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首页 > 注册新宝GG作品> 国外著名画家作品欣赏 > 格罗斯_安托万-让·格罗斯注册新宝GG
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  格罗斯_安托万-让·格罗斯注册新宝GG 总共10幅作品,本页1 - 10幅。 更新时间于:2017年03月03日

 

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格罗斯_安托万-让·格罗斯注册新宝GG作品欣赏全集,Antoine-Jean, Baron Gros 格罗,安托万 - 让·格罗斯,男爵(3月16日出生,1771年,巴黎,法国,死于1835年6月26日,巴黎),法国浪漫主义画家主要是想起他的历史图片,描绘拿破仑的军事生涯中的重要事件。格罗斯收到来自他的父亲,是一个袖珍的画家,他的第一个艺术培训。在1785年,他进入了他父亲的朋友雅克 - 路易·大卫,他崇敬,但其脑忤格罗斯的浪漫多情的天性的新古典主义风格的工作室。作为一名学生,他更充满活力的笔触和彼得·保罗·鲁本斯和威尼斯人的颜色比他同时代的新古典主义的硬linearism影响。在大卫的帮助下,于1793年,格罗斯来到意大利,在热那亚,他会见了约瑟芬·Beauharnais,通过她,他的英雄,拿破仑。在1796年,他跟随法国军队Arcole和被提出时,拿破仑种植法国国旗上的桥梁。这件事,他在他的第一个上的桥在Arcole(1796),拿破仑的主要工作,永生。拿破仑对他赋予排名inspecteur辅助讽刺时事的滑稽剧。他陪同他的竞选拿破仑和卢浮宫选择来自意大利的艺术作品也有帮助。所有的艺术家,谁促成了拿破仑的神话,格罗斯上影响最深远的浪漫主义画家正在成长的一代。优雅,丰富,这样的历史画,参观拿破仑在雅法(1804年)和拿破仑在1807年二月(1808)影响杰里柯和德拉克罗瓦Eylau,战场上的Pesthouse戏剧性的权力。拿破仑倒台后,恢复波旁王朝(谁给了格罗斯的男爵称号),大卫被迫流亡和格罗斯成了他的工作室的头。作为新古典主义的继承人,格罗斯试图在风格接近大卫。他继续画大的成分,例如,卢浮宫的埃及房间的天花板(约1824),但这些学术新古典主义的图画缺乏浪漫的生命力,他早期的历史画。他最好的作品是1815年后的画像,其中一些接近他拿破仑的图片,例如,年轻的姑娘在项链(1913年展出)的质量。然而,他不断地困扰着大卫的批评,他的工作,并成为越来越不满意自己的成就。一个失败感加剧他已经忧郁的性质,他是自杀。格罗斯_安托万-让·格罗斯注册新宝GG作品欣赏全集

Antoine-Jean, Baron Gros, (born March 16, 1771, Paris, France—died June 26, 1835, Paris), French Romantic painter principally remembered for his historical pictures depicting significant events in the military career of Napoleon. Gros received his first art training from his father, who was a painter of miniatures. In 1785 he entered the studio of his father’s friend Jacques-Louis David, whom he revered but whose cerebral Neoclassical style was uncongenial to Gros’s romantically passionate nature. As a student he was more influenced by the energetic brushwork and colour of Peter Paul Rubens and the Venetians than the hard linearism of his contemporary Neoclassicists. In 1793, with David’s help, Gros went to Italy, where, in Genoa, he met Joséphine de Beauharnais and, through her, his hero, Napoleon. In 1796 he followed the French army to Arcole and was present when Napoleon planted the French flag on the bridge. This incident he immortalized in his first major work, Napoleon on the Bridge at Arcole (1796). Napoleon bestowed on him the rank of inspecteur aux revues. He accompanied Napoleon on his campaigns and also helped select works of art from Italy for the Louvre. Of all the artists who contributed to the Napoleonic myth, Gros had the most profound effect on the rising generation of Romantic painters. The elegance, richness, and dramatic power of such historical paintings as Napoleon Visiting the Pesthouse at Jaffa (1804) and Napoleon on the Battlefield at Eylau, February 1807 (1808) influenced Théodore Géricault and Eugène Delacroix. After the fall of Napoleon and the restoration of the Bourbons (who gave Gros the title of baron), David was forced into exile and Gros became the head of his studio. As the heir of Neoclassicism, Gros tried to work in a style closer to that of David. He continued to paint large compositions—e.g., the ceiling of the Egyptian room of the Louvre (c. 1824)—but these academically Neoclassical pictures lacked the Romantic vitality of his earlier historical paintings. His best works after 1815 were portraits, some of which approached the quality of his Napoleonic pictures—e.g., Young Girl in a Necklace (exhibited 1913). He was, however, continually plagued by David’s criticism of his work and became increasingly dissatisfied with his own accomplishments. A sense of failure exacerbated his already melancholic nature, and he committed suicide.



 
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