Alessandro Rosi (1627–1697) Blue pencil.svg wikidata:Q3610263 St Sébastien cared for by Ste Irene Oil on canvas Height: 132 cm (51.9 in); Width: 167.5 cm (65.9 in) Brest’s Museum of Fine Arts
Sebastian stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech greatly astonished the emperor; who gave orders for his being seized and beaten to death with cudgels, and his body thrown into the common sewer. A pious lady, called Irene, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More on St. Sebastian
Alessandro Rosi (28 December 1627 in Rovezzano — 19 April 1697 in Florence) was an Italian artist, working during the Baroque period…
Brulloff Karl (1799 – 1852) Juliet Tittoni as Jeanna D’Ark, c. 1850-1852 Oil on canvas Tittoni family private collection
Having become close in Italy with the Tittoni family, Bryullov created portraits of almost his entire family, and in 1852 he painted a portrait of Juliet Tittoni.
Karl Pavlovich Bryullov (12 December 1799–11 June 1852), original name Charles Bruleau, also transliterated Briullov and Briuloff, was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism…
Alessandro Rosi (1627–1697) Blue pencil.svg wikidata:Q3610263 St Sébastien cared for by Ste Irene Oil on canvas Height: 132 cm (51.9 in); Width: 167.5 cm (65.9 in) Brest’s Museum of Fine Arts
Sebastian stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech greatly astonished the emperor; who gave orders for his being seized and beaten to death with cudgels, and his body thrown into the common sewer. A pious lady, called Irene, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More on St. Sebastian
Alessandro Rosi (28 December 1627 in Rovezzano — 19 April 1697 in Florence) was an Italian artist, working during the Baroque period…
Brulloff Karl (1799 – 1852) Juliet Tittoni as Jeanna D’Ark, c. 1850-1852 Oil on canvas Tittoni family private collection
Having become close in Italy with the Tittoni family, Bryullov created portraits of almost his entire family, and in 1852 he painted a portrait of Juliet Tittoni.
Karl Pavlovich Bryullov (12 December 1799–11 June 1852), original name Charles Bruleau, also transliterated Briullov and Briuloff, was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism…
Johann Franz Michael Rottmayr (Austrian, 1654–1730) Venus and Adonis Oil on Canvas 95 x 197 cm. (37.4 x 77.6 in.) Private collection
Venus and Adonis is a narrative poem by William Shakespeare published in 1593. It is probably Shakespeare’s first publication.
The poem tells the story of Venus, the goddess of Love; of her unrequited love; and of her attempted seduction of Adonis, an extremely handsome young man, who would rather go hunting. The poem is pastoral, and at times erotic, comic and tragic. It contains discourses on the nature of love, and observations of nature. More on Venus and Adonis
Johann Michael Rottmayr (11 December 1656–25 October 1730) was the first native-born Austrian painter of the 18th century to achieve preeminence over the Italians, thus beginning the great century of Austrian baroque painting.
Baudry, Paul (La Roche-sur-Yon, 07–11–1828 – Paris, 17–01–1886) Jupiter et les Corybantes, c. 1876 Ceiling mural Opera National, Paris
In Greek and Roman mythology, the god Saturn was warned that one of his offspring would overthrow him, so he ate his children at birth. To protect their son, his wife Ops took the infant Jupiter to the island of Crete to be raised by the Corybantes, who used the rhythm of their dancing and the clashing of their cymbals to disguise the baby’s cries so he would not be discovered by Saturn.
Paul-Jacques-Aimé Baudry (7 November 1828–17 January 1886) was a French painter…
Domenichino (1581–1641) (after) The Martyrdom of Saint Andrew Oil on canvas H 33.5 x W 43.5 cm University of Edinburgh
Andrew is said to have been martyred by crucifixion at the city of Patras (Patræ) in Achaea. Early texts describe Andrew as bound, not nailed, and crucified on a cross of the form called crux decussata, now commonly known as a “Saint Andrew’s Cross”
Scene of the martyrdom of Saint Andrew with stuggling figures and a mounted figure on the left. This painting is a late seventeenth- or early eighteenth-century copy after an engraving of Domenichino’s fresco of this subject on the vault of Sant’Andrea della Valle in Rome, painted in 1622–1627. These frescoes were Domenichino’s most extensive Roman commission for which he vied with rival, Giovanni Lanfranco. Saint Andrew was martyred at Patras. He asked that he should be crucified on an ‘X’ shaped cross as he considered himself to be unworthy to die in the same manner as Jesus. More on this painting
Domenico Zampieri (October 21, 1581 — April 6, 1641), known by the diminutive Domenichino after his shortness, was an Italian Baroque painter of the Bolognese School of painters…
William Hilton (1786-1839) Preparatory study for “Massacre of the Innocents” Oil on canvas 4.5ins x 14ins Private collection
The Massacre of the Innocents is the incident in the nativity narrative of the Gospel of Matthew in which Herod the Great, king of Judea, orders the execution of all male children two years old and under in the vicinity of Bethlehem. The Catholic Church regards them as the first Christian martyrs. A majority of Herod biographers, and “probably a majority of biblical scholars,” hold the event to be myth, legend or folklore. The Massacre of the Innocents
William Hilton RA (3 June 1786–30 December 1839), was a British portrait and history painter…
Hans Makart A feast in the park Oil on canvas 28 x 41 cm Private collection
Hans Makart (28 May 1840–3 October 1884) was a 19th-century Austrian academic history painter, designer, and decorator. He is best known for his influence on Gustav Klimt and other Austrian artists, but in his own era he was considered an important artist himself and a celebrity figure in the high culture of Vienna and attended with almost cult-like adulation…
Narcisse Virgile Diaz de la Peña (French, 1808-1876) Départ de Diane pour la chasse/ Departure of Diana to the hunt Oil on canvas 21 3/4 x 13 1/2in (55.3 x 34.4cm) Private collection
In Roman mythology, Diana was the goddess of the hunt, the moon and nature being associated with wild animals and woodland, and having the power to talk to and control animals. She was eventually equated with the Greek goddess Artemis, though she had an independent origin in Italy. Diana was worshipped in ancient Roman religion and is revered in Roman Neopaganism and Stregheria. Diana was known to be the virgin goddess of childbirth and women. She was one of the three maiden goddesses — along with Minerva and Vesta — who swore never to marry. More on Diane
Narcisse-Virgile Diaz de la Peña, (born 1808, Bordeaux, France—died November 18, 1876, Menton), French painter and lithographer of the group of landscape painters known as the Barbizon school who is distinguished for his numerous Romantic depictions of the forest of Fontainebleau and his landscape fantasies with mythological figures.
At 15 Diaz began working as a ceramic painter for the Sèvres porcelain factory. He studied for a time with the academic painter Alexandre Cabanel. Strongly influenced by Delacroix and the Romantics and attracted by medieval and Middle Eastern art, he often in his early career painted exotic subjects.
About 1840 Diaz began to paint landscapes in the forest of Fontainebleau near the village of Barbizon. These landscapes, which dominated his work for the rest of his career, characteristically have a pervasive sense of the shadowy seclusion of the forest—e.g., Forest Scene (1867). Dense, vividly coloured foliage is broken by spots of light or patches of sky shining through the branches. During the last 15 years of his life Diaz seldom exhibited publicly. He was helpful and sympathetic to the Impressionists, especially Renoir, whom he met in 1861 painting at Barbizon. More on Narcisse-Virgile Diaz de la Peña
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