01 Work, Interpretations of Olympian deities, Jacob de Backer's Paris Being Admitted to the Bedchamber of Helen, with footnotes #38

Jacob de Backer (Flemish, active 1545–1600)

Detail; Paris Being Admitted to the Bedchamber of Helen, c. about 1585/1590

Oil on canvas

119.4 × 171.5 cm (47 × 67 1/2 in.)

J. Paul Getty Museum

Paris is a mythological figure in the story of the Trojan War. He appears in numerous Greek legends and works of Ancient Greek literature such as the Iliad. In myth, he is prince of Troy, son of King Priam and Queen Hecuba, and younger brother of Prince Hector. His elopement with Helen sparks the Trojan War, during which he fatally wounds Achilles. More on Paris

Jacob de Backer (Flemish, active 1545–1600)

Paris Being Admitted to the Bedchamber of Helen, c. about 1585/1590

Oil on canvas

119.4 × 171.5 cm (47 × 67 1/2 in.)

J. Paul Getty Museum

Helen was the daughter of Zeus and Leda, and considered in Greek myth to be the most beautiful woman in the world. She was married to Menelaus, King of Sparta. When the Trojan prince Paris abducted Helen and carried her off to the city of Troy, the Greeks responded by mounting an attack on the city, thus beginning the Trojan War. Agamemnon, king of Mycenae and the brother of Menelaus, led an expedition of Greek troops to Troy and besieged the city for ten years because of Paris's insult. After the deaths of many heroes, including the Greeks Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Greeks slaughtered the Trojans and desecrated the temples More on Helen

Jacob de Backer (c. 1555 – c. 1591) was a Flemish Mannerist painter and draughtsman active in Antwerp between about 1571 and 1585. Even though he died young at the age of 30, the artist was very prolific and an extensive body of work has been attributed to him. Art historians are not agreed on how many of these works are autograph or the product of a workshop. The works attributed to the artist or his workshop are executed in a late-Mannerist style clearly influenced by Italian models. More on Jacob de Backer

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04 Works, Helenic Carvings & Sculpture, With Footnotes #6

A SOUTHERN GERMAN OR NORTH ITALIAN EARLY 17TH CENTURY GILT BRONZE STATUETTE OF MINERVA

Haut. (bronze) 15,5 cm, haut. (base) 9 cm; height (bronze) 6 in., height (base) 3 1/2 in.

Private Collection

Minerva is the Roman goddess of wisdom and strategic warfare and the sponsor of arts, trade, and strategy. From the second century BC onward, the Romans equated her with the Greek goddess Athena,[1] though the Romans did not stress her relation to battle and warfare as the Greeks did. More on Minerva

Italian School of the eighteenth century

The Portrait of a condottiere (leader) as Hercules

Terracotta,

h: 66 w: 56 d: 40 cm 

Private Collection

Hercules (known in Greek as Heracles or Herakles) is one of the best-known heroes in Greek and Roman mythology. His life was not easy–he endured many trials and completed many daunting tasks–but the reward for his suffering was a promise that he would live forever among the gods at Mount Olympus. More on Hercules

Condottiere, plural Condottieri, is a leader of a band of mercenaries engaged to fight in numerous wars among the Italian states from the mid-14th to the 16th century. The name was derived from the condotta, or “contract,” by which the condottieri put themselves in the service of a city or of a lord.

This bust of embossed terracotta presents all the attractions of a portrait of a high-ranking prince of the Renaissance. However, the artist, unfortunately unknown, has merged two different iconographic types, both of which have the will to manifest the authority of the person represented: The man is indeed wearing the famous attribute of 'Hercules, the Skin of the Lion Of Nemea, whose legs intersect on the thorax. This tradition of representation as a man of power, endowed with the attributes of the Greek hero, became widespread in the Hellenistic period: the museums of the Louvre and the Capitol retain one, a bust of Mithridates VI Eupator, Sovereign of the kingdom of Pergamon (132 and 63 BC), the other of the Roman Emperor Commodus endowed with lion skin and even a club. More condottiere as Hercules

Italian School 18th century. The Neapolitan school was very influenced by the Baroque style, along with Caravaggio (paintings by Fracanzano, Saint-Pierre repentant (The penitent Saint Peter), Solimena, L’Annonciation (The Annunciation), Giordano, La Vierge adorant l’Enfant (The Virgin Adoring the Child)…)

Classicism is evident in various ways in the paintings of Vanni, Mola, Agar et l’Ange (Agar and the Angel), Badalocchio or Lorenzo Lippi with the superb Allégorie de la simulation (The Allegory of Simulation).

