Iphigenian uhri
Iphigenian uhri (Iphigenian uhri) c1680, ranskalainen taidemaalari Charles de La Fosse (1636 – 1716); tunnetaan monista julkisten rakennusten koristeistaan kaikkialla Euroopassa.
Tämä on toinen versio The Sacrifice of Iphigeniasta, a Greek Mythological story in which Agamemnon on his way to the Trojan War, loukkaa jumalatar Artemista; who in retaliation for his offense prevents the Greek troops from reaching Troy.
In order to make up for his disrespect of Artemis Agamemnon must sacrifice Iphigenia at Aulis, kreikkalainen satamakaupunki, joka sijaitsee muinaisessa Boeotiassa Keski -Kreikassa, Euripuksen salmessa, vastapäätä Euboian saarta.
Iphigenian uhri on retusoitu digitaalisen taiteen vanhojen mestarien kopio julkisesta kuvasta, Kuten kaikki taideteokset, jotka löytyvät Xzendor7-verkkosivustolta, ovat ostettavissa verkosta useissa eri materiaalimuodoissa, mukaan lukien kanvasvedokset, akryyliprintit, metalliprintit, puu tulosteita, kehystetyt printit, julisteita, ja kuten rullatut kanvasprintit eri kokoja alkaen 12 tuumaa 72 tuumaa riippuen todellisen taideteoksen koosta ja tilauspainatusliikkeestä, josta haluat ostaa taiteen.
Tiedot alla Wikipedia.org
He was one of the most noted and least servile pupils of Le Brun, under whose direction he shared in the chief of the great decorative works undertaken in the reign of Louis XIV. Leaving France in 1662, he spent two years in Rome and three in Venice. The influence of his prolonged studies of Veronese is evident in his Finding of Moses (Louvre), and in his Rape of Proserpine (Louvre), which he presented to the Royal Academy as his diploma picture in 1673.
He was at once named assistant professor, ja sisään 1674 the full responsibilities of the office devolved on him, but his engagements did not prevent his accepting in 1689 the invitation of Lord Montagu to decorate Montagu House situated in Bloomsbury.
He visited London twice, remaining on the second occasion—together with Jacques Rousseau and Monnoyer more than two years. William III vainly strove to detain him in England by the proposal that he should decorate Hampton Court, for Le Brun was dead, and Mansart pressed La Fosse to return to Paris to take in hand the cupola of Les Invalides.
The decorations of Montagu House are destroyed, those of Versailles are restored, and the dome of the Invalides (engraved, Picart and Cochin) is now the only work existing which gives a full measure of his talent. During his latter years La Fosse executed many other important decorations in public buildings and private houses, notably in that of Crozat, under whose roof he died on 13 joulukuu 1716.
The artis’t works and conception played a key role in the French art history from shifting the classicism of the French style from the court of Louis XIV towards the lighter and more playful Rococo period’s style. La Fosse’s style prior to his emergence from the shadow of Le Brun remains a mystery, with very few sheets by him dating earlier than 1680.