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Jacques Courtois' battle scenes share with the Bamboccianti an interest in the anecdotal and an attention to detail. This influence became less in his more mature period through the influence of contemporary painter Salvator Rosa whom he had met in Florence, and whose night landscapes, scenes of necromancy, soldiers, battles and genre scenes he ...
David and Goliath. Guillaume Courtois was mainly a history painter of Christian religious and mythological scenes. [1] He was also in demand as a staffage painter. He is sometimes referred to as a battle painter because of his involvement in the decorative project in the chapel of the Congregation of the Jesuits, a small oratory housed in a room of the Collegio Romano adjacent to the Sant ...
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Anna Maria Vaiani was born in Florence in 1604. Her father, Alessandro Vaiani, was a painter. [1] She lived and worked in Rome.In 1647 she married the French painter and printmaker Jacques Courtois, but it was not a success.
The appartement du roi or King's Apartment [1] is the suite of rooms in the Palace of Versailles that served as the living quarters of Louis XIV.Overlooking the Marble Court (cour de marbre), these rooms are situated in the oldest part of the chateau in rooms originally designated for use by the queen in Louis XIII's chateau.
Seven years after Sargent painted Madame Gautreau, Gustave Courtois painted her. As in the earlier painting, the portrait shows her face in profile. She wears the same style of dress, with Courtois's portrait showing a bit more skin. The strap of her dress hangs off her shoulder much as it had in Sargent's portrait.
The work is a history painting depicting an episode from Plutarch's Lives in which Greek court physician Erasistratus diagnoses the illness of Antiochus, the son of Seleucus I, as lovesickness for his stepmother Stratonice. The painting was awarded the 1774 Prix de Rome by the Académie royale de peinture et de sculpture.
Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly as a reaction against naturalism and realism.