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629:(Phaidon, 1969–75) is divided between "Religious Paintings", "Portraits", and "Mythological and Historical Paintings", though both volumes I and III cover what is included in the term "History Paintings". This distinction is useful but is by no means generally observed, and the terms are still often used in a confusing manner. Because of the potential for confusion modern academic writing tends to avoid the phrase "historical painting", talking instead of "historical subject matter" in history painting, but where the phrase is still used in contemporary scholarship it will normally mean the painting of subjects from history, very often in the 19th century. "Historical painting" may also be used, especially in discussion of painting techniques in conservation studies, to mean "old", as opposed to modern or recent painting.
1410:
929:
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parfait ouvrage de Dieu sur la Terre, il est certain aussi que celui qui se rend l'imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres ... un
Peintre qui ne fait que des portraits, n'a pas encore cette haute perfection de l'Art, & ne peut prétendre à l'honneur que reçoivent les plus sçavans. Il faut pour cela passer d'une seule figure à la représentation de plusieurs ensemble; il faut traiter l'histoire & la fable; il faut représenter de grandes actions comme les historiens, ou des sujets agréables comme les Poëtes; & montant encore plus haut, il faut par des compositions allégoriques, sçavoir couvrir sous le voile de la fable les vertus des grands hommes, & les mystères les plus relevez.
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imitator of God in representing human figures, is much more excellent than all the others ... a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. For that he must pass from representing a single figure to several together; history and myth must be depicted; great events must be represented as by historians, or like the poets, subjects that will please, and climbing still higher, he must have the skill to cover under the veil of myth the virtues of great men in allegories, and the mysteries they reveal".
1207:
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502:(1818–1819) was a sensation, appearing to update the history painting for the 19th century, and showing anonymous figures famous only for being victims of what was then a famous and controversial disaster at sea. Conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts. At the same time the demand for traditional large religious history paintings very largely fell away.
162:, and was especially so used before the 20th century. Where a distinction is made, "historical painting" is the painting of scenes from secular history, whether specific episodes or generalized scenes. In the 19th century, historical painting in this sense became a distinct genre. In phrases such as "historical painting materials", "historical" means in use before about 1900, or some earlier date.
1944:
885:("Fireman art") was a derisory term for official academic historical painting, and in a final phase, "History painting of a debased sort, scenes of brutality and terror, purporting to illustrate episodes from Roman and Moorish history, were Salon sensations. On the overcrowded walls of the exhibition galleries, the paintings that shouted loudest got the attention".
1783:
As in "The beautifully renovated
Rijksmuseum in Amsterdam will open its doors to the public in 2013. To celebrate this event the Rijksmuseum will host a three-day symposium on Historical Painting Techniques. The central theme of the symposium will be the technical study of historically used painting
1531:
713:
mostly occurred after they were over. Another path was to choose contemporary subjects that were oppositional to government either at home and abroad, and many of what were arguably the last great generation of history paintings were protests at contemporary episodes of repression or outrages at
120:
In modern
English, "historical painting" is sometimes used to describe the painting of scenes from history in its narrower sense, especially for 19th-century art, excluding religious, mythological, and allegorical subjects, which are included in the broader term "history painting", and before the
205:
had argued that multi-figure history painting was the noblest form of art, as being the most difficult, which required mastery of all the others, because it was a visual form of history, and because it had the greatest potential to move the viewer. He placed emphasis on the ability to depict the
850:
a particular favourite, in France and other
European countries as much as Great Britain. By the middle of the century medieval scenes were expected to be very carefully researched, using the work of historians of costume, architecture and all elements of decor that were becoming available. And
422:
Celui qui fait parfaitement des païsages est au-dessus d'un autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes & sans mouvement; & comme la figure de l'homme est le plus
428:
He who produces perfect landscapes is above another who only produces fruit, flowers or seashells. He who paints living animals is more than those who only represent dead things without movement, and as man is the most perfect work of God on the earth, it is also certain that he who becomes an
433:
