Académie de peinture et de sculpture

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  • Élisabeth-Louise Vigée-Lebrun: Neoclassical

    belonged to group of renowned artists holding top positions with “long succession of European courtier-artists that began with Anthony Van Dyck (1599-1641) and closed with John Singer Sargent (1856-1925)” (NGA, web). While accomplishing so much at an early age, she had incredible odds as an ambitious woman artist and “…was not only deprived of formal academic training, she would also face formidable obstacles in attempting to gain recognition as a serious artist” (May, 26). Vigée-LeBrun only received minimally training by her pastelist and portrait artist father Louis Viegée, along with other minor artists. At the early age of nineteen she would become “…a member of the Academie de Saint-Luc” (NGA, web) (NMWA, web). “The queen had intervened to ensure her election to the Royal Academy of Painting and Sculpture, an honor accorded few women” (NGA, web). Having caught the attention of French Queen in 1783, she became “first painter to Queen Marie–Antoinette and her personal confidant” (NGA, web). Being only a year younger than the Queen she became very close personal friends. “Over a period of six years she painted more than thirty portraits of the Queen and her family.” (McDowall, web) Eventually her paintings were placed in the Academy of Paintings, which had originally refused due to a conflict of interest issue from Vigée-LeBrun’s husband being an art dealer, which the Queen resolved by pressuring her husband to intervene. Having painted Queen in “her famous representation…

    Words: 2423 - Pages: 10
  • Jean-Antoine Watteau Research Paper

    The first Rococo painter admitted to the Royal Academy in France – Jean-Antoine Watteau. Born on October 10, 1684 in the town of Valenciennes, Antoine Watteau has always been interested in painting and was apprenticed to Jacques-Albert Gérin, a local painter. Not long after, he left for Paris and found a job in a workshop at Pont Notre-Dame, where he was making copies of popular Flemish and Dutch tradition genre paintings; before developing his unique sketch-like techniques and revitalizing…

    Words: 362 - Pages: 2
  • Oath Of The Horatii Analysis

    Painting and relevance: Jacques-Louis David’s “Oath of the Horatii” was painted in 1784 and it was commissioned by the Académie royale de peinture et de sculpture on behalf of the Kind Louis XVI. The inspiration of the painting had to come by Corneille’s Play “Horace” which was being performed in Paris during that time. In 1785 the painting was exhibited at the Paris Salon. The painting shows a decisive moment of will as well as a great family tragedy resulting from political consequences. The…

    Words: 986 - Pages: 4
  • Giovanni Paolo Panini St. Peter's Basilica Analysis

    Accademia di San Luca, which was a school in Rome that was meant to take a good artist to the next level, in 1719 where he was a teacher. Another feat that was done by, and was rare for a Roman artist, was that Pannini became a member of Académie Royale de Peinture et de Sculpture which was an institution that oversaw the training and standards of French art and selected the best artist to train in Rome at the French Academy. Pannini’s work of the interior of St. Peter’s Basilica, I believe,…

    Words: 1230 - Pages: 5
  • Poussinists And Rubenes: Compare And Contrast Analysis

    Rubens' forms are expressed through color rather than line. In all formal elements, volumes, planes—even space, he utilizes gradations of colors. “The large planes are first united in solid colors corresponding to the compact forms; then a refined orchestration of colors produces a more intensely harmonious expression; the tonalities are multiplied and mingled; half-tones die into transparent nuances; delicate shadows tremble with lights.”, this is evident in his The Garden of Love (1610)…

    Words: 1530 - Pages: 7
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