Finally the Venetian school from the late 18th century is also represented by two of its vedute [stars]: Guardi and the superb Apothéose de la maison Pisani (Apotheosis of the Pisani Family) by Giambattista Tiepolo. More on Italian School 18th century

Eugène Ladreyt Sauzet, 1832 - 1898

"The Judgment of Paris" 

Terracotta 

Titled '' Judgment of Paris '' based 

h: 50 w: 46 d: 20 cm 

Private Collection 

THE JUDGEMENT OF PARIS was a contest between the three most beautiful goddesses of Olympos--Aphrodite, Hera and Athena--for the prize of a golden apple addressed "To the Fairest."

The story began with the wedding of Peleus and Thetis which all the gods had been invited to attend except for Eris, goddess of discord. When Eris appeared at the festivities she was turned away and in her anger cast the golden apple amongst the assembled goddesses addressed "To the Fairest." Three goddesses laid claim to the apple--Aphrodite, Hera and Athena. Zeus was asked to mediate and he commanded Hermes to lead the three goddesses to Paris of Troy to decide the issue. The three goddesses appearing before the shepherd prince, each offering him gifts for favour. He chose Aphrodite, swayed by her promise to bestow upon him Helene, the most beautiful woman, for wife. The subsequent abduction of Helene led directly to the Trojan War and the fall of the city. More on The judgment of Paris

Eugène Ladreyt is also a sculptor known for his statuary humor, under the Second Empire. This little terracotta illustrates his taste for the fashion trend that emerged during the period of the Directory, that of the "Incroyables et Merveilleuses": the famous protagonists of the Greek myth of the Judgment of Paris, half camouflaged in a cleverly modeled grove - As if to hide the immodest behavior of the goddesses, dressed in "Greek" costumes. The presence of many contemporary attributes, such as an umbrella, frills and ribbon and the broad hats transforms this tragic scene that sealed the fate of Troy in a satirical scene. More The Judgment of Paris

Eugène Ladreyt born on October 31 , 1832 in Sauzet (Drôme) and died on March 28 , 1898 in Paris is a cartoonist , sculptor and ceramist French .

Eugène was passionate about drawing since his childhood. His parents having opposed any artistic career, he enlisted in the army before working for a railway company and then at the offices of Mont-de-Piété in Paris .

Self- taught artist, Ladreyt began to publish his works in 1859 3 . The following year, he produced several drawings for the Fun Journal and thus began his collaboration with numerous newspapers and satirical magazines.

From 1876 , he gradually abandoned drawing in favor of sculpture but remained faithful to scenes of manners and humorous compositions . He thus produced a large number of statuettes and groups in polychrome terracotta. He gave several copies to the Musée de Valence and to that of Montélimar.

His work earned him an honorable mention at the Universal Exhibition of 1878 and a silver medal at that of 1885 8 as well as the awards of academy officer 9 in 1890 10 .

Eugène Ladreyt died in Paris on March 28, 1898. More on Eugène Ladreyt

 Eugène Marioton, Paris, 1854 - 1933 

The Farewells of Jason, c. 1882 

Terracotta relief

h: 29,70 w: 37,50 d: 3,80 cm

Private Collection

Jason, in Greek mythology, leader of the Argonauts and son of Aeson, king of Iolcos in Thessaly. His father’s half-brother Pelias seized Iolcos, and thus for safety Jason was sent away to the Centaur Chiron. Returning as a young man, Jason was promised his inheritance if he fetched the Golden Fleece for Pelias, a seemingly impossible task. After many adventures Jason abstracted the fleece with the help of the enchantress Medea, whom he married. On their return Medea murdered Pelias, but she and Jason were driven out by Pelias’ son and had to take refuge with King Creon of Corinth. Later Jason deserted Medea for Creon’s daughter; this desertion and its consequences formed the subject of Euripides’ Medea. More on Jason

Eugène Marioton, born in Paris on April 7, 1857, was a French sculptor working primarily in the medium of bronze. His works follow the traditions of Neoclassicism, consisting of small, cast bronze sculptures of historic French leaders as well as ancient Greek and Roman figures. He participated regularly in the Society of French artists, jurying the sculpture section of the salon in 1905. Before his death in 1933, Marioton received several accolades for his work, including a prize from the Society of Fine Arts and a young artist grant from the General Council of the Seine in 1884. More on Eugène Marioton

Unsigned, 19th century

The wife of Dionysus, Princess Ariadne, on a panther

Ivory

H 7 cm.