By the late 18th century, with both religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history, including contemporary history. This was in part driven by the changing audience for ambitious paintings, which now increasingly made their
400:
the painting of actual history tended to degenerate into panoramic battle-scenes with the victorious monarch or general perched on a horse accompanied with his retinue, or formal scenes of ceremonies, although some artists managed to make a masterpiece from such unpromising material, as
472:
refused to purchase the work, West succeeded both in overcoming his critics' objections and inaugurating a more historically accurate style in such paintings. Other artists depicted scenes, regardless of when they occurred, in classical dress and for a long time, especially during the
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and others was supported by the French state, but after the fall of
Napoleon in 1815 the French governments were not regarded as suitable for heroic treatment and many artists retreated further into the past to find subjects, though in Britain depicting the victories of the
845:
Church commissions for large group scenes from the Bible had greatly reduced, and historical painting became very significant. Especially in the early 19th century, much historical painting depicted specific moments from historical literature, with the novels of Sir
213:, which continued to adhere to it. At the same time, there was from the latter part of the 18th century an increased interest in depicting in the form of history painting moments of drama from recent or contemporary history, which had long largely been confined to
695:
in the various national academies in the 18th century, and for most of the 19th, and increasingly historical subjects dominated. During the
Revolutionary and Napoleonic periods the heroic treatment of contemporary history in a frankly propagandistic fashion by
1253:
1278:
434:
reputation in public exhibitions rather than by impressing the owners of and visitors to palaces and public buildings. Classical history remained popular, but scenes from national histories were often the best-received. From 1760 onwards, the
124:
History paintings almost always contain a number of figures, often a large number, and normally show some typical states on that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the
1505:
613:, one equivalent of "history painting". The terms began to separate in the 19th century, with "historical painting" becoming a sub-group of "history painting" restricted to subjects taken from history in its normal sense. In 1853
534:. Grand depictions of events of great public importance were supplemented with scenes depicting more personal incidents in the lives of the great, or of scenes centred on unnamed figures involved in historical events, as in the
274:, where a series of increasingly ambitious works were produced, many still religious, but several, especially in Florence, which did actually feature near-contemporary historical scenes such as the set of three huge canvases on
561:
was to a considerable extent built upon the rejection of
History Painting... All other genres are deemed capable of entering, in one form or another, the 'pantheon' of modernity considered, but History Painting is excluded".
1430:
874:
made good quality reproductions both relatively cheap and very widely accessible, and also hugely profitable for artist and publisher, as the sales were so large. Historical painting often had a close relationship with
1228:
538:. At the same time scenes of ordinary life with moral, political or satirical content became often the main vehicle for expressive interplay between figures in painting, whether given a modern or historical setting.
1306:
928:
526:, which marked a formal imitation of historical styles and/or artists. Another development in the nineteenth century was the treatment of historical subjects, often on a large scale, with the values of
1483:
310:, followed public and artistic opinion in judging the best painters above all on their production of large works of history painting (though in fact the only modern (post-classical) work described in
1185:
842:
calls this type of work the "Intimate
Romantic", and in French it was known as the "peinture de genre historique" or "peinture anecdotique" ("historical genre painting" or "anecdotal painting").
1466:
1206:
233:. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from secular history, rather than those from religious narratives, literature or mythology.
1013:
1409:
949:
1705:
See
Reynolds below; nonetheless he bowed to convention: "In conformity to custom, I call this part of the art history painting; it ought to be called poetical, as in reality it is." (
1090:
974:
826:
style") was a somewhat derisive French term for earlier paintings of medieval and
Renaissance scenes, which were often small and depicting moments of anecdote rather than drama;
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306:
900:
326:
in mosaic). Artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited.
1362:
1164:
859:. The provision of examples and expertise for artists, as well as revivalist industrial designers, was one of the motivations for the establishment of museums like the
879:, and painters like Matejko in Poland could play an important role in fixing the prevailing historical narrative of national history in the popular mind. In France,
155:
produced between the Renaissance and the late 19th century, after which the term is generally not used even for the many works that still meet the basic definition.
