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The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. [1]
A journalist and politician during the French Revolution, he was a vigorous defender of the sans-culottes, a radical voice, and published his views in pamphlets, placards and newspapers. His periodical L'Ami du peuple ( The Friend of the People ) made him an unofficial link with the radical Jacobin group that came to power after June 1793.
Joseph, Baron Ducreux (26 June 1735 – 24 July 1802) was a French noble, portrait painter, pastelist, miniaturist, and engraver, who was a successful portraitist at the court of Louis XVI of France, and resumed his career at the conclusion of the French Revolution.
National Gallery of Art, Washington D.C. The Three Women of Gand: 1812 oil on canvas 132 × 105 Louvre Museum, Paris Portrait of Madame David: 1813 oil on canvas 73 × 60 National Gallery of Art, Washington D.C. Apelles Painting Campaspe in the Presence of Alexander the Great: 1814 oil on canvas 96.5 × 136 Palais des Beaux-Arts de Lille, Lille ...
The Death of Young Bara, Joseph Bara or The Death of Bara is an incomplete 1794 oil painting on canvas by the French Neoclassical artist Jacques-Louis David, now in the musée Calvet in Avignon. Joseph Bara , a young drummer in the army of the French First Republic , was killed by the Vendéens , French Royalists.
Rosenblum, Robert (1969), Transformations in Late Eighteenth Century Art (1st paperback ed.), Princeton, New Jersey: Princeton University Press, ISBN 0-691-00302-5; Roberts, Warren (1 February 1992), Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution, The University of North Carolina Press, ISBN 0-8078-4350-4
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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.