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Saturn Devouring His Son is a painting by Spanish artist Francisco Goya. The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house some time between 1820 and 1823. [1] It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...
The painting was rediscovered in 1950 and is part of the collection of the Galleria Nazionale d'Arte Antica in Rome. The exhibition 'Dentro Caravaggio' Palazzo Reale, Milan (Sept 2017 – Jan 2018), suggests a date of 1602 on account of the use of light underlying sketches not seen in Caravaggio's early work but characteristic of his later works.
The Feast of the Gods (French: Le Festin des dieux) is a painting by the Dutch painter Jan van Bijlert, created around 1635–1640. It is in the Musée Magnin in Dijon , France. It is one of a number of pictures in western art to depict the feast of the Gods , in this case at the marriage of Thetis and Peleus , with Bacchus in the foreground ...
A 1772 painting by Jacques-Louis David depicting Niobe attempting to shield her children from Artemis and Apollo. In Greek mythology, Niobe (/ ˈ n aɪ. ə. b iː /; Ancient Greek: Νιόβη: Nióbē) was a daughter of Tantalus and of either Dione (as most frequently cited) or of Eurythemista or Euryanassa.
The Lesche of the Knidians (or Cnidians) was a lesche, i.e. a club or meeting place, at the sanctuary of Apollo in Delphi. Today, it has been mostly destroyed; the only surviving parts are some architectural relics. It hosted two famous paintings by the famous painter Polygnotus the Thasian, namely the Capture of Troy and the Nekyia. It was ...
Art historian H. W. Janson writes that Prodigal Son "may be [Rembrandt's] most moving painting. It is also his quietest—a moment stretching into eternity. So pervasive is the mood of tender silence that the viewer feels a kinship with this group. That bond is perhaps stronger and more intimate in this picture than in any earlier work of art." [6]
Art historians generally interpret this prime position as being because the story of Jonah (who was swallowed for three days by a large fish before being miraculously restored) was seen as prefiguring that of Christ's death and resurrection. [4] [5] The Prophet Jonah is opposite the fresco of the prophet Zachariah. [5]