1115:
1557:
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in contemporary dress, he was firmly instructed to use classical costume by many people. He ignored these comments and showed the scene in modern dress. Although
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1387:
1866:
1042:
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uses both indiscriminately to cover "history painting", while saying "...it ought to be called poetical, as in reality it is", reflecting the French term
621:
by historical painting? Now-a-days it means the endeavour, by the power of imagination, to portray some historical event of past days." So for example
1788:
1239:
438:, the first body to organize regular exhibitions in London, awarded two generous prizes each year to paintings of subjects from British history.
300:, neither of which were completed. Scenes from ancient history and mythology were also popular. Writers such as Alberti and the following century
1334:
1031:
889:
painting was an alternative genre that offered similar exotic costumes and decor, and at least as much opportunity to depict sex and violence.
1420:
1063:
1548:
1628:
753:
851:
example of this is the extensive research of Byzantine architecture, clothing and decoration made in Parisian museums and libraries by
258:
The term is generally not used in art history in speaking of medieval painting, although the Western tradition was developing in large
209:
This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of
418:, a historiographer, architect and theoretician of French classicism became the classic statement of the theory for the 18th century:
32:, 1556–1559, a classic history painting, showing a dramatic moment in a mythological story, with elements of figure painting,
1289:
1216:
187:
History paintings were traditionally regarded as the highest form of Western painting, occupying the most prestigious place in the
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in French, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from
1718:
246:
147:
are therefore history paintings, as are most very large paintings before the 19th century. The term covers large paintings in
1815:
835:
329:
1568:
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techniques, the historical painting materials, their origin and trade, and their application in the painter’s workshop."
435:
1294:
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An influential formulation of the hierarchy of genres, confirming the history painting at the top, was made in 1667 by
263:
2116:
2075:
2044:
2023:
1998:
1970:
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292:
286:
1874:
369:, covering pagan myth, allegory, and scenes from fiction, which could not be regarded as true. The large works of
762:
484:, were matched by works, showing both victories and losses, from the anti-Napoleonic alliance by artists such as
170:
662:
505:
2061:
1984:
1053:
939:
827:
774:
2142:
1544:
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580:
334:
271:
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of monoscenic depictions of crucial moments in an implied narrative with unidentified characters, such as
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Initially, "history painting" and "historical painting" were used interchangeably in English, as when Sir
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The large production, using the finest French artists, of propaganda paintings glorifying the exploits of
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1602:
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44:
24:
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276:
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and scenes of formal surrenders and the like. Scenes from ancient history had been popular in the
1574:
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1100:
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continued to regard history painting as the ideal for their most ambitious works. Others such as
725:
493:
357:
There was some objection to the term, as many writers preferred terms such as "poetic painting" (
267:
1350:
1126:
730:
518:, 1822. Genre or history painting? The types have merged, in a way typical of the 19th century.
498:
407:
144:
1805:
2079:
2027:
1625:
1154:
1024:
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became associated with, and often expected in, history painting. In the Late Renaissance and
202:
127:
2002:
1635:
from The National Gallery of Art in Washington, DC; Green and Seddon, 7-8; Harrison, 105-106
1446:
1259:
636:" or "anecdotic" painting were often used for works in a line of development going back to
8:
1597:
1284:
1220:
1069:
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683:
641:
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The unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770,
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350:
188:
179:
174:
19:
1831:
1673:
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1149:
735:
1393:
1318:
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98:
33:
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were long considered, with those of Michelangelo, as the finest models for the genre.
241:
2112:
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2040:
2019:
1994:
1980:
1966:
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such as Géricault and Delacroix, and those from other movements such as the English
2090:
2032:
1415:
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535:
393:
385:
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1792:
1709:, IV); for debates over terminology in the Italian Renaissance, see Bull, 391–394
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1519:
1131:
980:
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602:
489:
339:
82:
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And when did you last see your father? The Victorian Painter and British History
1759:
Lectures on Architecture and Painting: Delivered at Edinburgh, in November, 1853
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1461:
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813:
805:
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750:(1830). These were heroic, but showed heroic suffering by ordinary civilians.
715:
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381:
301:
70:
1991:
History Painting Reassessed: The Representation of History in Contemporary Art
570:
454:(1770), an early example of the vogue for painting scenes from recent history.
