Which 18th-19th Century English artist painted 'Hannibal Crossing The Alps' and 'Dido Building Carthage'?
"became the nucleus for the National Gallery. His revised will of 1831 changed the bequest, so ""Dido building Carthage"" would be accompanied by ""Sun rising through Vapour"", and the two works would be exhibited alongside ""Seaport with the Embarkation of the Queen of Sheba"" and ""Landscape with the Marriage of Isaac and Rebecca"" (also known as ""The Mill""). A codicil in 1848 donated the remainder of his completed works to the new National Gallery in Trafalgar Square, so they could be displayed together. The Turner Bequest was contested by his relatives, but resolved by 1856 when the works were acquired"
"Bonaparte Crossing the Alps Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of another, more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon Bonaparte, by French artist Paul Delaroche. The painting depicts Bonaparte leading his army through the Alps on a mule, a journey Napoleon and his army of soldiers made in the spring of 1800, in an attempt to surprise the Austrian army in Italy. The two main versions of this painting that exist are in the Louvre in Paris and the Walker Art Gallery in Liverpool, England. Queen Victoria"
"Hannibal may have used to cross the Alps, which Turner had also visited in 1802. Identifying Napoleon and France with Hannibal and Carthage was unusual: as a land power with a relatively weak navy, France was more usually identified with Rome, and the naval power of Britain drew parallels with Carthage. A more typical symbolism, linking the modern naval power of Britain with the ancient naval power of Carthage, can be detected in Turner's later works, ""Dido Building Carthage"", and ""The Decline of the Carthaginian Empire"". The irregular composition, without geometric axes or perspective, breaks traditional rules of composition. It"
"Napoleon Crossing the Alps Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. Initially commissioned by the King of Spain, the composition shows a strongly idealized view of the real crossing that Napoleon and his army made across the Alps through the Great St. Bernard Pass in May 1800. Having"
"taken to Spain shortly after they were made, where they were frequently copied and made a deep impression on art in that country. David and Goliath (Caravaggio) David and Goliath (or ""David with the Head of Goliath"" or ""David Victorious over Goliath"") is a painting by the Italian Baroque master Caravaggio (1571–1610). It was painted in about 1599, and is held in the Museo del Prado, Madrid. Two later versions of the same theme are currently to be seen in Kunsthistorisches Museum, Vienna (""David with the Head of Goliath""), and in Rome's Galleria Borghese (""David with the Head of Goliath"")."
"cloud, a dynamic composition of contrasting light and dark that will recur in later works, such as his 1842 painting """". Turner saw parallels between Hannibal and Napoleon, and between the historic Punic War between Rome and Carthage and the contemporary Napoleonic Wars between Britain and France. The painting is Turner's response to Jacques-Louis David's portrait of ""Napoleon Crossing the Alps"", of Napoleon leading his army over the Great St Bernard Pass in May 1800, which Turner had seen during a visit to Paris in 1802. Turner set his painting in the Val d'Aosta, one of the possible routes that"
"David and Goliath (Caravaggio) David and Goliath (or ""David with the Head of Goliath"" or ""David Victorious over Goliath"") is a painting by the Italian Baroque master Caravaggio (1571–1610). It was painted in about 1599, and is held in the Museo del Prado, Madrid. Two later versions of the same theme are currently to be seen in Kunsthistorisches Museum, Vienna (""David with the Head of Goliath""), and in Rome's Galleria Borghese (""David with the Head of Goliath""). The ""David and Goliath"" in the Prado was painted in the early part of the artist's career, while he was a member of"
"Napoleon Leading the Army Over the Alps (Kehinde Wiley) Napoleon Leading the Army over the Alps is an equestrian portrait of a youthful black male painted by the contemporary artist Kehinde Wiley in 2005. It is based on Jacques-Louis David’s 1801 equestrian portrait, ""Napoleon Crossing the Alps"". This painting was chosen by a man who Kehinde had approached in the streets. The basic composition of Wiley's painting is the same as the 200-year-old painting it was based on, and has many of the same elements. The modern painting has a decorative background rather than the battlefield background. This painting is"
"realistic fashion. John Everett Millais also used the image to contrast David's theatrical rhetoric with a naturalistic scenario in his painting ""The Black Brunswicker"", in which a print of the painting hangs on the wall of a room in which one of the Brunswickers who fought at the Battle of Quatre Bras prepares to leave his sweetheart to join the fight against Napoleon. Napoleon Crossing the Alps Napoleon Crossing the Alps (also known as Napoleon at the Saint-Bernard Pass or Bonaparte Crossing the Alps; listed as Le Premier Consul franchissant les Alpes au col du Grand Saint-Bernard) is the title"
