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640:(Phaidon, 1969–75) is divided between "Religious Paintings", "Portraits", and "Mythological and Historical Paintings", though both volumes I and III cover what is included in the term "History Paintings". This distinction is useful but is by no means generally observed, and the terms are still often used in a confusing manner. Because of the potential for confusion modern academic writing tends to avoid the phrase "historical painting", talking instead of "historical subject matter" in history painting, but where the phrase is still used in contemporary scholarship it will normally mean the painting of subjects from history, very often in the 19th century. "Historical painting" may also be used, especially in discussion of painting techniques in conservation studies, to mean "old", as opposed to modern or recent painting.
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parfait ouvrage de Dieu sur la Terre, il est certain aussi que celui qui se rend l'imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres ... un
Peintre qui ne fait que des portraits, n'a pas encore cette haute perfection de l'Art, & ne peut prétendre à l'honneur que reçoivent les plus sçavans. Il faut pour cela passer d'une seule figure à la représentation de plusieurs ensemble; il faut traiter l'histoire & la fable; il faut représenter de grandes actions comme les historiens, ou des sujets agréables comme les Poëtes; & montant encore plus haut, il faut par des compositions allégoriques, sçavoir couvrir sous le voile de la fable les vertus des grands hommes, & les mystères les plus relevez.
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imitator of God in representing human figures, is much more excellent than all the others ... a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. For that he must pass from representing a single figure to several together; history and myth must be depicted; great events must be represented as by historians, or like the poets, subjects that will please, and climbing still higher, he must have the skill to cover under the veil of myth the virtues of great men in allegories, and the mysteries they reveal".
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513:(1818–1819) was a sensation, appearing to update the history painting for the 19th century, and showing anonymous figures famous only for being victims of what was then a famous and controversial disaster at sea. Conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts. At the same time the demand for traditional large religious history paintings very largely fell away.
173:, and was especially so used before the 20th century. Where a distinction is made, "historical painting" is the painting of scenes from secular history, whether specific episodes or generalized scenes. In the 19th century, historical painting in this sense became a distinct genre. In phrases such as "historical painting materials", "historical" means in use before about 1900, or some earlier date.
1955:
453:
896:("Fireman art") was a derisory term for official academic historical painting, and in a final phase, "History painting of a debased sort, scenes of brutality and terror, purporting to illustrate episodes from Roman and Moorish history, were Salon sensations. On the overcrowded walls of the exhibition galleries, the paintings that shouted loudest got the attention".
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1794:
As in "The beautifully renovated
Rijksmuseum in Amsterdam will open its doors to the public in 2013. To celebrate this event the Rijksmuseum will host a three-day symposium on Historical Painting Techniques. The central theme of the symposium will be the technical study of historically used painting
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mostly occurred after they were over. Another path was to choose contemporary subjects that were oppositional to government either at home and abroad, and many of what were arguably the last great generation of history paintings were protests at contemporary episodes of repression or outrages at
131:
In modern
English, "historical painting" is sometimes used to describe the painting of scenes from history in its narrower sense, especially for 19th-century art, excluding religious, mythological, and allegorical subjects, which are included in the broader term "history painting", and before the
216:
had argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, and because it had the greatest potential to move the viewer. He placed emphasis on the ability to depict the
861:
a particular favourite, in France and other
European countries as much as Great Britain. By the middle of the century medieval scenes were expected to be very carefully researched, using the work of historians of costume, architecture and all elements of decor that were becoming available. And
433:
Celui qui fait parfaitement des païsages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes & sans mouvement; & comme la figure de l'homme est le plus
439:
He who produces perfect landscapes is above another who only produces fruit, flowers or seashells. He who paints living animals is more than those who only represent dead things without movement, and as man is the most perfect work of God on the earth, it is also certain that he who becomes an
444:
By the late 18th century, with both religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history, including contemporary history. This was in part driven by the changing audience for ambitious paintings, which now increasingly made their
411:
the painting of actual history tended to degenerate into panoramic battle-scenes with the victorious monarch or general perched on a horse accompanied with his retinue, or formal scenes of ceremonies, although some artists managed to make a masterpiece from such unpromising material, as
483:
refused to purchase the work, West succeeded both in overcoming his critics' objections and inaugurating a more historically accurate style in such paintings. Other artists depicted scenes, regardless of when they occurred, in classical dress and for a long time, especially during the
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and others was supported by the French state, but after the fall of
