"Edwin Landseer Sir Edwin Henry Landseer RA (7 March 1802 – 1 October 1873) was an English painter and sculptor, well known for his paintings of animals – particularly horses, dogs, and stags. However, his best known works are the lion sculptures in Trafalgar Square. Landseer was born in London, the son of the engraver John Landseer A.R.A. He was something of a prodigy whose artistic talents were recognised early on. He studied under several artists, including his father, and the history painter Benjamin Robert Haydon, who encouraged the young Landseer to perform dissections in order to fully understand animal"
"Like his siblings, Landseer was taught artistic techniques by his father. He then studied under painter Benjamin Robert Haydon alongside his brother Charles and William Bewick. He began etching aged 14, copying his precocious brother's drawings. Thomas continued to make etched copies of Edwin's works in later life, including ""Dignity and Impudence"" (1841), ""Alexander and Diogenes"" (1852), ""The Monarch of the Glen"" (1852) and, his last work, ""The Font"" (1875). His soft-ground etchings complimented his brother's animal paintings, and sales of the popular prints (retailing for between 3 and 10 guineas) contributed to his brother's fame and fortune. He assisted"
"in 2009. The gap in the provenance of ""The Fountain of Indolence"" between 1834 and 1882 lends credence to the theory that it is identical with ""The Fountain of Fallacy"", a painting which Turner exhibited at the British Institution in 1839, accompanied by four lines from his own poem entitled ""Fallacies of Hope"". Its Rainbow-dew diffused fell on each anxious lip, Working wild fantasy, imagining; First, Science in the immeasurable Abyss of thought, Measured her orbit slumbering. Contemporary descriptions of the ""Fountain of Fallacy"" apply equally well to ""The Fountain of Indolence"". In 1839, the year it was exhibited, Turner"
"The Fountain of Indolence The Fountain of Indolence is an oil painting by the English artist J. M. W. Turner. First exhibited in 1834, it is now in the collection of the Beaverbrook Art Gallery in Fredericton, New Brunswick, Canada. The painting depicts a scene described in Canto 1 of James Thomson's 1748 poem ""The Castle of Indolence"". Thus easy-rob'd, they to the fountain sped That in the middle of the court up-threw A stream, high spouting from its liquid bed, And falling back again in drizzly dew; There each deep draughts, as deep he thirsted drew; It was a"
"fountain of nepenthe rare; Whence, as Dan Homer sings, huge pleasaunce grew, And sweet oblivion of vile earthly care; Fair gladsome waking thoughts, and joyous dreams more fair. It shows an imaginary landscape with Classical buildings and ruins centred on the fountain, around and within which human and winged Cupid-like figures are grouped. ""The Fountain of Indolence"" was first exhibited at the 66th Royal Academy Exhibition at Somerset House in May 1834, to a generally favourable reception. The subsequent history of the painting is unknown until 1882, when it was sold to Thomas Agnew & Sons by H. Lumley. William"
"ἀέλπτως κραίνουσι θεοί"" (loosely translated, ""the gods bring many matters to surprising ends""). The painting adopts the dark tones of Landseer's later works. The scene shows two polar bears among the scattered wreckage of the expedition – a telescope, the tattered remains of a red ensign, a sail, and human bones, which William Michael Rossetti called ""the saddest of ""membra disjecta"""". The image shows humanity and civilization defeated by ""nature, red in tooth and claw"", and can be seen as a commentary on the crisis of British triumphalism and imperialism in the middle of the 19th century. The painting was"
"Allegory of Prudence The Allegory of Prudence (c. 1565–1570) is an oil painting attributed to the Italian artist Titian and his assistants. It is in the National Gallery, London. The painting portrays three human heads, each facing in a different direction, above three animal heads, depicting (from left) a wolf, a lion and a dog. The painting is usually interpreted as operating on a number of levels. At the first level, the different ages of the three human heads represent the ""Three Ages of Man"" (youth, maturity, old age). The different directions in which they are facing reflect a second,"
"Allegory of Wisdom and Strength Allegory of Wisdom and Strength or Wisdom and Strength is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Divine Wisdom personified on the left and Hercules, representing Strength and earthly concerns, on the right. Wisdom gazes heavenward while Hercules looks down on jewels below him. The conflict between divine and mortal affairs is central in this allegorical painting. In the painting, the virtuosity of Divine Wisdom appears to triumph over the earthly desires of Hercules. She is bathed"
"Jon Elster used the name of Draper's painting as the title for his 1979 book about rationality and precommitment. Ulysses and the Sirens Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 x 84 in. It is held at the Ferens Art Gallery in Kingston upon Hull, England. The gallery purchased the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is housed at the Leeds Art Gallery. The subject of the painting is an episode in the epic poem ""Odyssey"" by Homer in which Ulysses is tormented by"