"years, and it would be called ""Hannibal crossing the Alps"". Turner may also have been inspired by a lost oil painting of Hannibal's army descending the Alps into northern Italy by watercolourist John Robert Cozens, ""A Landscape with Hannibal in His March over the Alps, Showing to His Army the Fertile Plains of Italy"", the only oil painting that Cozens exhibited at the Royal Academy, and also an entry in list of imaginary paintings written by Thomas Gray, which speculated that Salvator Rosa could have painted ""Hannibal passing the Alps"". Another spur to make the painting could have been the"
"also obtained a reduced version of it. The work was inspired by Jacques-Louis David's series of five ""Napoleon Crossing the Alps"" paintings (1801–1805). David's works also show Napoleon's journey through the Great St. Bernard Pass, but there are significant stylistic differences between the two conceptions. Delaroche's Napoleon is cold and downcast, whereas David's wears a pristine uniform, and is idealized as a hero. Delaroche was commissioned to paint a realistic portrait; the style of which was emerging at the time. While the painting largely represented—and was one of the pioneers of—an emerging style, the work was criticised by several authorities"
"Dolarhyde is fixated with the strength and power he thinks the dragon exudes, so he kills entire families to ""become"" the dragon. He also has a giant tattoo of the dragon on his back. It has also been used as the Oxford World's Classics front cover of ""The Private Memoirs and Confessions of a Justified Sinner."" The Great Red Dragon Paintings ""The Great Red Dragon"" Paintings are a series of watercolour paintings by the English poet and painter William Blake, painted between 1805 and 1810. It was during this period that Blake was commissioned to create over a hundred paintings"
"Cross in the Mountains Cross in the Mountains, also known as the Tetschen Altar, is an oil painting by the German artist Caspar David Friedrich designed as an altarpiece. Among Friedrich's first major works, the 1808 painting marked an important break with the conventions of landscape painting by including Christian iconography. In the hierarchy of genres, religious (history) painting was considered the highest genre of art; Friedrich's use of landscape to evoke a spiritual message was thus controversial, causing debate between proponents of neoclassical ideals and the new German Romanticism of Friedrich and his peers. The canvas depicts a golden"
"Among his main works were: ""The Burning of L'Orient at the Battle of the Nile"", ""The Battle of Algiers"", ""The Battle of Trafalgar"", ""The Port of Venice at Carnival Time"", ""HMS Greyhound and HMS Harrier engaging a Dutch Squadron in the Java Seas"", ""Frigates becalmed in the Ionian Channel"" and ""A Waterspout off the Coast of Albania"". Attribution: Joseph Cartwright (artist) Joseph Cartwright (1789? – 16 January 1829) was an English marine painter. Cartwright was a native of Dawlish in Devon, and worked for the navy in a civilian capacity. When the Ionian Islands came into the possession of the"
"The Wood of the Self-Murderers: The Harpies and the Suicides The Wood of the Self-Murderers: The Harpies and the Suicides is a pencil, ink and watercolour on paper artwork by the English poet, painter and printmaker William Blake (1757–1827). The work was completed between 1824 and 1827 and illustrates a passage from the ""Inferno"" of the ""Divine Comedy"" by Dante Alighieri (1265–1321). The work is part of a series which was to be the last set of watercolours Blake worked on before his death in August 1827. It is held in the Tate Gallery, London. Blake was commissioned in 1824"
"cross on his shoulder as he passes St Peter, with a dramatic gesture, bursting forth on the canvas. This new era took on a dramatic feel with a leaning towards intensifying movement and ""figures [that] are rich in dignity"". The paintings included references to classical antiquity, including architecture like temples and columns; the scale of the individuals was increased by bringing them into closer proximity to the surface giving the impression that they would emerge from the painting. Citations Bibliography Domine quo vadis? Domine, quo vadis? is a painting by the Italian Baroque painter Annibale Carracci (1560–1609), depicting a scene"
"Our English Coasts, 1852 ('Strayed Sheep') Our English Coasts, also known as Strayed Sheep, is an oil-on-canvas painting by William Holman Hunt, completed in 1852. It has been held by the Tate Gallery since 1946, acquired through The Art Fund. William Holman Hunt was a British painter, who co-founded the Pre-Raphaelite Brotherhood (1848), along with Dante Gabriel Rossetti and John Everett Millais. The Pre-Raphaelite Brotherhood advocated a return to spirituality and sincerity of the arts, despising academic painting, which they considered a mere repetition of clichés.Despite these beliefs, the group created a number of works for institutes of higher learning"