Private Collection

Dionysus  is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in Greek mythology. Wine played an important role in Greek culture with the cult of Dionysus the main religious focus for unrestrained consumption. He may have been worshipped as early as c. 1500–1100 BC by Mycenean Greeks; other traces of the Dionysian-type cult have been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In some cults, he arrives from the east, as an Asiatic foreigner; in others, from Ethiopia in the South. He is a god of epiphany, "the god that comes", and his "foreignness" as an arriving outsider-god may be inherent and essential to his cults. He is a major, popular figure of Greek mythology and religion, becoming increasingly important over time, and is included in some lists of the twelve Olympians. Dionysus was the last god to be accepted into Mt. Olympus. He was the youngest and the only one to have a mortal mother. His festivals were the driving force behind the development of Greek theatre. He is sometimes categorised as a dying-and-rising god. More on Dionysus

Ariadne, in Greek mythology, daughter of Pasiphae and the Cretan king Minos. She fell in love with the Athenian hero Theseus and, with a thread or glittering jewels, helped him escape the Labyrinth after he slew the Minotaur, a beast half bull and half man that Minos kept in the Labyrinth. Here the legends diverge: she was abandoned by Theseus and hanged herself; or, Theseus carried her to Naxos and left her there to die, and she was rescued by and married the god Dionysus. More on Ariadne

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01 Paintings, Olympian deities, by the Old Masters, with footnotes # 24

UMBRIAN-SIENESE SCHOOL

Paris

Oil on poplar panel

48.8 x 28.6 cm.; 19 1/4  x 11 1/4  in.

Private collection

Paris, also known as Alexander, the son of King Priam and Queen Hecuba of Troy, appears in a number of Greek legends. Probably the best known was his elopement with Helen, queen of Sparta, this being one of the immediate causes of the Trojan War. Later in the war, he fatally wounds Achilles in the heel with an arrow as foretold by Achilles’s mother. More on Paris

Umbrian Painting. In 1236 the works of the Basilica of San Francesco in Assisi began, and renowned artists came from different regions, among them Giunta Pisano, Cimabue from Florence, Giotto from Rome, Simone Martini and Pietro Lorenzetti from Siena. Thanks to them, and their followers, Umbria became part of the history of Italian painting. Giotto, with the frescos of upper basilica of Assisi, inaugurated a new pictorial language. The Sienese school prevailed on the others and dominated Umbrian artistic life until the middle of the 15th century. More on Umbrian Paintings

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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Olympian deities in classical Greek and Roman religion, Cornelis Cornelisz. van Haarlem: PARIS AND OENONE

Cornelis Cornelisz. van Haarlem

HAARLEM 1562 - 1638

PARIS AND OENONE

signed with the monogram and dated lower left:  CvH [in ligature].1616.

oil on canvas

70 1/4  by 69 1/4  in.; 178.4 by 175.8 cm.

In Greek mythology, Oenone was the first wife of Paris of Troy, whom he abandoned for the queen Helen of Sparta.

Oenone was a mountain nymph on Mount Ida in Phrygia, a mountain associated with the Mother Goddess Cybele, alternatively Rhea. Her father was Cebren, a river-god. Her very name links her to the gift of wine.

Paris, son of the king Priam and the queen Hecuba, fell in love with Oenone when he was a shepherd on the slopes of Mount Ida, having been exposed in infancy (owing to a prophecy that he would be the means of the destruction of the city of Troy) but rescued by the herdsman Agelaus. The couple married, and Oenone gave birth to a son, Corythus.


When Paris later abandoned her to return to Troy and sail across the Aegean to kidnap Helen, the queen of Sparta, Oenone predicted the Trojan War. Out of revenge for Paris' betrayal, she sent Corythus to guide the Greeks to Troy. Another version has it that she used her son to drive a rift between Paris and Helen, but Paris, not recognizing his own son, killed him.

