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May 11, 1824 - Jan 10, 1904. Jean-Léon Gérôme 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 oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects ...
27 de mar. de 2024 · Media in category "Cleopatra and Caesar (Gérôme)" The following 13 files are in this category, out of 13 total. Cham - Charivari - V1d127-d.png 782 × 810; 463 KB. Cleopatra and Caesar alternate.jpg 1,505 × 2,000; 1.26 MB. Cleopatra and Caesar by Jean-Leon-Gerome.jpg 911 × 1,321; 577 KB.
26 de mar. de 2020 · Cleopatra c.1680. Italian School. Brighton & Hove Museums. Queen Cleopatra VII is remembered as history's temptress, a queen adept in the art of seduction – the ultimate femme fatale. But her story isn't so simple. Cleopatra's destiny as the ruler of Egypt expected much of her, and she faithfully obliged. Born in Alexandria, Egypt in 69 BC ...
May 11, 1824 - Jan 10, 1904. Jean-Léon Gérôme 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 oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects ...
Cleopatra y César (en francés: Cléopâtre et César ), también conocida como Cleopatra ante César, es una pintura al óleo sobre lienzo del artista academicista Jean-Léon Gérôme, terminada en 1866. La obra fue encargada por la famosa cortesana La Païva, pero no quedó satisfecha con el cuadro terminado y se lo devolvió a Gérôme.
Cleopatra and Caesar (French: Cléopâtre et César), also known as Cleopatra Before Caesar, is an oil on canvas painting by the French Academic artist Jean-Léon Gérôme, completed in 1866. The work was originally commissioned by the French courtesan La Païva but she was unhappy with the finished painting and returned it to Gérôme.
Alexandrian palace hosting Julius Caesar — is now unveiled to him. The blatantly voyeuristic nature of the scene, however, clearly did not prevent the critic Maxime Du Camp from reading the painting’s fini as an expression of Gérôme’s Neo-classicist ideology: It is the force of the conception and not the skill of the hand