"a literary magazine. The magazine's comments on the work indicated that, while they praised the painting for several of its features, they criticised Delaroche, for various reasons: Some were displeased with Delaroche's work at the time in general, and, in part, ""Bonaparte Crossing the Alps"", criticising what was described as his 'lowered standards in art'. Such critics included ""The Gentleman's Magazine"", who wrote the following text about Delaroche: Bonaparte Crossing the Alps Bonaparte Crossing the Alps (also called Napoleon Crossing the Alps, despite the existence of another, more well-known painting with that name) is an 1848–1850 oil-on-canvas portrait of Napoleon"
"Charing Cross Bridge (Monet series) Charing Cross Bridge is a series of oil paintings by French artist Claude Monet. Painted in between 1899 and 1904, they depict a misty, impressionistic Charing Cross Bridge in London. During the years between 1899 and 1905, Monet travelled to London to capture its sights from the fifth-floor balcony of the Savoy Hotel. Monet was captivated by the London fog, a notable atmospheric effect made markedly worse by the heavy pollution of the Industrial Revolution. He painted the Houses of Parliament, Waterloo Bridge, and Charing Cross Bridge over and over, as he had earlier done"
"in Jesus Christ. Around the Cross stand the evergreens, enduring through all seasons, as does the belief of Man in Him, the crucified."" Cross in the Mountains Cross in the Mountains, also known as the Tetschen Altar, is an oil painting by the German artist Caspar David Friedrich designed as an altarpiece. Among Friedrich's first major works, the 1808 painting marked an important break with the conventions of landscape painting by including Christian iconography. In the hierarchy of genres, religious (history) painting was considered the highest genre of art; Friedrich's use of landscape to evoke a spiritual message was thus"
"the later nineteenth century led to the establishment of artist colonies in places such as Pittenweem and Crail in Fife, Cockburnspath in the Borders, Cambuskenneth near Stirling on the River Forth and Kirkudbright in Dumfries and Galloway. David Wilkie became the key figure in the development of British genre art. After a tour of Europe Wilkie he was increasingly influenced by Renaissance and Baroque painting. He became most famous for his anecdotal paintings of Scottish and English life. His work on themes of Scottish everyday life included ""Village Politicians"" (1806), ""The Blind Fiddler"" (1806), ""Distraining for Rent"" (1815) and ""The"
"her ship – perhaps the ship partially concealed by the pillars to the left, or the one further out to sea, over the picture's vanishing point. The painting was one of the first works to be acquired by the National Gallery in 1824, being one of five works by Claude Lorrain bought from the collection of John Julius Angerstein. It has the catalogue number NG14. This and similar works by Claude inspired J. M. W. Turner to paint ""Dido Building Carthage"" and ""The Decline of the Carthaginian Empire"", which Turner left to the nation as part of the Turner Bequest"
"Sebastiano. He likely died as a young man. Virgilio Ducci Virgilio Ducci (27 October 1623- year of death unknown) was an Italian painter of the Baroque period, mainly recalled for his work in his native Città di Castello. He was born in Città di Castello, but as a youth apprenticed with Francesco Albani in Bologna. After his training, he returned home. In the chapel of the Angel Guardian of the Duomo in Citta di Castello, he painted two canvases of the story of Tobias and the Angel. He also painted the lunettes over the arch of the chapel of San"
"Michelangelo, Titian and Leonardo da Vinci, show remarkable insight. Barry painted two pictures while abroad, an ""Adam and Eve"" and a ""Philoctetes"". Soon after his return to England in 1771 he produced his picture of Venus, which was compared to the Galatea of Raphael, the Venus of Titian and the Venus de Medici. In 1773 he exhibited his ""Jupiter and Juno on Mount Ida"". His ""Death of General Wolfe"", in which the British and French soldiers are represented in very primitive costumes, was considered as a falling-off from his great style of art. His fondness for Greek costume was assigned"
"the decline of religious painting in the 18th and 19th centuries all over Europe combined with Romanticism to give landscapes a much greater and more prestigious place in 19th-century art than they had assumed before. In England, landscapes had initially been mostly backgrounds to portraits, typically suggesting the parks or estates of a landowner, though mostly painted in London by an artist who had never visited his sitter's rolling acres. The English tradition was founded by Anthony van Dyck and other mostly Flemish artists working in England, but in the 18th century the works of Claude Lorrain were keenly collected"