Napoleon in 1815 the French governments were not regarded as suitable for heroic treatment and many artists retreated further into the past to find subjects, though in Britain depicting the victories of the
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856:
Church commissions for large group scenes from the Bible had greatly reduced, and historical painting became very significant. Especially in the early 19th century, much historical painting depicted specific moments from historical literature, with the novels of Sir
1516:
224:, which continued to adhere to it. At the same time, there was from the latter part of the 18th century an increased interest in depicting in the form of history painting moments of drama from recent or contemporary history, which had long largely been confined to
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in the various national academies in the 18th century, and for most of the 19th, and increasingly historical subjects dominated. During the
Revolutionary and Napoleonic periods the heroic treatment of contemporary history in a frankly propagandistic fashion by
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reputation in public exhibitions rather than by impressing the owners of and visitors to palaces and public buildings. Classical history remained popular, but scenes from national histories were often the best-received. From 1760 onwards, the
135:
History paintings almost always contain a number of figures, often a large number, and normally show some typical states on that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the
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1494:
624:, one equivalent of "history painting". The terms began to separate in the 19th century, with "historical painting" becoming a sub-group of "history painting" restricted to subjects taken from history in its normal sense. In 1853
1196:
545:. Grand depictions of events of great public importance were supplemented with scenes depicting more personal incidents in the lives of the great, or of scenes centred on unnamed figures involved in historical events, as in the
285:, where a series of increasingly ambitious works were produced, many still religious, but several, especially in Florence, which did actually feature near-contemporary historical scenes such as the set of three huge canvases on
572:
was to a considerable extent built upon the rejection of
History Painting... All other genres are deemed capable of entering, in one form or another, the 'pantheon' of modernity considered, but History Painting is excluded".
885:
made good quality reproductions both relatively cheap and very widely accessible, and also hugely profitable for artist and publisher, as the sales were so large. Historical painting often had a close relationship with
549:. At the same time scenes of ordinary life with moral, political or satirical content became often the main vehicle for expressive interplay between figures in painting, whether given a modern or historical setting.
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1420:
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537:, which marked a formal imitation of historical styles and/or artists. Another development in the nineteenth century was the treatment of historical subjects, often on a large scale, with the values of
317:
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1101:
321:, followed public and artistic opinion in judging the best painters above all on their production of large works of history painting (though in fact the only modern (post-classical) work described in
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calls this type of work the "Intimate
Romantic", and in French it was known as the "peinture de genre historique" or "peinture anecdotique" ("historical genre painting" or "anecdotal painting").
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1175:
911:
1373:
1008:
244:. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from secular history, rather than those from religious narratives, literature or mythology.
1716:
See
Reynolds below; nonetheless he bowed to convention: "In conformity to custom, I call this part of the art history painting; it ought to be called poetical, as in reality it is." (
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837:
style") was a somewhat derisive French term for earlier paintings of medieval and
Renaissance scenes, which were often small and depicting moments of anecdote rather than drama;
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1398:
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in mosaic). Artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited.
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870:. The provision of examples and expertise for artists, as well as revivalist industrial designers, was one of the motivations for the establishment of museums like the
1250:
890:, and painters like Matejko in Poland could play an important role in fixing the prevailing historical narrative of national history in the popular mind. In France,
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produced between the Renaissance and the late 19th century, after which the term is generally not used even for the many works that still meet the basic definition.
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in contemporary dress, he was firmly instructed to use classical costume by many people. He ignored these comments and showed the scene in modern dress. Although
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1345:
1877:
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uses both indiscriminately to cover "history painting", while saying "...it ought to be called poetical, as in reality it is", reflecting the French term
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by historical painting? Now-a-days it means the endeavour, by the power of imagination, to portray some historical event of past days." So for example
1799:
1300:
1227:
449:, the first body to organize regular exhibitions in London, awarded two generous prizes each year to paintings of subjects from British history.
311:, neither of which were completed. Scenes from ancient history and mythology were also popular. Writers such as Alberti and the following century
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painting was an alternative genre that offered similar exotic costumes and decor, and at least as much opportunity to depict sex and violence.