139:
scenes. These groups were for long the most frequently painted; works such as
2131:
1954:
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906:
622:
546:
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By the later 19th century, history painting was often explicitly rejected by
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1977:
The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods
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in France became specialized painters of large historical subjects. The
801:
793:
614:
542:
527:
136:
477:, history painting often focused on depictions of the heroic male nude.
2095:
2068:
Canvases and Careers: Institutional Change in the French Painting World
2049:
1587:
1436:
1298:
839:
823:
469:
312:
259:
197:
94:
37:
1730:
Strong, 17, and 32–34 and generally on growth of historical painting.
1540:
1005:
Allegory of France as Minerva Trampling Ignorance and Crowning Virtue
558:
554:
132:
55:
441:
365:, covering history including biblical and religious scenes, and the
1345:
920:
687:, 1827–28, a small "Intimate Romantic" anecdotal scene from history
531:
481:
90:
66:
2086:
Scott's Historical Novels and French Historical Painting 1815-1855
121:
19th century were the most common subjects for history paintings.
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370:
251:
222:
114:
1867:"Entrada de Roger de Flor en Constantinopla | artehistoria.com"
1835:
1523:
1475:
1354:
1135:
988:
916:
626:
384:, allegories and historical scenes are mixed together, and the
317:
226:
152:
29:
1945:"The Death of History Painting in Nineteenth-Century Art?" PDF
660:, a set of three paintings, updating sets by Hogarth such as
106:
49:
206:
interactions between the figures by gesture and expression.
1807:
Narrating Modernity: The British Problem Picture, 1895-1914
565:
522:
In the mid-nineteenth century there arose a style known as
73:
or specific period. History paintings depict a moment in a
2009:
Artistes pompiers: French academic art in the 19th century
584:, 1858. The husband has discovered his wife's infidelity.
131:, Middle eastern culture as well as narrative scenes from
1962:
101:. The term is derived from the wider senses of the word
1847:
Strong, 36-40; Wright, 269-273, French terms on p. 269
361:), or wanted to make a distinction between the "true"
353:
allegory was the highest form of all history painting.
1951:, Volume 6, Number 1, Summer 2005, pp. 1–13(13)
1786:
Rijksmuseum, "Painting Techniques - Call for Papers"
1774:
As shown in the usages in Barlow, Strong, and Wright
1213:
Patrick Henry Before the Virginia House of Burgesses
515:
The Chelsea Pensioners reading the Waterloo Dispatch
2094:, Vol. 63, No. 2 (Jun., 1981), pp. 268–287,
1803:
632:In 19th-century British writing on art the terms "
158:History painting may be used interchangeably with
89:, opposed to a specific and static subject, as in
2129:
1810:. Ashgate Publishing, Ltd. p. 146 note 12.
530:, the depiction of scenes of everyday life, and
2070:, 1993 (2nd edn), University of Chicago Press,
1674:"The History of Painting. The evolution of Art"
117:, especially paintings from before about 1850.
16:Genre in painting defined by narrative subjects
2109:Picturing History: American Painting 1770–1903
625:'s three-volume catalogue of the paintings of
69:defined by its subject matter rather than any
262:, fresco cycles, and other works, as well as
1516:The Entry of Roger de Flor in Constantinople
1029:
857:The Entry of Roger de Flor in Constantinople
617:asked his audience: "What do you at present
229:periods, and still more so with the rise of
1097:Justice and Divine Vengeance Pursuing Crime
943:(1584–85), an allegorical history painting
691:History painting was the dominant form of
183:, 1786, with a scene from ancient history.
1032:École Nationale Supérieure des Beaux-Arts
388:show scenes from the Gospels, all in the
1290:The Finding of the Saviour in the Temple
1217:Red Hill Patrick Henry National Memorial
773:
752:
673:
569:
566:History painting and historical painting
504:
440:
328:
240:
169:
43:
18:
1659:Webster's Revised Unabridged Dictionary
247:The Meeting of Leo the Great and Attila
191:, and considered the equivalent to the
2130:
557:, and according to one recent writer "
221:, and once again became common in the
1993:, 2000, Manchester University Press,
1894:Strong, 24-26, 47-73; Wright, 269-273
1804:Pamela M. Fletcher (1 January 2003).
