LaurieAnnie's photos with the keyword: Gerome

Jean-Léon Gérôme, French, 1824–1904 Napoleon in Egypt, 1867–68 Oil on wood panel 35.8 x 25.0 cm (14 1/8 x 9 13/16 in.) frame: 48.3 x 38.4 x 4.1 cm (19 x 15 1/8 x 1 5/8 in.) Museum purchase, John Maclean Magie, Class of 1892, and Gertrude Magie Fund y1953-78 Handbook Entry Dressed as a general of the French Revolution, Napoleon stands outside Cairo, on a road lined with Mamluk mausoleums from the fourteenth and fifteenth centuries. He surveys the city. Napoleon arrived in Egypt with his generals in 1798 and attempted to add this land to France’s growing empire. The British defeated the French navy at the Battle of the Nile, one of the greatest naval disasters of all time, and put an end to his dreams of expansion to Africa. At the moment shown, this event is in the future. It is ironic to see Napoleon, flush with conquest, beside the Mamluk tombs, the burial places of slaves who rose to military glory and imperial rule; the monuments speak of the vanity of empire building and the fate that awaits even the most successful conquerors. Gérôme’s meticulously rendered Orientalist scenes, based on his travels in Constantinople (1853), Egypt (1856), and elsewhere, rival photography and form a counterweight to his re-creations of Greco-Roman antiquity. Signed lower left: J. L. GEROME. Gallery Label During the Second Empire (1852–70), Napoleon III encouraged the cult of his uncle, Napoleon Bonaparte, whose 1798 Egyptian expedition is illustrated here. Gérôme shows the legendary general in an exotic setting, before the Mamluk Tombs outside Cairo. Born slaves, these rulers owed their rise to military prowess and would have been a subject for reflection by Napoleon as he surveyed the city below. Gérôme’s meticulously rendered Orientalist scenes, based on his travels to Constantinople, Egypt, and elsewhere, rival photography and form a counterweight to his recreations of Greco-Roman antiquity. Text from: artmuseum.princeton.edu/collections/objects/24513

Jean-Léon Gérôme, French, 1824–1904 Napoleon in Egypt, 1867–68 Oil on wood panel 35.8 x 25.0 cm (14 1/8 x 9 13/16 in.) frame: 48.3 x 38.4 x 4.1 cm (19 x 15 1/8 x 1 5/8 in.) Museum purchase, John Maclean Magie, Class of 1892, and Gertrude Magie Fund y1953-78 Handbook Entry Dressed as a general of the French Revolution, Napoleon stands outside Cairo, on a road lined with Mamluk mausoleums from the fourteenth and fifteenth centuries. He surveys the city. Napoleon arrived in Egypt with his generals in 1798 and attempted to add this land to France’s growing empire. The British defeated the French navy at the Battle of the Nile, one of the greatest naval disasters of all time, and put an end to his dreams of expansion to Africa. At the moment shown, this event is in the future. It is ironic to see Napoleon, flush with conquest, beside the Mamluk tombs, the burial places of slaves who rose to military glory and imperial rule; the monuments speak of the vanity of empire building and the fate that awaits even the most successful conquerors. Gérôme’s meticulously rendered Orientalist scenes, based on his travels in Constantinople (1853), Egypt (1856), and elsewhere, rival photography and form a counterweight to his re-creations of Greco-Roman antiquity. Signed lower left: J. L. GEROME. Gallery Label During the Second Empire (1852–70), Napoleon III encouraged the cult of his uncle, Napoleon Bonaparte, whose 1798 Egyptian expedition is illustrated here. Gérôme shows the legendary general in an exotic setting, before the Mamluk Tombs outside Cairo. Born slaves, these rulers owed their rise to military prowess and would have been a subject for reflection by Napoleon as he surveyed the city below. Gérôme’s meticulously rendered Orientalist scenes, based on his travels to Constantinople, Egypt, and elsewhere, rival photography and form a counterweight to his recreations of Greco-Roman antiquity. Text from: artmuseum.princeton.edu/collections/objects/24513