"The Sortie Made by the Garrison of Gibraltar The Sortie Made by the Garrison of Gibraltar (also called The Sortie made by the Garrison of Gibraltar in the Morning of the 27 of November 1781) is the title of a 1789 oil-on-canvas painting by American artist John Trumbull. The painting shows a key point in Gibraltar's history when the Great Siege of Gibraltar was undertaken by the Spanish against the British at Gibraltar in November 1781. The Spanish officer Don Jose de Barboza is being given respect as he lies dying. Although left behind by his own retreating troops he"
"Stothard (1755-1834) with whom Blake quarrelled. In the popular imagination English landscape painting from the 18th century onwards typifies English art, inspired largely from the love of the pastoral and mirroring as it does the development of larger country houses set in a pastoral rural landscape. Two English Romantics are largely responsible for raising the status of landscape painting worldwide: John Constable (1776-1837) and J. M. W. Turner (1775-1851), who is credited with elevating landscape painting to an eminence rivalling history painting. Other notable 18th and 19th century landscape painters include: George Arnald (1763-1841); John Linnell (1792-1882), a rival to"
"and insured for £10,000,000. On January 16, 2015, the High Court of England and Wales ruled in favor of Sotheby's, saying that, relying on qualified experts, Sotheby's had reasonably come to the view that the painting was not likely a Caravaggio; the judge consequently ordered the plaintiff to pay Sotheby's £1.8 million for its legal fees. The Cardsharps The Cardsharps (painted around 1594) is a painting by the Italian Baroque artist Michelangelo Merisi da Caravaggio. The original is generally agreed to be the work acquired by the Kimbell Art Museum in 1987, although Caravaggio may have painted more than one"
"Dante and Beatrice (painting) Dante and Beatrice is a painting dated 1883 by the artist Henry Holiday that is on display in the Walker Art Gallery in Liverpool, England. It is considered to be Holiday's most important painting. It is executed in oil on canvas, measuring by and was purchased by the gallery in 1884. When he died, Holiday was described as ""the last Pre-Raphaelite"". Many of Dante Gabriel Rossetti's paintings, including ""Dante's Dream"", had as their subject the Italian poet Dante Alighieri, and this interest is the likely inspiration for Holiday's painting. It is based on Dante's autobiographical work"
"http://www.museodelprado.es Venus, Adonis and Cupid Venus, Adonis and Cupid is a painting created c. 1595 by Annibale Carracci. The painting is in the Museo del Prado, Madrid. Annibale Carracci was one of the most well known Italian Baroque painters of the seventeenth century. The Carracci brothers established an academy of art called Accademia degli Incamminati, which pioneered the development of Bolognese Painting. Annibale Carracci and Caravaggio were among the most influential artists of this century, who through their unique artistic styles led to the transition from Mannerist to Baroque. Annibale was born in Bologna in 1560 and died in Rome"
"and horses appear in illustrations to the travel memoir of John Mandeville in the fourteenth century. Orientalist paintings of the nineteenth century include ones by artists such as Carl Haag (""Danger in the Desert"", 1867) and Jean-Léon Gérôme (""Street Scene, Egypt"", 1869). The memorial on the Victoria Embankment Gardens in London commemorates the Imperial Camel Corps in sculpture. The year before, Klee had produced another camel painting in oils entitled ""Two Camels and a donkey"" (1919). ""Camel in rhythmic landscape with trees"" is considered one of a series that includes ""Rythmic Tree Landcape"". Similar landscapes, such as ""Small rhythmic landscape"""
"a sculptor, Jones was an accomplished painter. Adrian Jones (sculptor) Adrian Jones MVO (9 February 1845 – 24 January 1938) was an English sculptor and painter who specialized in animals, particularly horses. He created the sculpture ""Peace descending on the Quadriga of War"", on top of the Wellington Arch at Hyde Park Corner in London. Before becoming a full-time artist he was an army veterinary surgeon. Adrian Jones was born in Ludlow, Shropshire, and studied at the Royal Veterinary College, qualifying as a veterinary surgeon in 1866. He enrolled in the Army as a veterinary officer in the Royal Horse"
"features and a look of horror clearly visible, as well as the same chamois hunter. Manfred on the Jungfrau (Martin) Manfred On The Jungfrau is an 1837 watercolour painting by the English artist John Martin, now in Birmingham Museum and Art Gallery. The subject of the painting comes from Lord Byron's poem ""Manfred"", specifically Act I scene II. It was painted by a number of 19th-century artists. This work depicts Manfred preparing to throw himself from the Jungfrau mountain in the Alps. In Byron's poem he is pulled back from the edge just before leaping by a horrified chamois hunter,"