1671:
1569:An Incident in the Rebellion of 1745
2037:An Introduction to English Painting
1959:Artistic Theory in Italy, 1450-1660
1295:Birmingham Museum & Art Gallery
436:Society of Artists of Great Britain
77:, most often (but not exclusively)
13:
2101:
1265:Christ in the House of His Parents
52:Returning the Thirty Silver Pieces
14:
2154:
2123:
1856:Wright, throughout; Strong, 30-32
1739:Rothenstein, 16–17; Strong, 24–26
1442:Reply of the Zaporozhian Cossacks
1421:Proclamation of the German Empire
1989:Green, David and Seddon, Peter,
1838:1962, ed. by "Arkady Publishers"
1622:National Gallery, Glossary entry
1556:
1530:
1504:
1482:
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1429:
1408:
1386:
1361:
1333:
1305:
1277:
1252:
1240:Washington Crossing the Delaware
1227:
1205:
1184:
1163:
1142:
1114:
1089:
1062:
1041:
1012:
996:
973:
948:
927:
899:
783:Conversion of the Duke of Gandía
2018:, 2009, Yale University Press,
1924:
1915:
1906:
1897:
1888:
1859:
1850:
1841:
1824:
1797:
1777:
1768:
1751:
1742:
1467:Morning of Streltsy's Execution
985:Entry of Alexander into Babylon
763:The Execution of Lady Jane Grey
669:
2039:, 2002 (reissue), I.B.Tauris,
1733:
1724:
1712:
1699:
1690:
1665:
1647:
1638:
1615:
1054:Assassination of Julius Caesar
236:
1:
1937:
1539:The Welcome by the Mayors of
1323:
1104:
1079:
963:
940:An Allegory of Truth and Time
343:
1873:(in Spanish). Archived from
1834:: Dzieje Polski w obrazach,
1545:William IV, Prince of Orange
596:
335:Venus, Cupid, Folly and Time
272:Italian Renaissance painting
7:
2056:, 1978, Thames and Hudson,
1961:, 1940 (refs to 1985 edn),
1603:List of Orientalist artists
1581:
165:
10:
2159:
1245:Metropolitan Museum of Art
1197:Liberty Leading the People
1075:The Coronation of Napoleon
892:
861:Victoria and Albert Museum
798:Pre-Raphaelite Brotherhood
747:Liberty Leading the People
465:The Death of General Wolfe
451:The Death of General Wolfe
270:. It comes to the fore in
2011:, 1979, New York: Rizzoli
1949:Visual Culture in Britain
1402:National Museum in Warsaw
1030:
574:"No. 1, Misfortune" from
254:and his workshop, 1513–14
1626:History Painting Gallery
1608:
956:Allegory of Magnificence
912:The Battle of San Romano
838:painted such works. Sir
832:Richard Parkes Bonington
698:Antoine-Jean, Baron Gros
679:Richard Parkes Bonington
647:The Awakening Conscience
290:by Michelangelo and the
277:The Battle of San Romano
1696:Blunt, 11-12; Barlow, 1
1644:Green and Seddon, 11-15
1575:Palace of Holyroodhouse
1498:National Museum, Poznań
1176:The Last Day of Pompeii
268:illuminated manuscripts
195:in literature. In his
2107:Ayers, William (ed.),
2016:An Introduction to Art
1661:. The Free Dictionary.