Jean-Léon Gérôme, French, 1824–1904 Napoleon in Egypt, 1867–68 Oil on wood panel 35.8 x 25.0 cm (14 1/8 x 9 13/16 in.) frame: 48.3 x 38.4 x 4.1 cm (19 x 15 1/8 x 1 5/8 in.) Museum purchase, John Maclean Magie, Class of 1892, and Gertrude Magie Fund y1953-78 Handbook Entry Dressed as a general of the French Revolution, Napoleon stands outside Cairo, on a road lined with Mamluk mausoleums from the fourteenth and fifteenth centuries. He surveys the city. Napoleon arrived in Egypt with his generals in 1798 and attempted to add this land to France’s growing empire. The British defeated the French navy at the Battle of the Nile, one of the greatest naval disasters of all time, and put an end to his dreams of expansion to Africa. At the moment shown, this event is in the future. It is ironic to see Napoleon, flush with conquest, beside the Mamluk tombs, the burial places of slaves who rose to military glory and imperial rule; the monuments speak of the vanity of empire building and the fate that awaits even the most successful conquerors. Gérôme’s meticulously rendered Orientalist scenes, based on his travels in Constantinople (1853), Egypt (1856), and elsewhere, rival photography and form a counterweight to his re-creations of Greco-Roman antiquity. Signed lower left: J. L. GEROME. Gallery Label During the Second Empire (1852–70), Napoleon III encouraged the cult of his uncle, Napoleon Bonaparte, whose 1798 Egyptian expedition is illustrated here. Gérôme shows the legendary general in an exotic setting, before the Mamluk Tombs outside Cairo. Born slaves, these rulers owed their rise to military prowess and would have been a subject for reflection by Napoleon as he surveyed the city below. Gérôme’s meticulously rendered Orientalist scenes, based on his travels to Constantinople, Egypt, and elsewhere, rival photography and form a counterweight to his recreations of Greco-Roman antiquity. Text from: artmuseum.princeton.edu/collections/objects/24513

Jean-Léon Gérôme, French, 1824–1904 Napoleon in Egypt, 1867–68 Oil on wood panel 35.8 x 25.0 cm (14 1/8 x 9 13/16 in.) frame: 48.3 x 38.4 x 4.1 cm (19 x 15 1/8 x 1 5/8 in.) Museum purchase, John Maclean Magie, Class of 1892, and Gertrude Magie Fund y1953-78 Handbook Entry Dressed as a general of the French Revolution, Napoleon stands outside Cairo, on a road lined with Mamluk mausoleums from the fourteenth and fifteenth centuries. He surveys the city. Napoleon arrived in Egypt with his generals in 1798 and attempted to add this land to France’s growing empire. The British defeated the French navy at the Battle of the Nile, one of the greatest naval disasters of all time, and put an end to his dreams of expansion to Africa. At the moment shown, this event is in the future. It is ironic to see Napoleon, flush with conquest, beside the Mamluk tombs, the burial places of slaves who rose to military glory and imperial rule; the monuments speak of the vanity of empire building and the fate that awaits even the most successful conquerors. Gérôme’s meticulously rendered Orientalist scenes, based on his travels in Constantinople (1853), Egypt (1856), and elsewhere, rival photography and form a counterweight to his re-creations of Greco-Roman antiquity. Signed lower left: J. L. GEROME. Gallery Label During the Second Empire (1852–70), Napoleon III encouraged the cult of his uncle, Napoleon Bonaparte, whose 1798 Egyptian expedition is illustrated here. Gérôme shows the legendary general in an exotic setting, before the Mamluk Tombs outside Cairo. Born slaves, these rulers owed their rise to military prowess and would have been a subject for reflection by Napoleon as he surveyed the city below. Gérôme’s meticulously rendered Orientalist scenes, based on his travels to Constantinople, Egypt, and elsewhere, rival photography and form a counterweight to his recreations of Greco-Roman antiquity. Text from: artmuseum.princeton.edu/collections/objects/24513

Portal of the Green Mosque (Sentinel at the Sultan's Tomb) Jean Léon Gérôme, French, 1824 - 1904 Geography: Made in France, Europe Date: c. 1870 Medium: Oil on canvas Dimensions: 28 1/4 x 22 1/4 inches (71.8 x 56.5 cm) Curatorial Department: European Painting Object Location: Gallery 155, European Art 1850-1900, first floor Accession Number: 2007-29-1 Credit Line: Gift of the Isaacson-Draper Foundation, 2007 Text from: www.philamuseum.org/collections/permanent/100290.html

Portal of the Green Mosque (Sentinel at the Sultan's Tomb) Jean Léon Gérôme, French, 1824 - 1904 Geography: Made in France, Europe Date: c. 1870 Medium: Oil on canvas Dimensions: 28 1/4 x 22 1/4 inches (71.8 x 56.5 cm) Curatorial Department: European Painting Object Location: Gallery 155, European Art 1850-1900, first floor Accession Number: 2007-29-1 Credit Line: Gift of the Isaacson-Draper Foundation, 2007 Text from: www.philamuseum.org/collections/permanent/100290.html