1826:
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181:
1579:
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1639:
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example of this is the extensive research of Byzantine architecture, clothing and decoration made in Parisian museums and libraries by
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The term is generally not used in art history in speaking of medieval painting, although the Western tradition was developing in large
220:
This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of
1305:
1275:
785:
274:
429:, a historiographer, architect and theoretician of French classicism became the classic statement of the theory for the 18th century:
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2055:
2034:
2009:
1981:
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303:
43:, 1556–1559, a classic history painting, showing a dramatic moment in a mythological story, with elements of figure painting,
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History paintings were traditionally regarded as the highest form of Western painting, occupying the most prestigious place in the
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in French, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from
1729:
297:
773:
673:
55:
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are therefore history paintings, as are most very large paintings before the 19th century. The term covers large paintings in
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1995:
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techniques, the historical painting materials, their origin and trade, and their application in the painter’s workshop."
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1555:
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345:
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An influential formulation of the hierarchy of genres, confirming the history painting at the top, was made in 1667 by
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2148:
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35:
1885:
380:, covering pagan myth, allegory, and scenes from fiction, which could not be regarded as true. The large works of
1412:
495:, were matched by works, showing both victories and losses, from the anti-Napoleonic alliance by artists such as
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278:
30:
1361:
1137:
741:
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of monoscenic depictions of crucial moments in an implied narrative with unidentified characters, such as
612:
Initially, "history painting" and "historical painting" were used interchangeably in English, as when Sir
509:
491:
The large production, using the finest French artists, of propaganda paintings glorifying the exploits of
418:
155:
1796:
1632:
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1035:
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213:
138:
1457:
1270:
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361:
1842:
1608:
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1080:
1030:
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and scenes of formal surrenders and the like. Scenes from ancient history had been popular in the
1404:
1329:
1059:
811:
continued to regard history painting as the ideal for their most ambitious works. Others such as
368:
There was some objection to the term, as many writers preferred terms such as "poetic painting" (
333:
109:
44:
529:, 1822. Genre or history painting? The types have merged, in a way typical of the 19th century.
2123:
2082:
2068:
2051:
2030:
2005:
1991:
1977:
1822:
1816:
1482:
1132:
970:
945:
581:
534:
485:
308:
229:
2090:
2038:
1636:
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became associated with, and often expected in, history painting. In the Late Renaissance and
2101:
2043:
2013:
1646:
from The National Gallery of Art in Washington, DC; Green and Seddon, 7-8; Harrison, 105-106
1426:
892:
882:
829:
778:
561:
546:
404:
396:
647:" or "anecdotic" painting were often used for works in a line of development going back to
1803:
1643:
1530:
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The unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770,
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1603:
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312:
81:
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were long considered, with those of Michelangelo, as the finest models for the genre.
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1965:
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such as Géricault and Delacroix, and those from other movements such as the English
1574:
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586:
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225:
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17:
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1720:, IV); for debates over terminology in the Italian Renaissance, see Bull, 391–394
2065:
And when did you last see your father? The Victorian Painter and British History
1770:
Lectures on Architecture and Painting: Delivered at Edinburgh, in November, 1853
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1408:
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761:(1830). These were heroic, but showed heroic suffering by ordinary civilians.
2060:
2002:
History Painting Reassessed: The Representation of History in Contemporary Art
1598:
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1309:
850:
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465:(1770), an early example of the vogue for painting scenes from recent history.
323:
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208:
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scenes. These groups were for long the most frequently painted; works such as
105:
48:
552:
By the later 19th century, history painting was often explicitly rejected by
1551:
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143:
66:
1988:
The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods
1356:
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827:
in France became specialized painters of large historical subjects. The
542:
492:
101:
77:
488:, history painting often focused on depictions of the heroic male nude.
2106:
2079:
Canvases and Careers: Institutional Change in the French Painting World
408:
381:
262:
233:
125:
1846:
1741:
Strong, 17, and 32–34 and generally on growth of historical painting.
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Allegory of France as Minerva Trampling Ignorance and Crowning Virtue
999:
927:
637:
328:
237:
163:
40:
376:, covering history including biblical and religious scenes, and the
698:, 1827–28, a small "Intimate Romantic" anecdotal scene from history
2097:
Scott's Historical Novels and French Historical Painting 1815-1855
784:
763:
684:
580:
451:
339:
251:
180:
132:
19th century were the most common subjects for history paintings.
