Visualizzazione post con etichetta National Gallery London. Mostra tutti i post
Visualizzazione post con etichetta National Gallery London. Mostra tutti i post
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Paul Delaroche | The Execution of Lady Jane Grey, 1833

"I am assured that I shall, for losing of a mortal life, win an immortal life" - Lady Jane Grey, February 1554.

Since its rediscovery in 1973 and first exhibition at the National Gallery two years later, Paul Delaroche’s The Execution of Lady Jane Grey, 1833, has become one of the nation’s best-loved paintings.
For the first time, 'Painting History' examines this iconic masterpiece in the context of Delaroche’s great historical paintings, particularly the poignant scenes from English history which made his reputation.
The exhibition features seven major international loans of paintings by Delaroche including 'The Princes in the Tower', 1830 and 'Young Christian Martyr', 1854-5 (both Louvre), and 'Strafford on his way to Execution', 1835 (private collection).

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Élisabeth Vigée Le Brun | Self-Portrait in a Straw Hat, 1782

Artist: Elisabeth Louise Vigée Le Brun (French🎨 Neoclassical painter, 1755-1842)
Full title: Self Portrait in a Straw Hat
Date made: 1782
Medium and support: Oil on canvas
Dimensions: 97.8 x 70.5 cm
Current location: National Gallery, London
Acquisition credit: Bought, 1897
Inventory number: NG1653
Location in Gallery: Room 33

"Self-Portrait in a Straw Hat" is a signed copy by the artist of a very popular self portrait that she painted in 1782 and which is now in the collection of the baronne Edmond de Rothschild.
The pose is deliberately modelled on Rubens’s Portrait of Susanna Lunden🎨 (?) (also in the National Gallery’s collection), which was formerly, but incorrectly, known as Le Chapeau de Paille (The Straw Hat).

Rubens | Portrait of Susanna Lunden🎨 | National Gallery, London

Vigée Le Brun offers us a highly calculated image in which she explicitly associates herself with a great artist and his sitter. Looking at us directly with an open expression as she holds the tools of her profession (a palette and brushes), she presents herself as an elegant society lady and as an accomplished professional artist.
By posing outdoors - and not, for example, in a studio - she replicates the contrasting light effects in Rubens’s portrait by combining ordinary daylight with direct sunlight. | © The National Gallery, London

"Autoritratto in a Straw Hat" è una copia firmata dall'artista di un autoritratto molto popolare che ha dipinto nel 1782 e che ora fa parte della collezione del barone Edmond de Rothschild.
La posa è volutamente modellata sul Ritratto di Susanna Lunden di Rubens🎨 (nella collezione della National Gallery), che precedentemente era, ma erroneamente, noto come Le Chapeau de Paille (Il cappello di paglia).

Vigée Le Brun ci offre un'immagine altamente calcolata in cui si associa esplicitamente a un grande artista e alla sua scrittrice.
Guardandoci direttamente con un'espressione aperta mentre detiene gli strumenti della sua professione (tavolozza e pennelli), si presenta come un'elegante signora della società e come un'artista professionista di talento.
Posando all'aperto - e non, ad esempio, in uno studio - replica gli effetti di luce contrastanti nel ritratto di Rubens combinando la normale luce del giorno con la luce solare diretta. | © The National Gallery, London

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Botticelli | Venus and Mars, c. 1483

From: The National Gallery, London

Mars, God of War, was one of the lovers of Venus, Goddess of Love. Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all.
This work was probably a piece of bedroom furniture, perhaps a bedhead or piece of wainscoting, most probably the 'spalliera' or backboard from a chest or day bed. The wasps ('vespe' in Italian) at the top right suggest a link with the Vespucci family, though they may be no more than a symbol of the stings of love.