Carpets in paintings by Gérôme, his former pupil Osman Hamdi Bey, Georges Rochegrosse, Pierre Bonnard and Paul Nash.
Alma-Tadema
Even the boldest of artists has avoided painting abandoned babies, except in the Biblical story of Moses. Veronese, Poussin, Sirani, Moreau and more.
John Collier’s latest ‘problem picture’ became the most popular event in the Royal Academy’s annual exhibition.
More virtuoso glassware as painted by William Holman Hunt, Chase, De Nittis, Vallotton, and others in the 19th century.
Tintoretto to a friend, Antonello’s cartellini, Alma-Tadema’s dedication of a wedding present in some graffiti, and some mysterious Venetians.
Rembrandt’s Belshazzar’s Feast, Tintoretto, William Blake, and Lawrence Alma-Tadema’s painting of Sappho each rely on words.
Gretchen and Faust become lovers, but her mother dies as a result of Faust’s sleeping potion, and he kills her brother in a sword-fight.
Viewed as classic and fit for narrative painting, Faust is about good and evil, a powerful story which has inspired powerful paintings.
As Europe slid into the Dark Ages, one king emerged to rule much of what is now France, with one religion, a code of law, and its capital in Paris.
The story of a Renaissance city-state on Sardinia, a good mother, and the state funeral of a great Greek general on Sicily – some of the paintings shown.
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