In Greek mythology, Medea is a sorceress who was the daughter of King Aeëtes of Colchis, niece of Circe, granddaughter of the sun god Helios, and later wife to the hero Jason, with whom she had two children, Mermeros and Pheres. In Euripides's play Medea, Jason leaves Medea when Creon, king of Corinth, offers him his daughter, Glauce. The play tells of Medea avenging her husband's betrayal by killing their children.
Medea - II sec. BC - Pergamon Museum - Berlin - Germany
Valentine Cameron Prinsep RA (Calcutta 14 February 1838 – 11 November 1904 London) was a British painter of the Pre-Raphaelite school. Born in Calcutta, India.
Prinsep was an intimate friend of G. F. Watts, John Everett Millais and of Edward Burne-Jones, with whom he travelled in Italy. He had a share with Rossetti and others in the decoration of the hall of the Oxford Union. With other members of the Pre-Raphaelite Brotherhood, he taught at the Working Men's College during the mid-19th century.
Prinsep first exhibited at the Royal Academy of Arts in 1862 with his Bianca Capella, his first picture, which attracted marked notice, being a portrait (1866) of General Gordon in Chinese costume. Prinsep lent the costume to Millais who used it in his own painting Esther. From that time to his death Prinsep was an annual exhibitor. Prinsep's chief paintings were Miriam watching the infant Moses (exhibited at the Royal Academy in 1867), A Venetian lover (1868), Bacchus and Ariadne (1869), News from abroad (1871), The linen gatherers (1876), The gleaners, and A minuet.
In 1877, he went to India and painted a huge picture of the Delhi Durbar, exhibited in 1880 at the Royal Academy, presented to Queen Victoria and afterwards hung at Buckingham Palace. This "colossal work" attracted much favourable press criticism.
The best of his later exhibits were À Versailles, The Emperor Theophilus chooses his Wife, The Broken Idol and The Goose Girl. He was elected A.R.A. in 1879 and R.A. in 1894.
Prinsep died at Holland Park, west London in 1904, and is buried in Brompton Cemetery, London. More
Anselm Feuerbach (12 September 1829 – 4 January 1880) was a German painter. He was the leading classicist painter of the German 19th-century school. Feuerbach was born at Speyer, the son of the well-known archaeologist and the grandson of the legal scholar Paul Johann Anselm Ritter von Feuerbach. The house of his birth today is a small museum.
Between 1845 and 1848 he attended the Düsseldorf Academy. He went on to the Munich Academy, but in 1850, along with a number of other dissatisfied students, he moved to the academy at Antwerp, where he studied under Gustav Wappers. He moved to Paris in 1851, where he was a pupil of Thomas Couture until 1854. It was in Paris in that he produced his first masterpiece, Hafiz at the Fountain (1852).
In 1854, funded by Grand Duke Friedrich of Baden he visited Venice, where he fell under the spell of the greatest school of colourists, several of his works demonstrating a close study of the Italian masters. From there he continued to Florence and then Rome, where he was to remain, with brief visits back to Germany, until 1873. In 1861 he met Anna Risi, who would be his model for the next four years. In 1866 she was succeeded as his principal model by Lucia Brunacci, an innkeeper's wife, who posed for his pictures of Medea. In 1862 Feuerbach met Count Adolf Friedrich von Schack, who commissioned copies of Italian old masters from him, and introduced him to Arnold Böcklin and Hans von Marées; the three artists became known as the Deutschrömer ("German Romans") due to their preference for Italian over German art.
In 1873 Feuerbach moved to Vienna, having been appointed professor of History painting at the Academy. In 1877 he resigned from his post at the Vienna Academy, and moved to Venice, where he died in 1880. Brahms composed Nänie, a piece for chorus and orchestra, in his memory. More
Medea is an ancient Greek tragedy written by Euripides, based upon the myth of Jason
and Medea and first produced in 431 BCE. The plot centers on the actions of Medea, a barbarian and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by killing Jason's new wife as well as her own children with him, after which she escapes to Athens to start a new life.
