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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.
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 .
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).
Jean-Léon Gérôme – The great bath of Brousse; Ellen Day Hale – Self-portrait (Museum of Fine Arts, Boston) Winslow Homer – The Fog Warning (Museum of Fine Arts, Boston) Juan Luna. Chula series; Odalisque; Jan Matejko – Bohdan Khmelnytsky with Tuhaj Bej near Lviv; John Everett Millais – The Ruling Passion; Charles William Mitchell ...
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]
Pages in category "Paintings by Jean-Léon Gérôme" The following 23 pages are in this category, out of 23 total. This list may not reflect recent changes. B.
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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