In this painting. In 1594, the English playwright Thomas Heywood, published an epic poem about Paris and Oenone, so it would have been a subject well known to an educated seventeenth-century audience. Cornelis himself painted another version in about 1600, which is known primarily from an engraving in reverse by Jan Saenredam. In the painting here Oenone is in a more upright position and the figures are more clearly turned toward one another. In front of them the artist has placed a small still life of fruits, and he has added several figures to the scene. At the right is a young boy with a kid, and it is unclear whether the child is just a herder or Corythus, their son. At the left is a large black and white hound. 

Cornelis Corneliszoon van Haarlem (1562 – 11 November 1638), Dutch Golden Age painter and draughtsman, was one of the leading Northern Mannerist artists in the Netherlands, and an important forerunner of Frans Hals as a portraitist.

Born in Haarlem, Cornelis Corneliszoon was a pupil of Pieter Pietersz in Haarlem, and later Gillis Coignet in Antwerp. He is known among art historians as a member of the Haarlem Mannerists. He painted mainly portraits as well as mythological and Biblical subjects. Initially Cornelis Cornelisz painted large-size, highly stylized works with Italianate nudes in twisted poses with a grotesque, unnatural anatomy. Later, his style changed to one based on the Netherlandish realist tradition.


When his parents fled Haarlem in 1568, as the Spanish army laid siege to the city during the Eighty Years' War, Cornelis Cornelisz remained behind and was raised by the painter Pieter Pietersz the Elder, his first teacher. Later, in 1580-1581 Corneliszoon studied in Rouen, France, and Antwerp (with Coignet), before returning to Haarlem, where he stayed the rest of his life. He became a respected member of the community and in 1583 he received his first official commission from the city of Haarlem, a militia company portrait, the Banquet of the Haarlem Civic Guard. He later became city painter of Haarlem and received numerous official commissions. He married Maritgen Arentsdr Deyman, the daughter of a mayor of Haarlem, sometime before 1603. In 1605, he inherited a third of his wealthy father-in-law's estate.

16 Works, RELIGIOUS ART - Saint Genevieve, With Footnotes - 162

Pierre Puvis de Chavannes (French, 1824–1898)

L'enfance de Sainte Geneviève , c. 1874–1874

Oil on Canvas

52 x 102.3 cm. (20.5 x 40.3 in.)

Private collection

Pierre Puvis de Chavannes (French, 1824–1898)

Detail; L'enfance de Sainte Geneviève , c. 1874–1874

Oil on Canvas

52 x 102.3 cm. (20.5 x 40.3 in.)

Private collection

St. Genevieve (422-512), was born at Nanterre, a village on the outskirts of Paris, during the time of Attila the Hun. She was a shepherdess, the only child of Severus and Gerontia, hardworking peasants. She was seven years old when Saint Germanus, bishop of Auxerre, was visiting the village with Saint Lupus, on their way to great Britain to combat the heresy of Pelagius. Seeing Genevieve in the crowd, Bishop St. Germain laid his hands on her head, and asked if she wanted to give herself to the Lord. Genevieve said “Yes!” Her mother opposed her decision, which angered Genevieve tremendously. Genevieve’s mother was struck blind until she was forgiven by her daughter. Taking a gold coin from his purse, Saint Germanus gave it to her, telling her to keep it always as a reminder of that day and of God to whom her life belonged.

Pierre Puvis de Chavannes (14 December 1824 – 24 October 1898) was a French painter best known for his mural painting, who came to be known as 'the painter for France'. He became the co-founder and president of the Société Nationale des Beaux-Arts, and his work influenced many other artists, notably Robert Genin. Puvis de Chavannes was a prominent painter in the early Third Republic. Émile Zola described his work as "an art made of reason, passion, and will" More on Pierre Puvis de Chavannes 

Flemish School, late 16th century
Saint Genevieve keeping her sheep, from 1575 until 1600
Carnavalet Museum, Paris

Sainte Genevieve watching over her flock protected by a stone circle. When she did not destroy these prehistoric megaliths, the Church tried to Christianize the symbols "diabolic"