1374:Stefan Batory at Pskov
1351:Warsaw National Museum
1127:The Second of May 1808
790:
771:
731:The Raft of the Medusa
688:
593:
545:movements such as the
519:
499:The Raft of the Medusa
455:
431:
425:
408:The Surrender of Breda
354:
255:
184:
145:Sistine Chapel ceiling
59:
41:
1549:Anne of Great Britain
1512:José Moreno Carbonero
1200:, 1830, Louvre, Paris
1155:Death of Sardanapalus
1025:The Death of Socrates
810:José Moreno Carbonero
779:José Moreno Carbonero
777:
756:
741:The Massacre at Chios
721:The Third of May 1808
677:
573:
508:
444:
426:
420:
332:
244:
203:Leon Battista Alberti
173:
47:
22:
2084:Wright, Beth Segal,
2066:White, Harrison C.,
1871:www.artehistoria.com
1757:Lecture IV, p. 172,
1447:State Russian Museum
1260:John Everett Millais
1101:Pierre-Paul Prud'hon
307:Lives of the Artists
2143:Works about history
2014:Harrison, Charles,
1979:, Oxford UP, 2005,
1921:Harding, throughout
1672:lobo (2020-07-02).
1598:History of painting
1537:Jacob Spoel, 1867,
1494:The Maid of Orléans
1285:William Holman Hunt
1070:Jacques-Louis David
1020:Jacques-Louis David
855:for his masterwork
702:Jacques-Louis David
684:Henri III of France
642:William Holman Hunt
611:peinture historique
189:hierarchy of genres
180:Oath of the Horatii
175:Jacques-Louis David
160:historical painting
1791:2013-05-31 at the
1719:Books.google.co.uk
1655:"History painting"
1631:2016-08-30 at the
1394:Battle of Grunwald
1319:Fredrick the Great
1317:Flute concerto of
1049:Vincenzo Camuccini
1003:Sebastiano Ricci,
866:New techniques of
791:
772:
726:Théodore Géricault
689:
663:Marriage à-la-mode
594:
520:
494:Théodore Géricault
462:proposed to paint
456:
355:
293:Battle of Anghiari
256:
185:
99:landscape painting
60:
42:
34:landscape painting
2138:History paintings
2033:Rothenstein, John
1817:978-0-7546-3568-0
1472:Tretyakov Gallery
1122:Francisco de Goya
960:Eustache Le Sueur
935:Annibale Carracci
693:academic painting
644:'s 1853 painting
592:complete the set.
475:French Revolution
298:Leonardo da Vinci
287:Battle of Cascina
219:early Renaissance
25:Diana and Actaeon
2150:
2091:The Art Bulletin
2007:Harding, James.
1931:
1928:
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1910:
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1832:Maciej Masłowski
1828:
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1547:and his Consort
1534:
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1449:, St. Petersburg
1433:
1416:Anton von Werner
1412:
1390:
1365:
1337:
1328:
1325:
1309:
1281:
1256:
1231:
1209:
1192:Eugène Delacroix
1188:
1167:
1150:Eugène Delacroix
1146:
1118:
1109:
1108: 1805–1808
1106:
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1016:
1000:
977:
968:
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952:
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903:
872:chromolithograph
853:Moreno Carbonero
819:style troubadour
794:Romantic artists
768:National Gallery
736:Eugène Delacroix
714:home or abroad:
657:Past and Present
634:subject painting
581:Past and Present
536:Troubadour style
510:Sir David Wilkie
394:High Renaissance
386:Raphael Cartoons
348:
345:
63:History painting
2158:
2157:
2153:
2152:
2151:
2149:
2148:
2147:
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2127:
2126:
2104:
2102:Further reading
1975:Bull, Malcolm,
1940:
1935:
1934:
1929:
1925:
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1916:
1911:
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1793:Wayback Machine
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1761:, 1854, Wiley,
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1158:, Louvre, Paris
1147:
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1132:Museo del Prado
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1107:
1094:
1085:
1082:
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981:Charles Le Brun
978:
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787:Museo del Prado
711:Napoleonic Wars
672:
638:William Hogarth
603:Joshua Reynolds
599:
568:
490:J. M. W. Turner
349:. According to
346:
340:Agnolo Bronzino
284:, the abortive
239:
168:
83:Roman mythology
75:narrative story
17:
12:
11:
5:
2156:
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2124:External links
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2012:
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1955:Blunt, Anthony
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814:Paul Delaroche
806:Vasily Surikov
758:Paul Delaroche
671:
