Jacques-Louis David (French, 1748-1825) • Self-portrait • 1794 • Musée du Louvre
Jacques-Louis David painted this self-portrait while imprisoned at the Hôtel des Fermes for having supported the Robespierreans. It was his third and last self-portrait.
" To give a body and a perfect form to one's thought, this - and only this - is to be an artist. " – Jacques-Louis David
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THE DEATH OF GENERAL WOLFE | 1770 | by BENJAMIN WEST
In the painting the central figure is GENERAL WOLFE, lying on his back with his arms outstretched and his eyes turned towards the heavens. He is surrounded by a group of soldiers, officers, and Native Americans, all of whom are depicted in various states of grief and shock.
The figures in the painting are dressed in historically accurate military uniforms and NATIVE AMERICAN clothing. At the center is GENERAL WOLFE, dressed in his red coat and pointing towards the sky. This gesture symbolizes his final victory and his transcendence into a hero. His pose is reminiscent of the crucifixion of JESUS, further emphasizing his sacrifice for his country.
To the left of Wolfe is a NATIVE AMERICAN WARRIOR, mourning the death of his ally. He is depicted in a powerful pose, with his arms raised and his face twisted in anguish. This figure represents the alliance between the BRITISH and NATIVE AMERICANS during the war.
On the right side of the painting, two officers are depicted in shock and grief. One of them is holding a handkerchief to his face, while the other is looking towards the sky with a mix of sorrow and admiration. These figures represent the impact of WOLFE'S death on those who knew and fought alongside him.
The Death of General Wolfe was a significant painting in its time, as it was one of the first historical paintings to be exhibited in a public space. It was displayed at the ROYAL ACADEMY OF ARTS in LONDON, where it received critical acclaim and helped establish West as a leading artist of his time.
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Detail from An allegory of sculpture and architecture by Thomas Germain Joseph Duvivier
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The Belvedere
Artist: John William Godward (English, 1861–1922)
Style: Neoclassicism
Date: 1913
Medium: Oil on Canvas
Collection: Private Collection
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Achilles Receiving the Envoys of Agamemnon
Artist: Jean-Auguste-Dominique Ingres (French, 1780-1867)
Date: 1801
Medium: Oil on Canvas
The Ambassadors of Agamemnon in the tent of Achilles is a painting by Jean-Auguste-Dominique Ingres, produced in 1801 for the Prix de Rome competition. It is now in the École nationale supérieure des beaux-arts in Paris.
It shows an episode from Homer's Iliad, in which Achilles refuses to listen to the envoys sent by Agamemnon to convince him back into the Trojan War. The topic assigned for the artists competing for the Prix de Rome in 1801 was the warriors' procession toward battle; Ingres' interpretation of the subject characteristically emphasized a moment of psychological drama instead of physical action.[1] The work was intended as a demonstration of Ingres' mastery of the human figure in classical history painting – Odysseus is shown in a red cloak derived from a sculpture by Pseudo-Phidias.
The painting is in the neoclassical style and belongs to the school of Jacques-Louis David, in whose studio Ingres had trained. It also shows new influences from John Flaxman, whose work had just had its first Parisian exhibition.
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Details
Marie-Denise Villers, Portrait présumé de Madame Soustras laçant son chausson
1802, Napoleonic era, Musée du Louvre, Paris
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Jessica Biel (American, born March 3, 1982)
The Last Day of Pompeii (detail), 1830-1833. Karl Bryullov (Russian, 1799-1852). State Russian Museum, Saint Petersburg.
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