Flemish painting flourished from the early 15th century until the 17th century. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from neighbouring countries. These painters were invited to work at foreign courts and had a Europe-wide influence. Since the end of the Napoleonic era, Flemish painters had again been contributing to a reputation that had been set by the Old Masters. More FLEMISH SCHOOL

Charles Sprague Pearce (1851-1914)
Sainte Genevieve, c. 1887
Oil on canvas
82 x 66 in
Frye Art Museum, Seattle, Washington, USA

On the deaths of her parents, she went to live with her godmother Lutetia in Paris, where she became a nun and dedicated herself to a Christian life. (Coincidentally, "Lutetia" was the former name of the city of Paris). She experienced visions and prophecies, which initially evoked hostility from Parisians--to the point that an attempt was made to take her life. But the support of Germanus, who visited her again, and the accuracy of her predictions eventually changed their attitudes. (Germanus also corrected some of her harsher penances during this visit.)

Charles Sprague Pearce (October 13, 1851 – May 18, 1914) was an American artist. Pearce was born at Boston, Massachusetts. In 1873 he became a pupil of Léon Bonnat in Paris, and after 1885 he lived in Paris and at Auvers-sur-Oise. He painted Egyptian and Algerian scenes, French peasants, and portraits, and also decorative work, notably for the Thomas Jefferson Building at the Library of Congress at Washington. He received medals at the Paris Salon and elsewhere, and was made Chevalier of the French Legion of Honor, decorated with the Order of Leopold, Belgium, the Order of the Red Eagle, Prussia, and the Order of the Dannebrog, Denmark. More on Charles Sprague Pearce

Lucas Cranach the Elder (1472-1553)
Detail from Saints Genevieve and Apollonia, c. 1506
This painting is part of the group: The St Catherine Altarpiece: Reverses of Shutters
Saint Genevieve of Paris holds the candle which she miraculously relit. On the brooch at her neck are the alpha and omega signs.
Oil on lime
120.5 x 63 cm
The National Gallery, Trafalgar Square, London

She loved to pray in church alone at night. One day a gust of wind blew out her candle, leaving her in the dark. Geneviève merely concluded that the devil was trying to frighten her. For this reason she is often depicted holding a candle, sometimes with an irritated devil standing near.

Lucas Cranach the Elder (c. 1472 – 16 October 1553) was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm, becoming a close friend of Martin Luther. He also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion. He had a large workshop and many works exist in different versions; his son Lucas Cranach the Younger, and others, continued to create versions of his father's works for decades after his death. Lucas Cranach the Elder has been considered the most successful German artist of his time. More Lucas Cranach the Elder

Unknown seventeenth-century Artist
Saint Genevieve, Defender of Paris
Musée Carnavalet, Salle Henri III, Paris

In 451, When Attila the Hun approached Paris, with the help of Germanus' archdeacon, she upbraided the panic-stricken people of Paris who wanted to leave town. She reassured the people that they had the protection of heaven. Many of the inhabitants lost heart and fled in panic, but Geneviève again gathered the women around her, and led them out on to the ramparts of the city, where in the morning light and in the face of the spears of the enemy they prayed to God for deliverance. Providentially, the same night, the invader turned south to Orleans. 

Pierre-Cécile Puvis de Chavannes (1824 - 1898)
St. Genevieve Bringing Supplies to the City of Paris after the Siege  - Pierre Puvis de Chavannes
Fresco 
Paris, Pantheon

When Childeric I ( 440 – 481/482) (A Merovingian king of the Salian Franks)  besieged the Paris in 464 and conquered it, she acted as an intermediary between the city and its conqueror.  

Pierre Puvis de Chavannes (14 December 1824 – 24 October 1898) was a French painter best known for his mural painting, who came to be known as 'the painter for France'. He became the co-founder and president of the Société Nationale des Beaux-Arts, and his work influenced many other artists, notably Robert Genin. Puvis de Chavannes was a prominent painter in the early Third Republic. Émile Zola described his work as "an art made of reason, passion, and will" More on Pierre Puvis de Chavannes

St. Geneviève

Geneviève took a boat and rowed out alone (more likely at the head of a company) upon the river into the darkness to Arcis-sur-Aube and Troyes. She slipped silently and secretly past the lines of the enemy, landing at dawn far outside the city, where she went from village to village imploring help and gathering food, and returned to Paris--again successfully evading the enemy--with eleven boatloads of precious corn. (Other sources say that nightly she captained eleven barges to collect grain in the Champagne region.). 