117:
60:
54:
1878:"Entrada de Roger de Flor en Constantinopla | artehistoria.com"
395:, allegories and historical scenes are mixed together, and the
1973:
1956:"The Death of History Painting in Nineteenth-Century Art?" PDF
671:, a set of three paintings, updating sets by Hogarth such as
217:
interactions between the figures by gesture and expression.
1818:
Narrating Modernity: The British Problem Picture, 1895-1914
533:
In the mid-nineteenth century there arose a style known as
84:
or specific period. History paintings depict a moment in a
2020:
Artistes pompiers: French academic art in the 19th century
595:, 1858. The husband has discovered his wife's infidelity.
142:, Middle eastern culture as well as narrative scenes from
112:. The term is derived from the wider senses of the word
1858:
Strong, 36-40; Wright, 269-273, French terms on p. 269
372:), or wanted to make a distinction between the "true"
364:
allegory was the highest form of all history painting.
1962:, Volume 6, Number 1, Summer 2005, pp. 1–13(13)
1797:
Rijksmuseum, "Painting Techniques - Call for Papers"
1785:
As shown in the usages in Barlow, Strong, and Wright
1224:
Patrick Henry Before the Virginia House of Burgesses
526:
The Chelsea Pensioners reading the Waterloo Dispatch
2105:, Vol. 63, No. 2 (Jun., 1981), pp. 268–287,
643:In 19th-century British writing on art the terms "
169:History painting may be used interchangeably with
100:, opposed to a specific and static subject, as in
1821:. Ashgate Publishing, Ltd. p. 146 note 12.
541:, the depiction of scenes of everyday life, and
2081:, 1993 (2nd edn), University of Chicago Press,
1685:"The History of Painting. The evolution of Art"
128:, especially paintings from before about 1850.
27:Genre in painting defined by narrative subjects
2120:Picturing History: American Painting 1770–1903
636:'s three-volume catalogue of the paintings of
80:defined by its subject matter rather than any
273:, fresco cycles, and other works, as well as
8:
1527:The Entry of Roger de Flor in Constantinople
1040:
868:The Entry of Roger de Flor in Constantinople
628:asked his audience: "What do you at present
240:periods, and still more so with the rise of
1108:Justice and Divine Vengeance Pursuing Crime
954:(1584–85), an allegorical history painting
702:History painting was the dominant form of
194:, 1786, with a scene from ancient history.
1043:École Nationale Supérieure des Beaux-Arts
399:show scenes from the Gospels, all in the
1301:The Finding of the Saviour in the Temple
1228:Red Hill Patrick Henry National Memorial
577:History painting and historical painting
515:
29:
1670:Webster's Revised Unabridged Dictionary
1625:
907:
258:The Meeting of Leo the Great and Attila
202:, and considered the equivalent to the
568:, and according to one recent writer "
232:, and once again became common in the
2004:, 2000, Manchester University Press,
1905:Strong, 24-26, 47-73; Wright, 269-273
1815:Pamela M. Fletcher (1 January 2003).
