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Louis was born in 1120, [1] the second son of Louis VI of France and Adelaide of Maurienne. [2] The early education of the young Louis anticipated an ecclesiastical career. As a result, he became well learned and exceptionally devout, but his life course changed decisively after the accidental death of his older brother Philip in 1131, when Louis unexpectedly became the heir to the throne of ...
David had pursued similar aims in Love and Psyche (David), which combines fantastical elements with the aesthetic of realism. Mars Being Disarmed by Venus nonetheless has idealized elements, including the exaggerated poses of the subjects, especially in the three Graces behind Venus and Mars. [4] Jacques-Louis David, Cupid and Psyche.
The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. [4] However, the moment depicted in David's painting is his own invention. [5] [6] It grew to be considered a paragon of neoclassical art. The painting increased David's fame ...
The early Church believed that "the life of David foreshadowed the life of Christ; Bethlehem is the birthplace of both; the shepherd life of David points out Christ, the Good Shepherd; the five stones chosen to slay Goliath are typical of the five wounds; the betrayal by his trusted counsellor, Ahitophel, and the passage over the Cedron remind ...
The Davidiad is an epic poem that details the ascension and deeds of David, the second king of the United Kingdom of Israel and Judah.. The Davidiad (also known as the Davidias [1]) is the name of an heroic epic poem in Renaissance Latin by the Croatian national poet and Renaissance humanist Marko Marulić (whose name is sometimes Latinized as "Marcus Marulus").
Diana and Apollo Killing Niobe's Children is a 1772 oil-on-canvas painting by the French artist Jacques-Louis David, now in the Dallas Museum of Art. He produced it to compete for the Prix de Rome . In the Rococo style which marked his early period, it was emblematic of the conflict between David and the Académie royale de peinture et de ...
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From 7 February to 22 March 1808, the work was exhibited at the Salon annual painting display in 1808, and it was presented to the Salon decennial prize competition in 1810. The painting remained the property of David until 1819, when it was transferred to the Royal Museums, where it was stored in the reserves until 1837.