François-Louis Dejuinne  (1786–1844)
Clovis 1st king of the Franks (465-511), c. 1837
Oil on canvas
Height: 145.5 cm (57.2 ″); Width: 92 cm (36.2 ″)
Palace of Versailles

On the death of Childeric, his son Clovis succeeded him and consolidated control of the land from the Rhine to the Loire.( c. 466 – c. 511) (The first king to unite all of the Frankish tribes under one ruler. He is considered the founder of the Merovingian dynasty, c. 466 – c. 511) was the first king of the Franks to unite all of the Frankish tribes under one ruler. He is considered the founder of the Merovingian dynasty.) He married Childeric's elder daughter, Clothilde.

François-Louis Dejuinne (1786–1844) was a French painter. He was born in Paris in 1786, and learned the art of painting under Girodet. He visited Rome, where he studied the works of Titian, Paolo Veronese, and other great masters. He died in Paris in 1844. His paintings were mostly historical; among them are the 'Ascension of the Virgin ' and 'St. Geneviève' for Notre-Dame de Lorette, and 'The Four Seasons' for the Trianon Palace. More on François-Louis Dejuinne

Pierre-Louis Delaval (1818)
 "Sainte Clotilde urging Clovis before the battle"
Chapelle Sainte-Geneviève

Geneviève became his trusted counsellor. Clovis entered a harsh battle and promised to be baptized, if he should win. He won and under the influence of Geneviève, he converted in 496. His people and servants followed suit.

Pierre-Louis Delaval, born April 27, 1790 in Paris where he died around 1870, is a French painter.

A pupil of Girodet-Trioson , Delaval began at the Salon of 1810 with two historical pictures which had him included in the small number of artists exempted from conscription by imperial decree. A compliant imitator of his master in his early days, he showed, in the second half of his career, the qualities of colorist and draftsman who could have classified him among the masters if they had been developed by a more vigorous temperament.

Delaval painted mainly history and religious subjects. The historical galleries of Versailles also owe him many portraits. He obtained a second medal in 1817. More on Pierre-Louis Delaval

Master of Saint Giles (d. 511)
The Baptism of Clovis, c. 1500
Wood
National Gallery of Art, Washington

This was painted about a thousand years after Saint Rémy baptized the Frankish King Clovis, thereby converting him to Christianity. Master of Saint Giles has transferred the historic event from Reims to the interior of the Sainte-Chapelle in Paris, thus providing the earliest known record of the interior of the famous, still extant, building.

The Master of Saint Giles was a Franco-Flemish painter active, probably in Paris, about 1500, working in a delicate Late Gothic manner, with rendering of textures and light and faithful depictions of actual interiors that show his affinities with Netherlandish painting. It is not clear whether the Master of Saint Giles was a French painter who trained in the Low Countries, or a Netherlander who emigrated to France.

His pseudonym was given him by Max Friedländer, who reconstructed part of the anonymous painter's oeuvre, starting from two panels that were part of the lefthand shutter of an altarpiece, and two further panels, now in Washington, from the same altarpiece. The hand of an assistant can be discerned in the Baptism of Clovis at the National Gallery of Art, Washington. All four panels have, or had, single grisaille figures of saints (Saints Peter, Giles, Denis and an unidentified bishop-saint) in niches, imitating sculpture, on the reverse. The Washington pair, which were in poor condition, have been separated and are lost, although photographs exist. Undoubtedly there were further panels, whose subjects cannot be guessed, as the combination of scenes is original. More on The Master of Saint Giles

Antoine-Jean Gros  (1771–1835)

Clovis et Clotilde, c. 1811

Oil on canvas

Petit Palais

Antoine-Jean Gros (16 March 1771 – 25 June 1835) was a French painter of historical subjects. He was given title of Baron Gros in 1824.

Gros studied under Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, Gros moved to Genoa. His portrait of the French commander Napoleon Bonaparte at the Battle of Arcole (1796) brought Gros to public attention and gained the patronage of Napoleon.