"is on display in room 34. Ulysses Deriding Polyphemus Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's ""Odyssey"", showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's ""Aeneid"", on one of the flags and the horses of Apollo rising above the horizon. The painting was exhibited at the Royal Academy of Arts in 1829. Acquired by the"
"in the Frick Collection. The Frick and La Serenissima: Arts from the Venetian Republic, http://frick-venetianrepublic.tumblr.com/ Allegory of Wisdom and Strength Allegory of Wisdom and Strength or Wisdom and Strength is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Divine Wisdom personified on the left and Hercules, representing Strength and earthly concerns, on the right. Wisdom gazes heavenward while Hercules looks down on jewels below him. The conflict between divine and mortal affairs is central in this allegorical painting. In the painting, the virtuosity"
"Diana, goddess of chastity, from being raped by a Centaur, symbol of concupiscence. Next to Minerva is a tree with human features. High in the sky are the three primary moral virtues required to perfect the appetitive powers: Justice, Temperance and Fortitude. <br> Triumph of the Virtues (Mantegna) The Triumph of the Virtues (also known as ""Minerva Expelling the Vices from the Garden of Virtue"") is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1502. It is housed in the Musée du Louvre of Paris. The ""triumph"" was the second picture painted by Mantegna for Isabella d'Este's"
"Ulysses Deriding Polyphemus Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's ""Odyssey"", showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's ""Aeneid"", on one of the flags and the horses of Apollo rising above the horizon. The painting was exhibited at the Royal Academy of Arts in 1829. Acquired by the National Gallery in 1856, the painting"
"Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis is an oil painting by the English painter Joseph Mallord William Turner (c.1775–1851), first exhibited in 1843. Displayed during the latter years of J.M.W. Turners career, this painting depicts a deluge scene where the natural effects of light and weather (the atmosphere) play a crucial role on Turner's concept of vision. The deluge being referred to in the title is the representation of the"
"and philosophers both ancient and modern—the modern personages are mostly confined to the lower register of the composition, although Ingres deemed Raphael and Michelangelo worthy of elevation to stand alongside the ancients. The figures are: Ingres revisited the subject in several later works, including an undated watercolour (Lille, Musée des Beaux-Arts) and paintings such as ""Homer and His Guide"" (1861; Brussels, Royal Collection) and ""The Odyssey"" (Lyon, Musée des Beaux-Arts). In 1854 be began work on a drawing of the composition to be used as a model for the engraver Calamatta. This drawing, in which Ingres announced his intention to"
"visit of a delegation from the Tyrol to London in 1809, seeking support to oppose Napoleon. The painting was first exhibited at the Royal Academy summer exhibition at Somerset House in 1812, accompanied in the catalogue with some lines from Turner's unfinished epic poem ""Fallacies of Hope"": <poem> Craft, treachery, and fraud – Salassian force, Hung on the fainting rear! then Plunder seiz'd The victor and the captive, – Saguntum's spoil, Alike, became their prey; still the chief advanc'd, Look'd on the sun with hope; – low, broad, and wan; While the fierce archer of the downward year Stains Italy's"
"sold to Sir William Quilter, 1st Baronet. It was then sold to Henry Lowenfeld at Christie's in 1909 for £2,400 (the auction also included Holman Hunt's ""The Scapegoat""). After Lowenfeld's death in 1931, his widow sold the painting to the National Gallery of Victoria, Melbourne (funded from the Felton Bequest) where it remains today. Scene from A Midsummer Night's Dream Scene from A Midsummer Night's Dream. Titania and Bottom is an 1851 oil-on-canvas painting by British artist Edwin Landseer. Landseer was mainly known for his paintings of animals: this is his only painting of a fairy scene. The painting depicts"
"one weep."" Ingres spent the first six months of 1845 working intensely on the portrait, which was finished by summer of that year. Art historian (and Frick curator emeritus) Edgar Munhall has suggested that both ""Antiochus and Stratonice"" as well as Ingres's portrait of Louise owe an inspirational debt to the pose of Pudicitia (""modesty"" or ""sexual valor""), a Roman statue of a goddess on display in the Vatican collection. In his book on Ingres, Robert Rosenblum connects her pose to Polyhymnia, muse of sacred poetry, hymn, and eloquence, as depicted particularly in the Louvre's Roman copy of a Greek"
"of Wisdom and Strength"" is a painting by Paolo Veronese, created circa 1565 in Venice. It is a large-scale allegorical painting depicting Divine Wisdom personified on the left and Hercules, representing Strength and earthly concerns, on the right. A goddess ""Sophia"" was introduced into Anthroposophy by its founder, Rudolf Steiner, in his book ""The Goddess: From Natura to Divine Sophia"" and a later compilation of his writings titled ""Isis Mary Sophia."" Sophia also figures prominently in Theosophy, a spiritual movement which Anthroposophy was closely related to. Helena Blavatsky, the founder of Theosophy, described it in her essay ""What is Theosophy?"""
