Historical painting in the context of Troubador style


Historical painting in the context of Troubador style

⭐ Core Definition: Historical painting

History paintings is a genre of Western art that focuses on the depiction of historical, mythological, biblical, or literary subjects, often with a moral or didactic purpose. Considered the most prestigious genre in the academic art hierarchy during the 17th to 19th centuries, history painting aimed to capture significant moments or narratives, emphasizing grandeur, heroism, and moral lessons.

History painting is a genre in painting defined by its subject matter rather than any artistic style or specific period. History paintings depict a moment in a narrative story, most often (but not exclusively) Greek and Roman mythology and Bible stories, opposed to a specific and static subject, as in portrait, still life, and landscape painting. The term is derived from the wider senses of the word historia in Latin and histoire in French, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from history, especially paintings from before about 1850.

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👉 Historical painting in the context of Troubador style

Taking its name from medieval troubadours, the Troubadour Style (French: Style troubadour) is a rather derisive term, in English usually applied to French historical painting of the early 19th century with idealised depictions of the Middle Ages and the Renaissance. In French it also refers to the equivalent architectural styles. It can be seen as an aspect of Romanticism and a reaction against Neoclassicism, which was coming to an end at the end of the Consulate, and became particularly associated with Josephine Bonaparte and Caroline Ferdinande Louise, duchesse de Berry. In architecture the style was an exuberant French equivalent to the Gothic Revival of the Germanic and Anglophone countries. The style related to contemporary developments in French literature, and music, but the term is usually restricted to painting and architecture.

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Historical painting in the context of Jean-Léon Gérôme

Jean-Léon Gérôme (French pronunciation: [ʒɑ̃ leɔ̃ ʒeʁom]; 11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. His paintings were so widely reproduced that he was "arguably the world's most famous living artist by 1880." The range of his works includes historical paintings, Greek mythology, Orientalism, portraits, and other subjects. He is considered among the most important painters from the academic period and was, with Meissonier and Cabanel, one of "the three most successful artists of the Second Empire".

He was also a teacher with a long list of students, including Mary Cassatt, Thomas Eakins, and Osman Hamdi Bey, among others.

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Historical painting in the context of Henri Motte

Henri-Paul Motte (French pronunciation: [ɑ̃ʁi pɔl mɔt]; 13 December 1846 – 1 April 1922) was a French painter from Paris who specialised in historical subjects.

A pupil of French painter Jean-Léon Gérôme—whose works likewise included historical paintings as well as Greek mythology and Orientalism—Motte first exhibited his paintings at the Paris Salon of 1874, starting with the Le cheval de Troie (The Trojan horse), which was acquired by the Wadsworth Atheneum in 2011.

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Historical painting in the context of Reception of the American Loyalists by Great Britain in the Year 1783

Reception of the American Loyalists by Great Britain in the Year 1783 is a lost painting by American-born artist Benjamin West, depicting the return of the Loyalists to the British Empire following their expulsion from the victorious United States after the American Revolutionary War. Unlike West's established historical styles, Reception features a highly allegorical composition of European, Black, and Native American refugees being welcomed back into the fold by Britannia, who presides over the British Crown Jewels while flanked by angels and government officials surveying the scene.

The original painting and its date of creation have been lost but is survived by a pair of replicas, one by engraver Henry Moses and one by West himself in the background of a later portrait of John Eardley Wilmot, completed in 1811 and 1812 respectively.

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Historical painting in the context of Heinrich Füger

Heinrich Friedrich Füger (8 December 1751 – 5 November 1818) was a German classicist portrait and historical painter.

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