After traveling with Napoleon's army for several years, he returned to Paris in 1799. In addition to producing several large paintings of battles and other events in Napoleon's life, Gros was a successful portraitist. More on Antoine-Jean Gros

By the time she died King Clovis of the Franks had grown to venerate the saint. It was at Geneviève's suggestion that Clovis began to build the church of SS. Peter and Paul in the middle of Paris, where they interred her body. Later the church was renamed Sainte Geneviève and it was rebuilt in 1746.

Church of St. Genevieve, Paris

Miracles performed at her tomb made her and the Church famous all over France:

Gabriel François Dean, (1726–1806)
Miracles of the Ardents, c. 1773
Church of St Genevieve at St Roch

Miracle des Ardens or burning fever (ergot-poisoning) in 1129. Bishop Stephen of Paris had her shrine carried through the streets in solemn procession. Many thousands of the sick who saw or touched the shrine were immediately cured, and only several deaths from the plague were said to have occurred thereafter.

Gabriel François Doyen (1726 – 5 June 1806) was a French painter, who was born at Paris.

He became an artist against his father's wishes, becoming a pupil at the age of twelve of Charles-André van Loo. Making rapid progress, he obtained at twenty the Grand Prix de Rome, and in 1748 set out for Rome, then visited Naples, Bologna and, crucially, Venice. While in the latter city Doyen was greatly influenced by the work of the famous colourists, such as Titian.

In 1755 he returned to Paris and, at first unappreciated and disparaged, he resolved by one grand effort to achieve a reputation, and in 1758 he exhibited his Death of Virginia. It was completely successful, and procured him admission to the Académie Royale de Peinture et de Sculpture. Doyen was also influenced by Peter Paul Rubens after a visit to Antwerp. This influence is, perhaps, best displayed in his Le Miracle des ardents, painted for the church of St Genevieve at St Roch (1767). This painting was exhibited in the salon of 1767. In 1776 he was appointed professor at the Academy.

During the initial stages of the French Revolution he became active in the national museum project; however in 1791 he left France for Russia on the invitation of Catherine II of Russia. He settled in St Petersburg, where he was much honoured by the Imperial family and Russian art establishment. He died there on 5 June 1806. More on Gabriel François Doyen

Maurice Quentin de La Tour

Portrait of King Louis XV, c. 1748

Pastel
64x54
Louvre Museum

In 1741, Louis XV came to her church to thank her for a cure wrought at her intercession.

Maurice-Quentin de La Tour, (born Sept. 5, 1704, Saint-Quentin, France—died Feb. 17, 1788, Saint-Quentin), pastelist whose animated and sharply characterized portraits made him one of the most successful and imitated portraitists of 18th-century France.

Early in his youth La Tour went to Paris, where he entered the studio of the Flemish painter Jacques Spoede. He then went to Reims, Cambrai (1724), and England (c. 1725), returning to Paris to resume his studies in about 1727.

In 1737 La Tour exhibited the first of a splendid series of 150 portraits that formed one of the glories of the Salon for the next 37 years. He was able to endow his sitters with a distinctive air of charm and intelligence, and he excelled at capturing the delicate play of facial features. In 1746 he was received into the Academy and in 1751 was promoted to councillor. La Tour was made portraitist to the king in 1750, a position he held until 1773. La Tour retired at age 80 to Saint-Quentin. More on Maurice-Quentin de La Tour

Jean-Pierre Houël, (1735–1813)
Prise de la Bastille/ The Storming of the Bastille, c. 1789

In the center is the arrest of Bernard René Jourdan, governor of the Bastille, and his wife

Watercolor

Height: 50.5 cm (19.8 ″); Width: 37.8 cm (14.8 ″)

Bibliothèque nationale de France

When the Bastille was taken, people again came to thank her. In 1790, the Commune went to her church for Mass.

Jean-Pierre-Louis-Laurent Houël (28 June 1735 – 14 November 1813) was a French painter, engraver and draftsman. During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.

He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.

He was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting. In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Château de Chanteloup. The following year his influential patrons secured a place for him at the French Academy in Rome. Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.

He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787). Houël's main intention was to illustrate local topography, but his delicate applications of watercolor also magnificently captured the effects of light and atmosphere. To help finance these projects, he sold his preliminary drawings in Paris in 1780. Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.

In his later years Houël published two illustrated treatises on elephants. Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans. More on Jean-Pierre-Louis-Laurent Houël

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