Baigneuse, La, Framed Art Print by Jean-Auguste-Dominique Ingres
Print Title: Baigneuse, La Artist: Jean-Auguste-Dominique Ingres Frame Description: black metal frame with no matting Image size: 23.5 x 35.5, Paper size: 23.5 x 35.5, Framed size: 24.3 x 36.3
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Baigneuse, La, Art Poster by Jean-Auguste-Dominique Ingres
Print Title: Baigneuse, La Artist: Jean-Auguste-Dominique Ingres .50 Flat Shipping Rate to Continental US. No Extra Charge for Additional Prints! Image size: 23.5 x 35.5, Paper size: 23.5 x 35.5
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Raphael and the Fornarina, Art Poster by Jean-Auguste-Dominique Ingres
Print Title: Raphael and the Fornarina Artist: Jean-Auguste-Dominique Ingres .50 Flat Shipping Rate to Continental US. No Extra Charge for Additional Prints! Image size: 13.0 x 17.0, Paper size: 16.0 x 20.0
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One man, dressed in rags, sits stoically in his throne as a laurel wreath is gently placed atop his head by an otherworldly angel. Surrounding him is his audience; men and women varying in facial expressions, dress, and appearance. All these personalities are so dissimilar to one another, yet so familiar to us. There is Shakespeare! There is Virgil! There is Raphael Sanzio! The man in the centre turns out to be Homer, the ancient Greek epic poet. Jean-Auguste-Dominique Ingres’ depiction of historical and mythological figures in his painting, Apotheosis of Homer embodies the neoclassical movement that hit popular painting like a tidal wave from the mid-18th century to the early 19th century. Neoclassical art enjoyed popularity as a result of a backlash against the popular styles of the day which were viewed to represent the degeneracy of art. Ingres’ painting perfectly reflects the spirit of neoclassical painting: elements of the new meeting the glories of the past. Continue reading to THE ARTICLE »
“The most important aspects of classical art,” observed German historian and archaeologist Johann J. Winckelmann, “is its noble simplicity and calm grandeur.” As an archaeologist, Winckelmann became inspired by the ancient artifacts being recovered at the ruins of Pompeii and Herculaneum. In the late 1700s, the popular stylization in European art was baroque and rococo styles. To critics, these styles were vain and overly ostentatious to be truly considered art. Rococo art, for example, symbolized European aristocracy with its attention on great scale and themes of worldly pleasures. Likewise, baroque art became an institutionalized art because it often portrayed the grandeur and power of the Catholic Church, which supported the style. The new age of painters became disenchanted with this status quo. Occurring concurrent with societal and political shifts in Europe, neoclassical style was born. Continue reading to THE ARTICLE »
When the name “Napoleon Bonaparte” is mentioned, the visual that immediately pops into minds is one of the former Emperor sitting on a horse, braving the stormy weather, and gesturing his hands forward to symbolize the inevitability and greatness of his conquests. This iconic image was intended by design to become indelibly linked with Napoleon Bonaparte’s accomplishments in life. The painting being alluded to is the famous, Napoleon Crossing the Alps. This picture not only embodies the allure Napoleon himself wanted to convey, but it reflects the spirit and mood of artists in that period too. This portrait was painted by the man often credited for being the most influential French painter during the neoclassical art movement, Jacques-Louis David. David personified the profound shift in societal values through his style of art: From the pre-French Revolution days of Rococo art that espoused frivolity, excess, and wealth toward more romantic, more classical, and moral-driven style of painting. Continue reading to THE ARTICLE »
In our society, an obsession with the human body is commonly interpreted to signify a perversion. To neoclassical painters, such a cynical view is understandable. Not because the person himself (let us be honest about the popularly accused gender) is perverted per se, but because etiquette and morality has trumped understanding and reason. This signifies a different sort of societal perversion; a different sort of decadence. Neoclassical painters explicitly created their works to reverse this decadence, to return to the days when proper virtue and culture reigned supreme. The classical Greek and Roman civilizations, for example, affirmed their existence and embodied all that was good and possible for humanity. Society has often gone astray from this ideal, but painting was capable of helping restore and immortalize perfection. Neoclassical painters built neoclassicism on this possibility to restore perfection. Among the most prominent figures in this neoclassical movement was Jean-August Dominique Ingres. Continue reading to THE ARTICLE »
Jacques Louis David
When the name “Napoleon Bonaparte” is mentioned, the visual that immediately pops into minds is one of the former Emperor sitting on a horse, braving the stormy weather, and gesturing his hands forward to symbolize the inevitability and greatness of his conquests. This iconic image was intended by design to become indelibly linked with Napoleon Bonaparte’s accomplishments in life. The painting being alluded to is the famous, Napoleon Crossing the Alps. This picture not only embodies the allure Napoleon himself wanted to convey, but it reflects the spirit and mood of artists in that period too. This portrait was painted by the man often credited for being the most influential French painter during the neoclassical art movement, Jacques-Louis David. David personified the profound shift in societal values through his style of art: From the pre-French Revolution days of Rococo art that espoused frivolity, excess, and wealth toward more romantic, more classical, and moral-driven style of painting.
Tags: napoleon bonaparte achievements, propaganda napoleon, Propaganda Minister, robespierre seizes french power, rococo, davidian neoclassicism, is the oath of the horatii propaganda?, neoclassical propagandaContinue reading to THE ARTICLE »