The Mottez family was highly religious and devoted to the House of Bourbon, and so the July Revolution in 1830 came as a catastrophe to them. Victor was again recalled to Lille by his father and married shortly afterwards. From there he made many trips, of which the longest and most notable was that to Italy and he came to consider its old masters as the absolute masters of painting. In Rome he met Ingres again. His Christ in the Tomb (now in the église Sainte-Catherine de Lille) and The Martyrdom of Saint Stephen (now in the église Saint-Étienne de Lille) date to this era. Also on this trip to Italy he became hugely interested in fresco art—Mottez painted his wife Julie in this medium and, showing Ingres the end result, pulled it off the wall at Ingres' request (it was later given to the Louvre by Mottez's two children).
Returning to France in 1838, he set up shop in Paris and exhibited at the Paris Salons, especially turning more and more towards the neglected genre of frescoes, notably religious ones. During the same years he frequented the Bertins' salon, alongside the main writers and artists of the time (a sketch of his for a portrait of Victor Hugo survives). He produced two frescoes for this salon, destroyed in 1854. After the 1848 Revolution Mottez set out for the United Kingdom, where he produced several portraits of British nobles and personalities and the exiled minister François Guizot, which were exhibited at the Royal Academy salons. He was an excellent portraitist throughout his career and it was that which mainly occupied him in the last years of his career. He returned to France in 1853 and worked with Delacroix at the Église Saint-Sulpice, at the start of the 1860s, where their highly opposed styles clearly showed the struggle between the neo-classical and romantic visions. Maurice Denis considered these frescoes at St-Sulpice (another Saint Martin) as "unforgettable". He designed the stained glass windows at the église Saint-Maurice de Lille. More
In 1818 Eugene Delacroix began to addresse the theme of Medea in his sketchbooks. His drawings, which extend until 1828, first focus on the overall composition of the table, and on the various body parts of Medea, and finally her face. Delacroix starts the work in 1836 completes it in 1838 for presentation to the Salon where it was a great success. Purchased by the State, it is exposed for a year at the Luxembourg Museum before being sent to the Lille museum. It is then presented to the World Expo 1855.
Castiglione was born in Genoa. His early training is unclear. He may have studied with Sinibaldo Scorza. He was a passionate student of Anthony van Dyck, who arrived in 1621, and Peter Paul Rubens, who stayed in the city in the first decade of the 17th century and whose paintings were readily accessible there. He may have trained under the Genoese Bernardo Strozzi. He lived in Rome from 1634 to about 1645, then returned to Genoa. He also traveled to Florence and Naples He was back in Rome in 1647, before moving in 1651 to be court artist in Mantua for Duke Carlo II and his wife Isabella Chiara de Austria. He died in Mantua.
He had various brushes with the law in his lifetime. The Queen's Gallery in London, where an exhibition of his work was held in 2013, made the following statement: "Giovanni Benedetto Castiglione was also a violent and impetuous man, who was repeatedly in court for assault, allegedly attempted to throw his sister off a roof and was forced to leave Rome, probably after committing murder. The turbulence that characterised his life overshadowed his artistic brilliance, and Castiglione struggled to achieve recognition in his lifetime. Much of what is known about the artist is derived not from fulfilled commissions, but from court documents." More
The fellowship allowed him to travel to Italy and become a resident of the Villa Medici, where the French Academy in Rome was housed. Morot rarely set foot in his atelier in the Villa Medici, but produced paintings in a regular fashion anyway. His first submission to the Salon de Paris awarded him a third-class medal for the painting Spring (Printemps) in 1876. In 1877 He was awarded a second-class medal for Médée, a first-class medal in 1879 for Les Ambronnes and the Medal of Honour for The Good Samaritan in 1880, competing against Joan of Arc by the realist painter Jules Bastien-Lepagel. In Rome, he worked with a model named Victoria, who posed for his 1877 painting of Médée.
He returned to Paris in 1880, where he met painter Jean-Léon Gérôme and married Suzanne Mélanie Gérôme (1867-1941), one of the painter's four daughters. The family lived in a townhouse at Rue Weber 11 in Paris.
In 1910 Morot ordered construction of Maison dite Ker Arlette in Dinard, a coastal village in North-east Brittany. He lived there until his death caused by a disease from which he had suffered for a long time. More
His style was light, colourful, and elegant. He returned to Naples in 1752, because of ill health. Most of his major works remain in situ in churches and palaces, but examples of the lively oil sketches he made in preparation for them are in many collections, including the National Gallery, London. More
Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.
During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western painting. He was noted for his mastery of colour. More
Medea with the Dagger, c.1871
127 x 192 cm
Oil paint on canvas