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April Love is a painting by the Pre-Raphaelite painter Arthur Hughes which was created between 1855 and 1856. It was first exhibited at the Royal Academy of Arts in 1856. [1] At its first showing Hughes accompanied the painting with an extract from Tennyson's poem "The Miller's Daughter": Love is hurt with jar and fret, Love is made a vague regret,
The Sorrows of Love (French: Les Malheurs de l'amour) is a 1790 genre painting by the French artist Louis-Léopold Boilly. [1] [2] In the early stages of his career Boilly largely produced genre paintings and portraits before switching to the street scenes of Paris for which he is best known.
Anne-Louis Girodet de Roussy-Trioson, Ossian receiving the Ghosts of the French Heroes (1800–02), Musée national de Malmaison et Bois-Préau, Château de Malmaison. In the visual arts, Romanticism first showed itself in landscape painting, where from as early as the 1760s British artists began to turn to wilder landscapes and storms, and Gothic architecture, even if they had to make do with ...
There is a small detail of a butterfly above Psyche. The flying butterfly symbolizes, according to the art historian Issa Lampe, both “death and transcendence," serving as a commentary on Cupid's departure from Psyche every morning. [7] The most striking detail of this painting is the hyper-realistic depiction of Cupid's body and his expression.
Scattered around are the emblems of all human endeavors – violin and lute, armor, coronet, square and compasses, pen and manuscript, bay leaves, and flower, tangled and trampled under Cupid's foot. The painting illustrates the line from Virgil's Eclogues, Omnia Vincit Amor et nos cedamus amori ("Love conquers all; let us all yield to love ...
Rococo painting represents the expression in painting of an aesthetic movement that flourished in Europe between the early and late 18th century, migrating to America and surviving in some regions until the mid-19th century. The painting of this movement is divided into two sharply differentiated camps.
Love's Messenger reflects the influence of both early Pre-Raphaelite painting and Italian Renaissance painting.The symbols portrayed in the painting, including the dove, rose, ivy, and the blind-folded Cupid "suggest constancy, fidelity, and loveliness in full bloom," but also suggest "beauty on the cusp of decay, sensuality, and the pain Cupid's arrows may inflict."
The two paintings on the wall are also significant. The lower painting is of a stormy sea, a metaphor for tempestuous love. [citation needed] Above it is a landscape painting of a traveler on a sandy road. This may refer to the absence of the man who is writing to the lady. [2] Love Letter remains the only one of Vermeer's works to incorporate ...