"the 1970s) that the painting drives people mad when they sit by it. Man Proposes, God Disposes Man Proposes, God Disposes is an 1864 oil-on-canvas painting by Edwin Landseer. The work was inspired by the search for Franklin's lost expedition which disappeared in the Arctic after 1845. The painting is in the collection of Royal Holloway, University of London. The painting depicts an imagined Arctic scene in the aftermath of Sir John Franklin's expedition in 1845 to explore the Northwest Passage. The 134 men of Franklin's exhibition left Greenhithe in May 1845 on two steam-powered ironclad icebreakers, HMS ""Erebus"" and"
"floor are five pairs of female figures, the first four pairs representing virtues: patience (""paciencia""), with a lamb and prudence (""prudencia"") with a mirror; charity (""charitas"") with two children and justice (""iusticia"") with scales and a sword; faith (""fides"") with a chalice and sword and hope (""spes"") with a thurible and the sun; and courage (""fortitudo"") with a broken column and temperance (""temperancia"") pouring water from a vase into a bowl. The last pair is of two famous women from the Ancient World: Lucretia (""Lucrecia"") with a spear through her own breast, and Cleopatra (""Cleapairi""), with snakes twisted around her"
"the painting therefore acts as a rebuttal of the view that old age is the enemy of artistic achievement. On a more general level, the painting’s depiction of Titian with his assistants Orazio and Marco is also intended as a defence of the prudence of the continuity of the Venetian workshop tradition. Allegory of Prudence The Allegory of Prudence (c. 1565–1570) is an oil painting attributed to the Italian artist Titian and his assistants. It is in the National Gallery, London. The painting portrays three human heads, each facing in a different direction, above three animal heads, depicting (from left)"
"Scene from A Midsummer Night's Dream Scene from A Midsummer Night's Dream. Titania and Bottom is an 1851 oil-on-canvas painting by British artist Edwin Landseer. Landseer was mainly known for his paintings of animals: this is his only painting of a fairy scene. The painting depicts a scene from the third act of William Shakespeare's play ""A Midsummer Night's Dream"". It has been in the collection of the National Gallery of Victoria in Melbourne, Australia since 1932. The painting shows Titania, Queen of the Fairies, after she has been given a love potion, embracing the temporary object of her love,"
"""The Sirens and Ulysses"" currently hangs in Gallery Three. The Sirens and Ulysses The Sirens and Ulysses is a large oil painting on canvas by the English artist William Etty, first exhibited in 1837. It depicts the scene from Homer's ""Odyssey"" in which Ulysses (Odysseus) resists the bewitching song of the Sirens by having his ship's crew tie him up, while they are ordered to block their own ears to prevent themselves from hearing the song. While traditionally the Sirens had been depicted as human–animal chimeras, Etty portrayed them as naked young women, on an island strewn with decaying corpses."
"Ulysses and the Sirens Ulysses and the Sirens is a 1909 oil painting by Herbert James Draper measuring 69.25 x 84 in. It is held at the Ferens Art Gallery in Kingston upon Hull, England. The gallery purchased the painting from Draper in 1910 for £600. Draper also painted a reduced replica that is housed at the Leeds Art Gallery. The subject of the painting is an episode in the epic poem ""Odyssey"" by Homer in which Ulysses is tormented by the voices of Sirens, although there are only two Sirens in Homer's poem and they stay in a meadow."
