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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."
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 .
Jean Leon Gerome Ferris (August 8, 1863 – March 18, 1930 [1]) was an American painter best known for his series of 78 scenes from American history, entitled The Pageant of a Nation, the largest series of American historical paintings by a single artist.
Bathsheba (French: Bethsabée) is an oil painting on canvas by the French painter Jean-Léon Gérôme, made at Bougival in 1889. The work is now kept in a private collection. The work is now kept in a private collection.
Cleopatra and Caesar (French: Cléopâtre et César), also known as Cleopatra Before Caesar, is an oil-on-canvas painting by the French Academic artist Jean-Léon Gérôme, completed in 1866. The work was originally commissioned by the French courtesan La Païva , but she was unhappy with the finished painting and returned it to Gérôme.
Phryne Before the Areopagus (French: Phryne devant l'Areopage) is an 1861 painting by the French artist Jean-Léon Gérôme.The subject matter is Phryne, an ancient Greek hetaira (courtesan) who was put on trial for impiety.
Painted by Jean-Léon Gérôme between 1868 and 1869, the painting depicts a dark-skinned model dressed as a Bashi-bazouk, a levy of irregular Ottoman soldiers infamous for their brutality, looting, and lack of discipline. [2] Gérôme acquired the garb seen in the painting during a trip to the near east in 1868. The haphazard and mixed ...
The Snake Charmer is an oil-on-canvas painting by French artist Jean-Léon Gérôme produced around 1879. [1] After it was used on the cover of Edward Said's book Orientalism in 1978, the work "attained a level of notoriety matched by few Orientalist paintings," [2] as it became a lightning-rod for criticism of Orientalism in general and Orientalist painting in particular, although Said ...
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