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Romney stood out among the English portraitists of his time for his accuracy in depicting the appearance of his sitters, which he valued, as here, more than psychological penetration. A rival to Lawrence, he was distinguished by a more classicist concept of the genre and a more dramatic use of chiaroscuro. The sitter here seems to be James Wildman (1747–1816), although it could also be his brother
The daughter of a gentleman of Irish origins, William Carr, the sitter probably posed for this painting on the occasion of her marriage in 1789 to Thomas Chinnal Porter. Executed with bold, loose and very fluid brushstrokes, this is an early work by Lawrence that concentrates on the psychological depiction of the model.
This portrait shows the diplomat, collector and bibliophile Anthony Morris Storer (1746–1799) studying various items of interest that he donated upon his death to Eton College, where he had been educated. The sitter was a successful socialite who concentrated after his political career on his facet as a collector.
According to the fourteenth book of Ovid’s Metamorphoses, after ordering the river Numicius to wash away all the mortal aspect of Aeneas, Venus anointed him with a divine perfume and touched his mouth with a mixture of ambrosia and nectar, thus transforming him into a god (Miguel Ángel Hernanz Santos, information provided to the Museum in March 2021)Blondel, who specialised in decorative sc
A successful interpreter of the Neo-classical style, Angelica Kauffmann here offers an elegant image of the sitter, Anna Escher von Muralt (1767 -1830), who belonged to a prominent Swiss family. The subject is depicted sitting in a wooded spot, wearing a fashionable gown of classical inspiration. A circular temple in the background completes this idealised evocation of the ancient world.
A pupil of Jacques-Louis David in Paris, Schick executed this work during his time in David’s studio. The figure is painted from life using a model who also appears in some of the life studies by J.-A.-D. Ingres, a fellow pupil of Schick. It reflects the influence of the classicising Italian Baroque, particularly Guido Reni, albeit interpreted with a sensuality typical of German art of this period
Acquired by Queen Maria Christina of Bourbon for the Royal Collections, the work was sent to the Gallery of Living Artists at the Prado. It shows the King of France after the Battle of Pavia, where he was taken prisoner by Charles V and held at the famous charterhouse in that city before his transfer to Madrid.
This piece has long been regarded as a sketch for the picture of the same name at the Louvre, Didon. Énée racontant à Didon les malheurs de la ville de Troie (INV 5184), a huge success at the Paris Salon of 1817, of which several versions are known as well as some preparatory sketches. It shows the arrival in Carthage of the Trojan hero Aeneas, who is asked by the queen of the
This delicate mythological group is a smaller version of the best-known sculpture by the Swedish artist, Sergel, dated 1787 and now in the Stockholm National Museum. Winged Cupid is depicted standing, his quiver and arrows at his feet; Psyche, kneeling beside him, has dropped her oil lamp as she strives to hold him back.
This portrayal of Hebe, the personification of Youth, was traditionally attributed to Antonio Canova; now, however, it is thought to be wholly the work of Tadolini, Canova’s most gifted student. It was commissioned by the Duchess of Osuna.