7:
1580:An Incident in the Rebellion of 1745
2048:An Introduction to English Painting
1970:Artistic Theory in Italy, 1450-1660
1306:Birmingham Museum & Art Gallery
447:Society of Artists of Great Britain
88:, most often (but not exclusively)
1276:Christ in the House of His Parents
63:Returning the Thirty Silver Pieces
25:
1867:Wright, throughout; Strong, 30-32
1750:Rothenstein, 16–17; Strong, 24–26
1453:Reply of the Zaporozhian Cossacks
1432:Proclamation of the German Empire
2000:Green, David and Seddon, Peter,
1849:1962, ed. by "Arkady Publishers"
1633:National Gallery, Glossary entry
1567:
1541:
1515:
1493:
1465:
1440:
1419:
1397:
1372:
1344:
1316:
1288:
1263:
1251:Washington Crossing the Delaware
1238:
1216:
1195:
1174:
1153:
1125:
1100:
1073:
1052:
1023:
1007:
984:
959:
938:
910:
794:Conversion of the Duke of Gandía
2029:, 2009, Yale University Press,
1478:Morning of Streltsy's Execution
996:Entry of Alexander into Babylon
774:The Execution of Lady Jane Grey
2050:, 2002 (reissue), I.B.Tauris,
1065:Assassination of Julius Caesar
1:
1550:The Welcome by the Mayors of
1334:
1115:
1090:
974:
951:An Allegory of Truth and Time
354:
1884:(in Spanish). Archived from
1845:: Dzieje Polski w obrazach,
1556:William IV, Prince of Orange
346:Venus, Cupid, Folly and Time
283:Italian Renaissance painting
2067:, 1978, Thames and Hudson,
1972:, 1940 (refs to 1985 edn),
1614:List of Orientalist artists
2170:
1256:Metropolitan Museum of Art
1208:Liberty Leading the People
1086:The Coronation of Napoleon
872:Victoria and Albert Museum
809:Pre-Raphaelite Brotherhood
758:Liberty Leading the People
476:The Death of General Wolfe
462:The Death of General Wolfe
281:. It comes to the fore in
2022:, 1979, New York: Rizzoli
1960:Visual Culture in Britain
1413:National Museum in Warsaw
1041:
585:"No. 1, Misfortune" from
265:and his workshop, 1513–14
1637:History Painting Gallery
967:Allegory of Magnificence
923:The Battle of San Romano
849:painted such works. Sir
843:Richard Parkes Bonington
709:Antoine-Jean, Baron Gros
690:Richard Parkes Bonington
658:The Awakening Conscience
301:by Michelangelo and the
288:The Battle of San Romano
1707:Blunt, 11-12; Barlow, 1
1655:Green and Seddon, 11-15
1586:Palace of Holyroodhouse
1509:National Museum, Poznań
1187:The Last Day of Pompeii
279:illuminated manuscripts
206:in literature. In his
2118:Ayers, William (ed.),
2027:An Introduction to Art
1672:. The Free Dictionary.
1385:Stefan Batory at Pskov
1362:Warsaw National Museum
1138:The Second of May 1808
801:
782:
742:The Raft of the Medusa
699:
604:
556:movements such as the
530:
510:The Raft of the Medusa
466:
442:
436:
419:The Surrender of Breda
365:
266:
195:
156:Sistine Chapel ceiling
70:
52:
1560:Anne of Great Britain
1523:José Moreno Carbonero
1211:, 1830, Louvre, Paris
1166:Death of Sardanapalus
1036:The Death of Socrates
821:José Moreno Carbonero
790:José Moreno Carbonero
788:
767:
752:The Massacre at Chios
732:The Third of May 1808
688:
584:
519:
455:
437:
431:
343:
255:
214:Leon Battista Alberti
184:
58:
33:
2095:Wright, Beth Segal,
2077:White, Harrison C.,
1882:www.artehistoria.com
1768:Lecture IV, p. 172,
1458:State Russian Museum
1271:John Everett Millais
1112:Pierre-Paul Prud'hon
318:Lives of the Artists
2154:Works about history
2025:Harrison, Charles,
1990:, Oxford UP, 2005,
1932:Harding, throughout
1683:lobo (2020-07-02).
1609:History of painting
1548:Jacob Spoel, 1867,
1505:The Maid of Orléans
1296:William Holman Hunt
1081:Jacques-Louis David
1031:Jacques-Louis David
866:for his masterwork
713:Jacques-Louis David
695:Henri III of France
653:William Holman Hunt
622:peinture historique
200:hierarchy of genres
191:Oath of the Horatii
186:Jacques-Louis David
171:historical painting
18:Historical painting
1802:2013-05-31 at the
1730:Books.google.co.uk
1666:"History painting"
1642:2016-08-30 at the
1405:Battle of Grunwald
1330:Fredrick the Great
1328:Flute concerto of
1060:Vincenzo Camuccini
1014:Sebastiano Ricci,
877:New techniques of
802:
783:
737:Théodore Géricault
700:
674:Marriage à-la-mode
605:
531:
505:Théodore Géricault
473:proposed to paint
467:
366:
304:Battle of Anghiari
267:
196:
110:landscape painting
71:
53:
45:landscape painting
2149:History paintings
2044:Rothenstein, John
1828:978-0-7546-3568-0
1483:Tretyakov Gallery
1133:Francisco de Goya
971:Eustache Le Sueur
946:Annibale Carracci
704:academic painting
655:'s 1853 painting
603:complete the set.
