Jean-Auguste-Dominique Ingres was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Henri Matisse, Pablo Picasso, and other modernists.
Jean-Baptiste Greuze was a French painter of portraits, genre scenes, and history painting.
Napoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Jean-Auguste-Dominique Ingres.
Marie-Françoise Constance Mayer La Martinière was a French painter of portraits, allegorical subjects, miniatures and genre works. She had "a brilliant but bitter career."
Portrait of Marie-Françoise Rivière is a c. 1805 oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres.
Allan M'Aulay is an 1823 painting by the French artist Horace Vernet. The work was inspired by Scottish author Sir Walter Scott's 1819 novel A Legend of Montrose. It depicts the character of Allan M'Aulay. Allan M'Aulay Is shown carrying the severed head of his enemy Hector, killed in revenge for the murder of his own uncle.
Napoleon's Tomb is an 1821 oil painting by the French artist Horace Vernet. An allegory, it depicts the apotheosis of the former emperor of France Napoleon following his death in exile on the island of Saint Helena.
The Dog of the Regiment Wounded is a 1819 oil painting by the French artist Horace Vernet. It shows a battle scene from the Napoleonic Wars in which a dog, a regimental mascot, has been wounded in the fighting and is being treated by two French bandsman, a bugler of the voltigeurs and a drummer of the grenadiers.
Napoleon at the Tuileries is an 1838 history painting by the French artist Horace Vernet. It depicts Napoleon, Emperor of France, inspecting a parade of the Imperial Guard in the Place du Carrousel outside the Tuileries Palace in Paris around 1808. He is approached by a wounded veteran holding out a petition. Amongst the officers accompanying the Emperor are Eugène de Beauharnais, Joachim Murat, Michel Ney, Jean-Andoche Junot and Géraud Duroc. The Horses of Saint Mark, looted from Venice but later returned in 1815, can be seen on the right.
View of Pillnitz Castle is an 1823 landscape painting by the Norwegian artist Johan Christian Dahl. It depicts a view of the baroque Pillnitz Castle outside Dresden on the River Elbe. Dahl had long since settled in the city, and worked on romantic landscapes in the same style as his friend Caspar David Friedrich. The painting's unusual composition comes from the scene being a view out through an opened window. It is implied that it is seen from the artist's studio in the city, although Pillnitz is in fact located several miles upriver. In his delicate depiction of the case Dahl had to use the technique of a miniaturist
Duck Shooting is an 1824 genre painting by the French artist Horace Vernet. It pays homage to the artist's father Carle Vernet who was very influenced by British sporting paintings and prints. It depicts a duck hunt in the marshes. Vernet often made reference to the works of his father and grandfather Joseph Vernet, both noted painters. It was exhibited at the Salon of 1824 in Paris along with its pendant piece The Quarry. Both paintings are now in the Wallace Collection in London.
The Salon of 1761 was an art exhibition held at the Louvre in Paris. Staged during the reign of Louis XV and at a time when the Seven Years War against Britain and Prussia. was at its height, it reflected the taste of the Ancien régime during the mid-eighteenth century. The biannual Salon was organised by the Académie Royale. Jean Siméon Chardin was in charge of choosing hanging locations for the two hundred or so works on display. A number of submissions were Rococo in style. The art critic Denis Diderot wrote extensively about the Salon.
The State Barge of Cardinal Richelieu on the Rhône is an 1829 history painting by the French artist Paul Delaroche. It depicts the state barge of Cardinal Richelieu on the River Rhône in Southern France. It is followed by another boat carrying two failed conspirators Henri Coiffier de Ruzé, Marquis of Cinq-Mars and François Auguste de Thou towards their execution. The events took place in 1642 during the reign of Louis XIII and the scene was portrayed in the 1826 novel Cinq-Mars by Alfred de Vigny.
Beilstein on the Moselle is an 1837 landscape painting by the British artist Clarkson Stanfield. It depicts a view on the River Moselle at the village of Beilstein in the Rhineland. The scene is not far from the city of Koblenz. The ruins of Metternich Castle can be seen on the right. Stanfield, a former sailor turned painter of seascapes, had toured the area in the autumn of the previous year. Metternich Castle was the ancestral home of Klemens von Metternich, the Austrian statesman. In 1855 the artist's son George Clarkson Stanfield produced a view of the same scene in 1855.
Venus in Search of Cupid Surprises Diana is an 1820 oil painting by the British artist William Hilton. It depicts a scene from the poem The Faerie Queene by the Tudor era writer Edmund Spenser. The style pays homage to the Old Master Titian. Venus, searching for her son Cupid, runs across Diana and her attendants bathing nude. It was one of seven paintings that Hilton produced over a number of years illustrating scenes from the poem.
The Salon of 1836 was an art exhibition held at the Louvre in Paris. Since 1833 the Salon had been held annually, featuring paintings, sculptures and other works of art. It was followed by the Salon of 1837.
The Sorrows of Love is a 1790 genre painting by the French artist Louis-Léopold Boilly. In the early stages of his career Boilly largely produced genre paintings and portraits before switching to the street scenes of Paris for which he is best known.
Judah and Tamar is an 1840 oil painting by the French artist Horace Vernet. It portrays a biblical scene featuring the windowed Tamar who seduces her father-in-law Judah while disguised as a prostitute. Vernet was inspired by his trips to recently conquered Algeria to paint biblical scenes featuring Arabs.
The Wounded Trumpeter is a 1819 oil painting by the French artist Horace Vernet. It depicts a scene from the Napoleonic Wars. A trumpeter of the First Hussar Regiment lays wounded while both his horse and a dog show concern for the wounded soldier.
Conrad the Corsair is an 1824 oil painting by the French artist Horace Vernet. Inspired by Lord Byron's 1814 poem The Corsair it depicts Conrad, a pirate notorious across the Aegean Sea seated in a cave as two of his men approach. Along with Walter Scott, Byron was a popular literary source for younger French painters, particularly those in the romantic movement. Vernet was the first French artist to depict scenes from Byron's works.