"Man Proposes, God Disposes Man Proposes, God Disposes is an 1864 oil-on-canvas painting by Edwin Landseer. The work was inspired by the search for Franklin's lost expedition which disappeared in the Arctic after 1845. The painting is in the collection of Royal Holloway, University of London. The painting depicts an imagined Arctic scene in the aftermath of Sir John Franklin's expedition in 1845 to explore the Northwest Passage. The 134 men of Franklin's exhibition left Greenhithe in May 1845 on two steam-powered ironclad icebreakers, HMS ""Erebus"" and HMS ""Terror"". After five left the ship, the remaining 129 men were last"
"Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed Candaules, King of Lydia, Shews his Wife by Stealth to Gyges, One of his Ministers, as She Goes to Bed, occasionally formerly known as The Imprudence of Candaules, is a oil painting on canvas by English artist William Etty, first exhibited at the Royal Academy in 1830. It shows a scene from the ""Histories"" by Herodotus, in which Candaules, king of Lydia, invites his bodyguard Gyges to hide in the couple's bedroom and watch his wife Nyssia undress, to prove"
"prior to taking it to England for exhibition, he added an image of a broken ship's mast in silent tribute to Franklin. In 1864, Sir Edwin Landseer's ""Man Proposes, God Disposes"" caused a stir at the annual Royal Academy exhibition; its depiction of two polar bears, one chewing on a tattered ship's ensign, the other gnawing on a human ribcage, was seen at the time as in poor taste, but has remained one of the most powerful imaginings of the expedition's final fate. The expedition also inspired numerous popular engravings and illustrations, along with many panoramas, dioramas, and magic lantern"
"Mammon (painting) Mammon, originally exhibited as Mammon Dedicated to his Worshippers, is an 1885 oil painting by English artist George Frederic Watts, currently in Tate Britain. One of a number of paintings by Watts in this period on the theme of the corrupting influence of wealth, ""Mammon"" shows a scene from Edmund Spenser's ""The Faerie Queene"" in which Mammon, the embodiment of greed, crushes the weak through his indifference to their plight. This reflected Watts's belief that wealth was taking the place of religion in modern society, and that this worship of riches was leading to social deterioration. The painting"
"The Sirens and Ulysses The Sirens and Ulysses is a large oil painting on canvas by the English artist William Etty, first exhibited in 1837. It depicts the scene from Homer's ""Odyssey"" in which Ulysses (Odysseus) resists the bewitching song of the Sirens by having his ship's crew tie him up, while they are ordered to block their own ears to prevent themselves from hearing the song. While traditionally the Sirens had been depicted as human–animal chimeras, Etty portrayed them as naked young women, on an island strewn with decaying corpses. The painting divided opinion at the time of its"
"a young man who stretches out his hands to heaven and calls the gods to witness his innocence. She is conducted by a pale ugly man who has a piercing eye and looks as if he had wasted away in long illness; he represents envy. There are two women in attendance to Slander, one is Fraud and the other Conspiracy. They are followed by a woman dressed in deep mourning, with black clothes all in tatters—she is Repentance. At all events, she is turning back with tears in her eyes and casting a stealthy glance, full of shame, at Truth,"
"to the romantic vision. Such interpretations stressed man's bond with nature, as represented by the faithful dog contrasted with the wildness and savagery of the landscape that caused his death. Francis Danby and Edwin Landseer painted the scene, Landseer titling his ""Attachment"". The painting was exhibited at the Royal Academy in 1830, accompanied by the poem ""Helvellyn"", written about the death by Sir Walter Scott. William Wordsworth also produced a poem describing the scene, entitled ""Fidelity"". Wordsworth lived in the lakes, and had brought both Scott and the chemist Humphry Davy to see the spot where Gough's body was found."
"pours ""Wisdome and Understanding"" down the throat of an ignorant rustic and smokes the brain of the ""gallant"" (courtier) in an oven to burn away the vanity in it (represented by various images going up in smoke). Two other figures wait to have their own brains smoked. Inset are other designs referring to the religious controversy of the era over pluralism. The whole is filled with boxed passages of satirical moral verse of unknown authorship. Droeshout's ten known Spanish engravings are all on subjects with distinctly Catholic significance, differing dramatically in that respect to works he had been producing in"