486:French Revolution
309:Leonardo da Vinci
298:Battle of Cascina
230:early Renaissance
36:Diana and Actaeon
16:(Redirected from
2161:
2102:The Art Bulletin
2018:Harding, James.
1942:
1939:
1933:
1930:
1924:
1921:
1915:
1912:
1906:
1903:
1897:
1896:
1894:
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1865:
1859:
1856:
1850:
1843:Maciej Masłowski
1839:
1833:
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1812:
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1792:
1786:
1783:
1777:
1774:Internet Archive
1766:
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1558:and his Consort
1545:
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1497:
1469:
1460:, St. Petersburg
1444:
1427:Anton von Werner
1423:
1401:
1376:
1348:
1339:
1336:
1320:
1292:
1267:
1242:
1220:
1203:Eugène Delacroix
1199:
1178:
1161:Eugène Delacroix
1157:
1129:
1120:
1119: 1805–1808
1117:
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1011:
988:
979:
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963:
942:
914:
883:chromolithograph
864:Moreno Carbonero
830:style troubadour
805:Romantic artists
779:National Gallery
747:Eugène Delacroix
725:home or abroad:
668:Past and Present
645:subject painting
592:Past and Present
547:Troubadour style
521:Sir David Wilkie
405:High Renaissance
397:Raphael Cartoons
359:
356:
74:History painting
21:
2169:
2168:
2164:
2163:
2162:
2160:
2159:
2158:
2139:
2138:
2137:
2115:
2113:Further reading
1986:Bull, Malcolm,
1951:
1946:
1945:
1940:
1936:
1931:
1927:
1922:
1918:
1913:
1909:
1904:
1900:
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1829:
1814:
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1809:
1804:Wayback Machine
1793:
1789:
1784:
1780:
1772:, 1854, Wiley,
1767:
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1644:Wayback Machine
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1200:
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1169:, Louvre, Paris
1158:
1149:
1143:Museo del Prado
1130:
1121:
1118:
1105:
1096:
1093:
1078:
1069:
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992:Charles Le Brun
989:
980:
977:
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955:
943:
934:
915:
906:
798:Museo del Prado
722:Napoleonic Wars
683:
649:William Hogarth
614:Joshua Reynolds
610:
579:
501:J. M. W. Turner
360:. According to
357:
351:Agnolo Bronzino
295:, the abortive
250:
179:
94:Roman mythology
86:narrative story
28:
23:
22:
15:
12:
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2135:External links
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1998:
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1966:Blunt, Anthony
1963:
1954:Barlow, Paul,
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1604:Genre painting
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847:Henri Fradelle
825:Paul Delaroche
817:Vasily Surikov
769:Paul Delaroche
682:
679:
616:in his fourth
609:
606:
578:
575:
558:Impressionists
539:genre painting
427:André Félibien
403:that from the
393:Vatican Palace
362:André Félibien
313:Giorgio Vasari
249:
246:
178:
175:
139:Life of Christ
82:artistic style
76:is a genre in
26:
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2056:9781860646782
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2035:9780300109153
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2028:
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2017:
2015:
2011:
2010:9780719051685
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1989:
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1982:0-19-881050-4
1979:
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1923:Strong, 32-36
1920:
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1888:on 2018-11-16
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1325:
1324:Adolph Menzel
1319:
1314:
1311:
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1304:, 1854–1860,
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1297:
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1286:
1282:
1279:, 1854–1860,
1278:
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924:
920:, 1438–1440,
919:
918:Paolo Uccello
913:
908:
903:
901:
899:
895:
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893:L'art Pompier
889:
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836:
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823:in Spain and
