123 Paintings By Artist Friedrich von Amerling ( 1803 - 1887 ) | Austrian 19th Century Painter | ArtLiveAndBeauty

 

Artist Friedrich von Amerling 

Friedrich von Amerling's work is recognized by its use of a wide range of colors, beauty of pattern, and exotic design. The majority of the artist's work is in the portrait genre. Friedrich von Amerling, along with Ferdinand Georg Waldmüller, was a well-known portrait painter of the nineteenth century.

Friedrich von Amerling was born in Vienna on April 14, 1803. I learned a great deal about the craft. Amerling moved to Vienna in 1828. During the Viennese Biedermeier, he became a popular portrait painter, receiving contracts from the imperial family, the highest aristocracy, burghers, and great industrialists. The artist's popularity peaked between 1828 and the 1850s.

Friedrich von Amerling died in Vienna on January 14, 1887. Amerling made over a thousand pieces, the majority of which are in Austrian museums and private collections.

" Susanna and the Elders " , Artemisia Gentileschi (1593-1654) | ArtLiveAndBeauty

" Susanna and the Elders " , Artemisia Gentileschi (1593-1654)

Artemisia Gentileschi's first extant work, Artemisia Lomi (1593-1653). The painting, created by a 17-year-old Italian artist, depicts the biblical narrative found in Daniel 13:13. Artemisia absorbed Caravaggio's realism and effects in this piece, while also paying attention to Annibale Carracci's classicism and the Bologna school of the Baroque style.

Daniel's book narrates the narrative of Susanna and the elders. Susanna is having a bath in the garden one day when her servant lets in the two seniors. They sought sexual favors from Suzanne and threatened to ruin her reputation if she did not comply. She did reject, and the Elders carried out their warning. Daniel noted that the elders' claims did not match, so they were interviewed independently and their tale was revealed to be a fabrication.

" Allegory of War and Peace " 1776, By Artist Pompeo Girolamo Batoni (1708-1787) | ArtLiveAndBeauty

" Allegory of War and Peace " By Artist Pompeo Girolamo Batoni 

Pompeo Batoni (1708-1787) was a prominent and sought-after 18th-century Italian painter. The forefather of the ceremonial representative portrait in the classicism style. Representatives of this movement mostly painted mythical and religious subjects, viewing allegory as a "high" historical genre.

The 17th and 18th centuries were marked by a broad interest in allegory, deciphering meaning, and creating symbols. Allegory has become an intrinsic aspect of the works of the artist Pompeo Batoni's substance. Many aesthetic tendencies and period trends spontaneously combined in his work: echoes of the late baroque, light playful shapes of rococo, and trends of a new movement - neoclassicism.

The realistic inclinations of 18th-century Italian painting could not but but influence Batoni's art. Even in this regard, the artist's perspective remained ambiguous; frequently, the master's sympathies were represented in extremely disparate works.

In his painting "Allegory of War and Peace," he shows Mars, the god of battle, and a lovely half-naked girl, who represents peace. The artist refers to the narrative as having metaphorical elements, in which the concept of bravery, the triumph of duty, collides with human emotions - love and emotional bonds.

 " Allegory of War and Peace " 1776, By Artist Pompeo Girolamo Batoni, Oil on canvas. 136 x 99 cm Art Institute of Chicago

" The Oath of the Horatii " , Jacques-Louis David (1748–1825) | ArtLiveAndBeauty

The Oath of the Horatii,  By Artist Jacques-Louis David  (1748–1825)

" The Oath of the Horatii " was a watershed moment not just in Jacques-Louis David's art, but in European painting as a whole. The artwork helped to birth a new style, founding the French neoclassicism school.

If the "feminine universe" with its curving lines dominated 18th-century painting, it was now giving way to the verticals of the "masculine world," emphasizing the prominent role of valor, heroism, and military service. David acquired recognition across Europe with this canvas.

"The Oath of the Horatii" exposes the terrible and irreconcilable tensions between civic obligation and personal sentiments of people. The narrative of the film is based on an ancient Roman legend. During Rome's conflict with Alba Longa, three Romans, brothers from the Horatii family, were forced to fight a death combat to determine the conclusion of the dispute between the warring towns. The Horatii's opponents are childhood buddies. One of them is in a relationship with the Horatii's sister. As they prepare for a fatal fight, the brothers swear a promise to their father to safeguard the fatherland. They are unwavering and steadfast in their lofty motivation, which is reinforced by the uniformity of vast dynamic motions. The achievement is blessed by the Father.

Friends discouraged Jacques-Louis David from pursuing this plan, which, in their judgment, did not fit the attitude of the moment. Jacques-Louis David said that he would chose the moment before the war when old Horace accepts an oath from his son to win or die - a moment that the artist could only guess at due to the lack of specifics.

