Search results
Results from the WOW.Com Content Network
Modern depiction (1876) by Jean Léon Gérôme of a chariot race in Rome's Circus Maximus, as if seen from the starting gate. The Palatine Hill and imperial palace are to the left. Chariot racing (Ancient Greek: ἁρματοδρομία, harmatodromía; Latin: ludi circenses) was one of the most popular ancient Greek, Roman, and Byzantine sports.
Jean-Léon Gérôme (French pronunciation: [ʒɑ̃ leɔ̃ ʒeʁom]; 11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. His paintings were so widely reproduced that he was "arguably the world's most famous living artist by 1880."
The chariot race at the Circus Maximus as seen from the entrance gate, with the imperial box and the Palatine on the left (painting by Jean-Léon Gérôme, 1876) Most likely the Romans borrowed the custom of organizing chariot races from the Etruscans, who in turn had borrowed it from the Greeks.
Hoop Dancer, c. 1893, by Jean-Léon Gérôme, Haggin Museum.. As a painter and sculptor, Gérôme had long drawn inspiration from the Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.
The Christian Martyrs' Last Prayer (French: La Dernière Prière des martyrs chrétiens), also known as The Christian Martyrs and The Last Prayer, is an 1883 painting by the French painter Jean-Léon Gérôme. [1] It is part of the collection of the Walters Art Museum in Baltimore.
Truth at the Bottom of a Well (study, 1895) by Jean-Léon Gérôme, Musée Georges-Garret. Truth is at the Bottom of the Well (1895) by Jean-Léon Gérôme, Musée des Beaux-Arts de Lyon . La Vérité sortant du Puits (1898) by Édouard Debat-Ponsan , Musée de l'Hôtel de Ville [ fr ] , Amboise .
The Cock Fight (French: Un combat de coqs) is an 1846 painting by the French artist Jean-Léon Gérôme. It is also known as Young Greeks Attending a Cock Fight (Jeunes Grecs faisant battre des coqs). It is an example of the Neo-Grec style. It was one of Gérôme's first successes. [1]
The painting became famous almost overnight with critics of the Salon speculating about Gerome's sources for the incident depicted in the painting. [1] (The theme seems to have been in fashion; Thomas Couture dealt with the same subject in 1857 with Le Duel après le bal masqué, now in the Wallace Collection).