Portal of the Green Mosque (Sentinel at the Sultan's Tomb) Jean Léon Gérôme, French, 1824 - 1904 Geography: Made in France, Europe Date: c. 1870 Medium: Oil on canvas Dimensions: 28 1/4 x 22 1/4 inches (71.8 x 56.5 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 155, European Art 1850-1900, first floor Accession Number: 2007-29-1 Credit Line: Gift of the Isaacson-Draper Foundation, 2007 Text from: www.philamuseum.org/collections/permanent/100290.html?mulR=1819245498|2

Portal of the Green Mosque (Sentinel at the Sultan's Tomb) Jean Léon Gérôme, French, 1824 - 1904 Geography: Made in France, Europe Date: c. 1870 Medium: Oil on canvas Dimensions: 28 1/4 x 22 1/4 inches (71.8 x 56.5 cm) Curatorial Department: European Painting before 1900, Johnson Collection Object Location: Gallery 155, European Art 1850-1900, first floor Accession Number: 2007-29-1 Credit Line: Gift of the Isaacson-Draper Foundation, 2007 Text from: www.philamuseum.org/collections/permanent/100290.html?mulR=1819245498|2

Pygmalion and Galatea, ca. 1890 Jean-Léon Gérôme (French, 1824–1904) Oil on canvas; 35 x 27 in. (88.9 x 68.6 cm) Gift of Louis C. Raegner, 1927 (27.200) At the end of his career, Gérôme became increasingly interested in polychrome sculpture. The present picture and a life-size marble (Hearst Monument, San Simeon), both executed about 1890, illustrate a story from Ovid's Metamorphoses. The artist chose the moment when the Cypriot sculptor Pygmalion's wish was granted by Venus. The statue of Galatea that he had created came to life and responded to his love. In an interview Gérôme said that he hoped his treatment of the theme would "rejuvenate" a hackneyed subject. He added the apparition of Eros with his bow and arrow, which is not mentioned in Ovid's account of the legend. Comparison of the handling to that of a work of the sixties or seventies will indicate a slightly looser touch and a less precise rendering of form. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Pygmalion and Galatea, ca. 1890 Jean-Léon Gérôme (French, 1824–1904) Oil on canvas; 35 x 27 in. (88.9 x 68.6 cm) Gift of Louis C. Raegner, 1927 (27.200) At the end of his career, Gérôme became increasingly interested in polychrome sculpture. The present picture and a life-size marble (Hearst Monument, San Simeon), both executed about 1890, illustrate a story from Ovid's Metamorphoses. The artist chose the moment when the Cypriot sculptor Pygmalion's wish was granted by Venus. The statue of Galatea that he had created came to life and responded to his love. In an interview Gérôme said that he hoped his treatment of the theme would "rejuvenate" a hackneyed subject. He added the apparition of Eros with his bow and arrow, which is not mentioned in Ovid's account of the legend. Comparison of the handling to that of a work of the sixties or seventies will indicate a slightly looser touch and a less precise rendering of form. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Pygmalion and Galatea, ca. 1890 Jean-Léon Gérôme (French, 1824–1904) Oil on canvas; 35 x 27 in. (88.9 x 68.6 cm) Gift of Louis C. Raegner, 1927 (27.200) At the end of his career, Gérôme became increasingly interested in polychrome sculpture. The present picture and a life-size marble (Hearst Monument, San Simeon), both executed about 1890, illustrate a story from Ovid's Metamorphoses. The artist chose the moment when the Cypriot sculptor Pygmalion's wish was granted by Venus. The statue of Galatea that he had created came to life and responded to his love. In an interview Gérôme said that he hoped his treatment of the theme would "rejuvenate" a hackneyed subject. He added the apparition of Eros with his bow and arrow, which is not mentioned in Ovid's account of the legend. Comparison of the handling to that of a work of the sixties or seventies will indicate a slightly looser touch and a less precise rendering of form. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Artist: Jean-Léon Gérôme (French, 1824–1904) Title: Bashi-Bazouk Date: 1868–69 Medium: Oil on canvas Dimensions: 31 3/4 x 26 in. (80.6 x 66 cm) Classification: Paintings Credit Line: Gift of Mrs. Charles Wrightsman, 2008 Accession Number: 2008.547.1 Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Jean-Léon Gérôme (French, 1824–1904) Title: Bashi-Bazouk Date: 1868–69 Medium: Oil on canvas Dimensions: 31 3/4 x 26 in. (80.6 x 66 cm) Classification: Paintings Credit Line: Gift of Mrs. Charles Wrightsman, 2008 Accession Number: 2008.547.1 Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...