668:
605:in his fourth
598:
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567:
564:
547:Impressionists
528:genre painting
416:André Félibien
392:that from the
382:Vatican Palace
351:André Félibien
302:Giorgio Vasari
238:
235:
167:
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128:Life of Christ
71:artistic style
65:is a genre in
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1912:Strong, 32-36
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1877:on 2018-11-16
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1313:Adolph Menzel
1308:
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908:
907:Paolo Uccello
902:
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882:L'art Pompier
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623:Harold Wethey
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2028:google books
2015:
2008:
2003:google books
1990:
1976:
1958:
1948:
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1917:
1908:
1903:Harding, 7-9
1899:
1890:
1879:. Retrieved
1875:the original
1870:
1861:
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1843:
1830:(In Polish)
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1692:
1681:. Retrieved
1678:Lobo Pop Art
1677:
1667:
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1649:
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1617:
1567:
1564:David Morier
1538:
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1379:oil painting
1372:
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1270:Tate Britain
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870:such as the
865:
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848:Walter Scott
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761:
745:
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719:
706:Carle Vernet
690:
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670:19th century
661:
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652:Augustus Egg
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579:
576:Augustus Egg
549:(except for
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141:Michelangelo
126:
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62:
61:
48:
23:
2050:Strong, Roy
1490:Jan Matejko
1398:Jan Matejko
1369:Jan Matejko
1341:Jan Matejko
1327: 1852
1179:, 1827–1833
1083: 1807
967: 1654
887:Orientalist
877:Nationalism
868:printmaking
863:in London.
808:in Russia,
804:in Poland,
802:Jan Matejko
744:(1824) and
734:(1818–19),
615:John Ruskin
543:avant-garde
524:historicism
347: 1545
260:altarpieces
237:Development
137:allegorical
135:, and also
2132:Categories
2062:0500271321
1985:0195219236
1938:References
1881:2018-11-16
1707:Discources
1683:2023-06-08
1588:Classicism
1437:Ilya Repin
1299:Birmingham
1247:, New York
840:Roy Strong
824:troubadour
555:Symbolists
553:) and the
470:George III
313:De Pictura
264:miniatures
198:De Pictura
95:still life
38:still-life
1930:White, 91
1748:Barlow, 1
1541:Rotterdam
1221:Brookneal
1007:, 1717–18
607:Discourse
597:The terms
559:Modernism
403:Velázquez
323:Navicella
201:of 1436,
133:mythology
56:Rembrandt
1789:Archived
1629:Archived
1582:See also
1514:, 1888,
1496:, 1886,
1470:, 1881,
1400:, 1878,
1381:, (1872)
1349:, 1862,
1346:Stanczyk
1272:, London
1243:, 1851,
1215:, 1851,
1152:, 1827,
1124:, 1814,
1022:, 1787,
983:, 1664,
921:Florence
789:, Madrid
785:, 1881,
770:, London
766:, 1833,
724:(1814),
532:anecdote
482:Napoleon
320:'s huge
166:Prestige
111:histoire
103:historia
91:portrait
67:painting
1036:, Paris
991:, Paris
893:Gallery
590:Despair
398:Baroque
380:in the
376:In the
371:Raphael
363:istoria
304:in his
252:Raphael
223:Baroque
115:history
58:, 1629.
2115:
2074:
2060:
2043:
2022:
1997:
1983:
1969:
1836:Warsaw
1814:
1573:1746,
1524:Madrid
1476:Moscow
1424:, 1885
1355:Warsaw
1136:Madrid
1057:, 1805
989:Louvre
917:Uffizi
828:Ingres
627:Titian
586:Prayer
367:fabula
359:poesia
318:Giotto
227:Rococo
153:fresco
97:, and
30:Titian
2096:JSTOR
1609:Notes
834:and
107:Latin
79:Greek
50:Judas
2113:ISBN
2072:ISBN
2058:ISBN
2041:ISBN
2020:ISBN
1995:ISBN
1981:ISBN
1967:ISBN
1812:ISBN
716:Goya
619:mean
588:and
488:and
486:Goya
225:and
193:epic
109:and
85:and
81:and
36:and
1963:OUP
1543:of
1396:by
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728:'s
718:'s
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650:or
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316:is
296:by
280:by
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