Jacques-Louis David employed a number of classical approaches. The painting's backdrop is darkened, but the characters in the front are emphasized to emphasize their importance. Dull colors are employed to emphasize the importance of the tale being depicted above the painting itself. The number "three" and the triangle are represented by a clear and distinct composition. Clear features are preferred over the light strokes associated with Rococo. Only women display strong emotions, while men perform their duties.

The painting was submitted to the Paris Salon, and David was concerned that he would be put in an unfavorable position owing to the machinations of his haters. However, the concerns were baseless. "The Oath of the Horatii" was well appreciated by the general audience.

The painting is part of the Louis XVI collection and is now on display in the 75th chamber on the first floor of the Louvre's Denon Gallery.

" Pandora's Box " , 1889 by Artist Charles Edward Perugini (1839-1918) | Italian-British painter | ArtLiveAndBeauty

Artist Charles Edward Perugini (1839-1918) 

" Pandora's Box "

P.S. We use aphorisms and catchphrases all the time, but do we know where they came from and what they mean?  Hardly.  It's always fascinating to dive into the complexities and hidden meanings of the language, because whole stories may be conveyed in a single sentence.

Everyone is familiar with the tale of Prometheus, who gave humanity fire after stealing it from the gods of Olympus.  But not everyone realizes Pandora is also the story's heroine.

The celestials resolved to get retribution on the arrogant Prometheus in an unusual way: they created a woman.

So they made a woman, endowing her with each of the gods' unique abilities - she knew how to accomplish everything and more.  The celestials decided to give this creature, who they named Pandora (in English - blessed with everything), to Prometheus, but he immediately recognized that nothing positive could be anticipated and refused the gift.

Then Pandora enchanted Prometheus's brother, Epimetheus, and the latter wedded the girl.

Zeus determined that Prometheus should be punished in some manner, but since he was too diligent, the lightning god took a shortcut - through his younger brother.  He sent Epimetheus a sealed box containing all vices, evils, and illnesses.  It was strictly banned to open the vessel.

Pandora, endowed with insatiable curiosity, snatched the box from her husband and opened it.  All problems erupted and descended on the planet.  Pandora tried to shut the box, but it was too late.  When Epimetheus learned what had happened, he snatched the tragic box from his wife, but he was interrupted by a tiny and feeble voice from within.  Prometheus' brother opened the package again, struggling with himself and believing that things couldn't get much worse.  And a sliver of hope shot out of him.  And so it was - no matter how much pain befell humanity, there would always be hope around, and only individuals can choose which of the voices to listen to.

" Pandora's Box " , 1889 by Artist Charles Edward Perugini (1839-1918) 

Napoleon Bonaparte crossing the Alps at Grand Saint Bernard By Artist Jacques-Louis David (1748 - 1825) | ArtLiveAndBeauty

" Bonaparte at the Saint Bernard Pass " By Jacques-Louis David ,1801 

It is believed that this large painting by Jacques Louis David opened the era of romanticism in European painting. The portrait of Napoleon, who at that time was the first consul of the French Republic, is strongly idealized, and his composition is extremely theatrical. General Bonaparte is presented as a leader who defies nature.

Napoleon led the Army of Italy through the Alps' St. Bernard Pass in May 1800. For the first time in French art, the academic style, with painstaking attention to detail, light-and-shadow modeling of the form, the "smooth manner" of painting, and the subtlety of color relationships, organically merges with love content in this picture. In this scene, David takes on the role of the creator of a new aesthetic direction: romanticism.

David's apologetic iconography had a significant effect on the cultural image of Napoleon. In 1802, a replica of David's canvas was displayed in St. Petersburg. Several prints based on this artwork were created under the First Empire. Napoleon riding a rearing horse has been replicated in marble, bronze, porcelain, and even wood carvings.

" Bonaparte at the Saint Bernard Pass " By Jacques-Louis David ,1801 Oil on canvas. Size: 261 × 220 cm. Malmaison, Paris (private residence of Napoleon Bonaparte and Josephine Beauharnais)

Meeting of Orestes and Hermione , By Artist Anne Louis Girodet Trioson ( 1767 - 1824 )

" Meeting of Orestes and Hermione "  , By Artist Anne-Louis Girodet-Trioson

Painting by a pupil of Louis David, a French historical painter. Among the classicism that dominated French art at the time, he became the forerunner of romanticism, which quickly changed the course of the movement. The artist was drawn to the complicated theme of unrequited love and treachery shown in the tragedy "Andromache" by French playwright Jean Racine.

The narrative is based on the moment in which Cleon introduces Orestes to his crafty cousin Hermione. Clytemnestra orders her to influence Orestes and finally drive him mad.

Girodet-Trioson skilfully contrasts Orestes' passion and Hermione's sensible disposition. She turns away, her arms crossed across her chest, like a statue between the columns of the chilly marble chamber. Hermione's sneaky expression, on the other hand, forewarns the spectator of her devious tactics, which will ultimately lead to a disastrous conclusion.

 " Meeting of Orestes and Hermione " , by Artist Anne-Louis Girodet-Trioson , 1846 Oil on canvas. Cleveland Museum of Art