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Caroline Murat: Powerful Patron of Napoleonic France and Italy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. -
L'art De La Rêverie
IMT Institute for Advanced Studies - Lucca L’ART DE LA RÊVERIE FEMALE DAYDREAMS IN NINETEENTH CENTURY PAINTING PhD Program in Management and Development of Cultural Heritage XXVI Cycle By Marta Chiara Olimpia Nicosia 2015 Reviewers Page The dissertation of Marta Chiara Olimpia Nicosia is approved. Program coordinator: Emanuele Pellegrini, IMT Lucca Advisor: Linda Bertelli, IMT Lucca Co-Advisor: Riccardo Venturi, INHA Paris The dissertation of Marta Chiara Olimpia Nicosia has been reviewed by: Julie Ramos, Université Paris 1 – Panthéon-Sorbonne Chiara Savettieri, Università di Pisa IMT Institute for Advanced Studies Lucca 2015 Table of Contents VITA .............................................................................................................. VIII ACKNOWLEDGEMENTS ........................................................................... IX ABSTRACT .................................................................................................... XI INTRODUCTION ...........................................................................................1 1. APPROACH AND METHODOLOGY ......................................................1 2. L’ANCIEN RÉGIME DU RÊVE ...............................................................6 3. STATE OF THE ART AND ORIGINALITY OF THE RESEARCH ...............12 CHAPTER I: DEFINING THE REVERIE ...................................................16 1. DAYDREAMING ARTWORKS ..............................................................16 2. ETYMOLOGY ......................................................................................21 -
Mythological and Historical Themes
Mythological, Allegorical and Historical Themes Page: 1 / 125 Themes of Mythology, Ancient History and of Allegories in the Art of Painting René Jean-Paul Dewil Copyright © René Dewil May 2008 Mythological, Allegorical and Historical Themes Page: 2 / 125 Copyright Clause Copyright © René Jean-Paul Dewil 2008 René Jean-Paul Dewil is identified as the sole author of this work. All rights reserved. No part of this publication may be altered without the written permission of the author. The ebook may be copied in electronic or other forms for personal use only. It may not be printed, introduced in any retrieval system, electronic or otherwise, photocopied or otherwise recorded without the prior written permission of the author. The only system where the ebook may be retrieved from is the Internet website www.theartofpainting.be, which holds the only and original text acknowledged by the author. This publication remains under copyright. Copyright © René Dewil May 2008 Mythological, Allegorical and Historical Themes Page: 3 / 125 Introduction Painters have used many mythological themes as well as themes of history. The aim of the following is to classify the paintings according to those themes and sub-themes. The paintings are classified according to main themes, called macro themes, and then they are further classified within each macro theme to micro themes. The themes have been discovered by the classification of tens of thousands of paintings presented in the main museum of the world. A list of these paintings, plus their classification in macro themes and micro themes is available in Microsoft Excel © spreadsheet format (see the Internet site www.theartofpainting.be ). -
Art in the Modern World
Art in the Modern World LECTURE 8 | Rococo to Neoclassicism (18th C) A U G U S T I N E C O L L E G E The Rococo French Comedy Antoine-Jean WATTEAU 1714 Mezzetin Antoine-Jean WATTEAU 1718-20 The Declaration of Love 1724 Jean-François de TROY A Lady in a Garden Taking Coffee with Some Children 1742 Nicolas LANCRET The Birth of Venus 1740 François BOUCHER Fastening the Skate 1777 Nicolas LANCRET Is He Thinking about Grapes? 1747 François BOUCHER The Pursuit 1771-73 Jean-Honoré FRAGONARD The Stolen Kiss 1787 Jean-Honoré FRAGONARD The Music Party 1774 Louis-Roland TRINQUESSE The Toilet of Venus (i.e., Venus Dressing) 1751 | François BOUCHER Mme Bergeret François BOUCHER Denis DIDEROT Encyclopedia Encyclopaedia, or Classified Dictionary of Sciences, Arts, and Trades 1777 Encyclopaedia, or Classified Dictionary of Sciences, Arts, and Trades 1777 ‘history painting’ biblical subjects mythological subjects events from human history (classical & modern) portraits genre subjects scenes of domestic life nature landscapes still-lifes Mucius Scaevola Confronting King Porsenna 1643 | Charles LE BRUN Woman Cleaning Turnips 1738 Jean-Baptiste-Siméon CHARDIN Swan Attacked by a Dog 1745 | Jean-Baptiste OUDRY The Academy of the artist Piazzetta | 18th C Exhibition of the Royal Academy, London 1787 Coresus Sacrificing Himself to Save Callirhoe 1765 | Jean-Honoré FRAGONARD The Pursuit 1771-73 Jean-Honoré FRAGONARD Louis XIV 1665 | BERNINI Charles X Distributing Awards to Artists Exhibiting at the Salon of 1824 at the Louvre 1824 | François-Joseph HEIM The Salon -
Jean Auguste Dominique Ingres' Jupiter and Thetis
RICE UNIVERSITY JEAN AUGUSTE DOMINIQUE INGRES’ JUPITER AND THETIS by NAYLA KABAZI MUNTASSER A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS APPROVED. THESIS COMMITTEE: Professor of Art History, Director. of Art History. Marion L. Grayson, Assistant Professor of Art History. Houston, Texas May, 1985 3 1272 00289 0745 m JEAN AUGUSTE DOMINIQUE INGRES’ JUPITER AND THETIS by NAYLA KABAZI MUNTASSER ABSTRACT The painting of Jupiter and Thetis was to be Ingres' vindication against previously hostile critics and the ultimate proof of his stature as a history painter. A definitive work in his oeuvre, it synthesizes all the intellectual, stylistic and visual influences to which he had so far been exposed. Ingres worked within the classical tradition, choosing his subject from Homer’s Iliad. The scene he chose to depict, however, was not one commonly represented and was inspired by an illustration by John Flaxman. His truly innovative achievement was in style, where he synthesized aspects of the linear treatment of Greek vase painting, illustrations of classical works and the style of Raphael. He studied a large number of relevant visual sources and used them as components of a new visual language. To understand Ingres' procedure is to comprehend his aesthetic beliefs. The Jupiter and Thetis expressed Ingres' ideals but was not appreciated by his contemporaries. Acknowledgements I owe more than can possibly be expressed to my parents Fuad and Dugia Kabazi who always had faith in me and respected my ambitions. I would like to thank my husband Mehdi Muntasser without whose support and patience this project would not have been.