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The Great Fire of Rome (Latin: incendium magnum Romae) began on the 19th of July 64 AD. [1] The fire started in the merchant shops around Rome's chariot stadium, Circus Maximus . After six days, the fire was brought under control, but before the damage could be assessed, the fire reignited and burned for another three days.
The painting was first exhibited in 1876 at the Accademia di San Luca in Rome. It went on to tour Europe with stops in Vienna, Munich, Prague, Lviv, Berlin, Saint Petersburg, Poznań, Paris and London. It was met with critical acclaim by masters of academic art such as Hans Makart and Lawrence Alma-Tadema. [3]
Giulio Pippi was born in Rome and he began his career there as a young assistant to the leading painter and architect Raphael. He became an important member of Raphael's large team working on the frescos in the Raphael Rooms and Vatican loggias using designs by Raphael and, later painting a group of figures in the Fire in the Borgo fresco.
Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions (or simply, Rienzi) is an oil-on-canvas painting by the English artist William Holman Hunt, produced in 1849 and currently in a private collection.
The Artist's Studio, 1760, Städelsches Kunstinstitut. He spent fully eleven years in Rome, a remarkable length of time; after the young artist's official residence at the French Academy in Rome ran out, he supported himself by works he produced for visiting connoisseurs like the abbé de Saint-Non, who took Robert to Naples in April 1760 to visit the ruins of Pompeii.
The Miracle of the Holy Fire (1892–1899) is an oil painting on canvas by the English artist William Holman Hunt which depicts the Greek Orthodox rite of the Holy Fire in the Church of the Holy Sepulchre Jerusalem. Hunt believed the fire to be a pious fraud which brought Christianity into disrepute.
Roman fresco from the Tomb of Esquilino, c. 300-280 B.C. As with the other arts, the art of painting in Ancient Rome was indebted to its Greek antecedents. In archaic times, when Rome was still under Etruscan influence, they shared a linear style learned from the Ionian Greeks of the Archaic period, showing scenes from Greek mythology, daily life, funeral games, banquet scenes with musicians ...
Temple of Venus and Rome from the Colosseum by William Pars, watercolour with pen and ink, 1781 In the summer of 1775, he travelled to Rome on a bursary of the Dilettanti Society, where artists such as John Warwick Smith , Francis Towne (a friend of Pars, who took some instruction in drawing from him) [ 4 ] John Robert Cozens , and Thomas Jones ...