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A work made against this background is the Allegory of war (Lempertz 16 November 2013, Cologne Lot 1243). The work is full of symbols of war and strife such as weapons, fighting animals, zodiac symbols of bad luck in the heavens, the furies , a burning city, the god of war and the battling troops in the background which all evoke the theme of ...
Consequences of War, also known as Horror of war, [1] was executed between 1638 and 1639 by Peter Paul Rubens in oil paint on canvas. It was painted for Ferdinando II de' Medici . Although commissioned by an Italian, art historians characterize both the work and the artist as Flemish Baroque .
By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. [4] Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.
The work is a 217 cm (85 in) × 211 cm (83 in) oil-on-canvas painting and weighs 44 kg (97 lb). The painting shows a seated female who represents peace being crowned with a laurel wreath by a woman who is clad in armour who represents war. Under her feet lies a man in armor with a sword, his hands wrapped in chains.
Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England .
Air (painting) Allegory of Divine Providence and Barberini Power; The Allegory of Faith; Allegory of Fortune; Allegory of Painting and Sculpture; Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar; Allegory of the Earth; Allegory of the Vanities of the World; Allegory of Vanity and Repentance; Allegory of Wealth; Apollo and Diana ...
Rubens painted the allegorical female figures, accompanied by a putto or a winged Cupid in Sight, Hearing, Smell, and Touch, and by a satyr in Taste.Brueghel created the sumptuous settings, which evoke the splendour of the court of Albert VII, Archduke of Austria, and his wife Isabella, governors of the Spanish Netherlands, to which the two artists were attached. [1]
Artemisia Gentileschi, Judith Slaying Holofernes, c 1612, Museo e Real Bosco di Capodimonte, Naples, Italy. This history is relevant as Gentileschi's early life has come to inform the perspectives of many contemporary feminist art historians, including Mary Garrard, [6] and particularly in the case of Judith Slaying Holofernes.