic lighting work together to evoke a powerful and evocative depiction of this iconic historical moment.

[eirene]

The Signal, 1899 John William Godward

[artthatgivesmefeelings]

Henryk Siemiradzki (Polish, 1843 - 1902) Rzymska Sielanka, ca. 1879 National Museum in Warsaw

[uhhgoodd]

Paintings by American artist Maxfield Parrish (1870–1966)

[canvasmirror]

Charles Picqué (Belgian, 1799-1869) • Self-Portrait • 1833 • Museum of Fine Art, Ghent, Belgium

Charles Picqué was a Belgian painter, lithographer and engraver known for his neo-classical and romantic works. He was distinguished in several fields: portraiture, landscape, still-life, sacred art and history painting. – Wikipedia

As I was looking into this artist I came upon this painting by him and was struck by the resemblance of the sitter to the artist's self-portrait. The tilt of the head, the facial features, as well as the right hand – the artist holding a brush, the woman her long hair.

Woman at her toilet • 1827

[the-decay-of-an-angel]

The Three Witches from Macbeth (1775) by Daniel Gardner

[the-spirit-of-yore]

The Bouquet, John William Godward, 1899, Great Britain, Private Collection

[arthistoryanimalia]

#TwoForTuesday :

William Adolphe Bouguereau (France, 1825-1905)

Arion on a Sea Horse, 1855

Bacchante on a Panther, 1855

Oil on canvas

On display at The Cleveland Museum of Art 1980.238,1-2

“These paintings are from a series of eight works that Bouguereau painted for a Parisian home decorated in the style inspired by ancient Roman wall paintings found at Pompeii.

The ancient Greek poet Arion escaped pirates by fleeing on the back of a sea creature attracted by the poet's singing. In the companion picture, a bacchante, a female follower of the Roman god Bacchus, rides a panther and carries a pinecone-tipped spear called a thyrsus. The figures are silhouetted against a gold honeycomb-patterned background evoking ancient Roman mosaics Bouguereau had studied in Italy. The soft, waxy flesh tones and glimmering gold leaf were calculated to come to life when viewed under the mansion's gas lighting.”

[gayartists]

Adam and Eve, Gustave Courtois (1853 - 1923)

[butterscotch-goat]

pitiful

OCs: Aria (left) (she/her) and Grace (right) (she/her)

based on "Pieta" by Gustave Moreau (below cut)

[galleryofart]

Innocent Amusements

Artist: John William Godward (British, 1861–1922)

Date: 1891

Medium: Oil on Canvas

Collection: Yale University Art Gallery, New Haven, CT, United States

[pmamtraveller]

THE DEATH OF SOCRATES, 1787 by JACQUES-LOUIS DAVID

Another story of stoic sacrifice and dignity, DAVID portrayed SOCRATES’ suicide as an act of courage and nobility. Set in the secluded cell of his jail, the aging philosopher’s muscular body is intended to represent his moral and intellectual health.

He sits up straight, prepares to take the bowl of poison hemlock; he would die rather than give up his lessons; his hand is raised in a gesture of oratory, lecturing till the last moment while his students show a variety of emotions at his execution.

DAVID’s painting is based on PLATO’s description of the event, which ties DAVID’s painting to a classical source; however, as in the case of THE OATH OF THE HORATII, DAVID manipulates the scene for dramatic effect. He removes some of the characters mentioned in PLATO’s account, and idealizes the aging figure of SOCRATES, conveying his message of heroic rationality and intellectualism to the viewer.

[eirene]

Opera In Peking, 1918 Alexander Evgenievich Yakovlev

[the-cricket-chirps]

Maurice Denis, La Légende de St Hubert, ca. 1896/97

[madeineurope]

🎨 Paul Signac - The Port of Saint-Tropez, 1901-1902

[canvasmirror]

Anton Raphael Mengs (German, 1728–1779) • Self-portrait • 1776 • Metropolitan Museum of Art, New York City