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634:Harold Wethey
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562:Édouard Manet
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457:Benjamin West
454:
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441:
435:
430:
428:
423:
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416:did with his
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385:
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293:Paolo Uccello
290:
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242:Neoclassicism
239:
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98:Bible stories
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37:
32:
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2119:
2100:
2096:
2091:google books
2078:
2064:
2047:
2039:google books
2026:
2019:
2014:google books
2001:
1987:
1969:
1959:
1937:
1928:
1919:
1914:Harding, 7-9
1910:
1901:
1890:. Retrieved
1886:the original
1881:
1872:
1863:
1854:
1841:(In Polish)
1837:
1817:
1810:
1790:
1781:
1769:
1764:
1755:
1746:
1737:
1725:
1717:
1712:
1703:
1692:. Retrieved
1689:Lobo Pop Art
1688:
1678:
1669:
1660:
1651:
1628:
1578:
1575:David Morier
1549:
1526:
1504:
1476:
1451:
1430:
1390:oil painting
1383:
1355:
1327:
1299:
1281:Tate Britain
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1107:
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995:
966:
949:
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891:
881:such as the
876:
867:
859:Walter Scott
855:
828:
803:
793:
772:
756:
750:
740:
730:
717:Carle Vernet
701:
693:
681:19th century
672:
666:
663:Augustus Egg
656:
644:
642:
629:
621:
617:
611:
600:
596:
590:
587:Augustus Egg
560:(except for
551:
532:
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401:Grand Manner
386:
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332:
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316:
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296:
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222:academic art
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189:
170:
168:
152:Michelangelo
137:
134:
130:
121:
113:
73:
72:
59:
34:
2061:Strong, Roy
1501:Jan Matejko
1409:Jan Matejko
1380:Jan Matejko
1352:Jan Matejko
1338: 1852
1190:, 1827–1833
1094: 1807
978: 1654
898:Orientalist
888:Nationalism
879:printmaking
874:in London.
819:in Russia,
815:in Poland,
813:Jan Matejko
755:(1824) and
745:(1818–19),
626:John Ruskin
554:avant-garde
535:historicism
358: 1545
271:altarpieces
248:Development
148:allegorical
146:, and also
2143:Categories
2073:0500271321
1996:0195219236
1949:References
1892:2018-11-16
1718:Discources
1694:2023-06-08
1599:Classicism
1448:Ilya Repin
1310:Birmingham
1258:, New York
851:Roy Strong
835:troubadour
566:Symbolists
564:) and the
481:George III
324:De Pictura
275:miniatures
209:De Pictura
106:still life
49:still-life
1941:White, 91
1759:Barlow, 1
1552:Rotterdam
1232:Brookneal
1018:, 1717–18
618:Discourse
608:The terms
570:Modernism
414:Velázquez
334:Navicella
212:of 1436,
144:mythology
67:Rembrandt
1800:Archived
1640:Archived
1593:See also
1525:, 1888,
1507:, 1886,
1481:, 1881,
1411:, 1878,
1392:, (1872)
1360:, 1862,
1357:Stanczyk
1283:, London
1254:, 1851,
1226:, 1851,
1163:, 1827,
1135:, 1814,
1033:, 1787,
994:, 1664,
932:Florence
800:, Madrid
796:, 1881,
781:, London
777:, 1833,
735:(1814),
543:anecdote
493:Napoleon
331:'s huge
177:Prestige
122:histoire
114:historia
102:portrait
78:painting
1047:, Paris
1002:, Paris
904:Gallery
601:Despair
409:Baroque
391:in the
387:In the
382:Raphael
374:istoria
315:in his
263:Raphael
234:Baroque
126:history
69:, 1629.
2126:
2085:
2071:
2054:
2033:
2008:
1994:
1980:
1847:Warsaw
1825:
1584:1746,
1535:Madrid
1487:Moscow
1435:, 1885
1366:Warsaw
1147:Madrid
1068:, 1805
1000:Louvre
928:Uffizi
839:Ingres
638:Titian
597:Prayer
378:fabula
370:poesia
329:Giotto
238:Rococo
164:fresco
108:, and
41:Titian
2107:JSTOR
1620:Notes
845:and
118:Latin
90:Greek
61:Judas
2124:ISBN
2083:ISBN
2069:ISBN
2052:ISBN
2031:ISBN
2006:ISBN
1992:ISBN
1978:ISBN
1823:ISBN
727:Goya
630:mean
599:and
499:and
497:Goya
236:and
204:epic
120:and
96:and
92:and
47:and
1974:OUP
1554:of
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327:is
307:by
291:by
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20:)
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