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Air (painting) Allegory of Divine Providence and Barberini Power; The Allegory of Faith; Allegory of Fortune; Allegory of Painting and Sculpture; Allegory of the Dutch Defeat of the Spanish Fleet in Gibraltar; Allegory of the Earth; Allegory of the Vanities of the World; Allegory of Vanity and Repentance; Allegory of Wealth; Apollo and Diana ...
A work made against this background is the Allegory of war (Lempertz 16 November 2013, Cologne Lot 1243). The work is full of symbols of war and strife such as weapons, fighting animals, zodiac symbols of bad luck in the heavens, the furies , a burning city, the god of war and the battling troops in the background which all evoke the theme of ...
Napoleon's Tomb (French title: L'Apothéose de Napoléon) is an 1821 oil painting by the French artist Horace Vernet. [1] [2] An allegory, it depicts the apotheosis of the former emperor of France Napoleon following his death in exile on the island of Saint Helena.
Rubens painted the allegorical female figures, accompanied by a putto or a winged Cupid in Sight, Hearing, Smell, and Touch, and by a satyr in Taste.Brueghel created the sumptuous settings, which evoke the splendour of the court of Albert VII, Archduke of Austria, and his wife Isabella, governors of the Spanish Netherlands, to which the two artists were attached. [1]
The painting is an allegory of the Dutch victory against the Spaniards during the battle of Gibraltar, that took place on 25 April 1607 in the context of the Eighty Years' War. The painting shows in the foreground a Dutch and a Spanish struggling between them by a wooden bar, while an English and a Venetian observe them.
Streeton's most famous war painting, Amiens the key of the west shows the Amiens countryside with dirty plumes of battlefield smoke staining the horizon, which becomes a subtle image of war. As a war artist, Streeton continued to deal in landscapes and his works have been criticised for failing to concentrate on the fighting soldiers.
To make the painting of the scene six years later, Shahn transcribed the positions of the handball players including the photographic accident of a tensed arm and leg that appears to sprout from the bomber jacket of the man at left, but he spreads the men away from each other and expands the frame to break the symmetry and to include a ...
Allegory of Youth and Old Age. The artist spent time in Florence possibly in 1605–6 or 1610. [4] Here he was employed to paint copies and pastiches of paintings particularly appreciated by Cosimo II de' Medici, Grand Duke of Tuscany. [5] The artist joined the Accademia di San Luca of Rome in 1604 or 1608 and stayed a member until 1636. [2]