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MuseumsOfTheWorld > popular all-time > Bacchante au tambour de basque avec deux enfants by Augustin Pajou
MuseumsOfTheWorld > popular all-time > La nymphe Salmacis (The Salmacis nymph) by François Joseph Bosio
MuseumsOfTheWorld > popular all-time > Le soldat de Marathon annonçant la victoire (The soldier of Marathon announcing the victory) by Jean-Pierre Cortot
MuseumsOfTheWorld > popular all-time > Louvre - Statues photo
MuseumsOfTheWorld > popular all-time > Captives by Martin van den Bogaert (Desjardins). The sculptures are called 1) Captives, known as Holland, 2) Captives, known as Brandenburg, 3) Captives known as Empire, & 4) Captives, known as Spain. It collection also includes a number of helmets, shields, and other accessories. Originally placed around the pedestal of the pedestrian statue of Louis XIV of the Place des Victoires, these captives represent the nations defeated at the Peace of Nimègue (1679). (The Empire -an old and stooping man- Spain -young, his eyes raised to heaven- Brandenburg -bearded and wearing a bonnet- and Holland -a naked middle-aged man). Each one also expresses a different sentiment in the trial of captivity: revolt, hope, resignation and despondency. The models were executed in 1682. The bronze trophies were added after the contract of March 9, 1685.
MuseumsOfTheWorld > popular all-time > Louvre - Statues photo
MuseumsOfTheWorld > popular all-time > Some eighty years ago the Metropolitan Museum of Art in New York was bequeathed a painting entitled Young Woman Drawing dating from around 1801. It was attributed to the great Neoclassical French painter Jacque-Louis David. It depicted a lovely young woman, in her mid-20s, sketching in the light from a background window containing a broken pane of glass. The work was typical of David's exquisite handling of light and delicate textures, his composition, sense of space, Classical elegance, and restraint. The critics loved it and congratulated the Met on its great good fortune in having such a masterpiece. However, in the years that followed, complex study of the work by art researchers began to cast doubt on its attribution. Eventually, the artist was found to be Marie-Denise Villers who, inasmuch as she was born in 1774, would have been the right age for the painting to have been a self-portrait. Her steady, open gaze was that of an artist peering into a mirror. As time went on, further studies indicated that there were at least NINE women artists painting around the turn of the century in Paris and much, in some cases ALL, of their work had been attributed to David. To add insult to injury, once the correct attribution had been worked out, critics began to see the Villers portrait in a different light, noticing its weaknesses - the proportions from waist to knee being not quite right and the fact that the artist had placed the woman's technically difficult drawing hand down at her side to avoid having to render it. Actually, the pose is quite pleasant, quite natural, and any anatomical peculiarities could easily be chalked up to the fashionable, high-waisted, Empire style gown she is wearing. Critics aside, in light of its being a self-portrait, we find new meaning in the painting's background, particularly the loving couple, seen through the imperfect, broken glass of the window, as they are hemmed in by a railing and building. Meanwhile, in the foreground we find the young artist, having dedicated her life to her art, in a spacious, open area seeing herself reflected by the perfect glass of a mirror.
MuseumsOfTheWorld > popular all-time > Philopoemen by Pierre-Jean David (d'Angers)
MuseumsOfTheWorld > popular all-time > Persée et Andromède by Christophe Veyrier & Pierre Puget
Bacchante au tambour de basque avec deux enfants by Augustin Pajou
> Bacchante au tambour de basque avec deux enfants by Augustin Pajou
Bacchante au tambour de basque avec deux enfants by Augustin Pajou
Photo by: Richard Higgins • see photo in gallery
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