Antonio Canova, Orpheus and Eurydice (1775-76). Stone. Museo Correr, Venice.

Antonio Canova, Orpheus and Eurydice (1775-76). Stone. Museo Correr, Venice.

Francisco de Goya y Lucientes, Self-portrait. Etching, 20,1 x 14,8 cm. Museum of Fine Arts, Boston.

Francisco de Goya y Lucientes, Self-portrait. Etching, 20,1 x 14,8 cm. Museum of Fine Arts, Boston.

Francisco de Goya y Lucientes, The Chinchillas (1799). Etching and aquatint, 210 x 150 mm.

Francisco de Goya y Lucientes, The Chinchillas (1799). Etching and aquatint, 210 x 150 mm.

Jacques-Louis David, The Death of Bara (1794). Oil on canvas, 119 x 156 cm. Musée Calvet, Avignon.
'Only the French', declared the Convention's leader, Robespierre, 'have  thirteen-year-old heroes.' This distinctly dubious compliment referred  to the boy Joseph Bara, who disguised himself as a hussar in order to  accompany Republican troops against rebel forces. News of his death  reached Paris late in 1793, and under pressure to acknowledge popular  feeling and protect his government, Robespierre insisted on full  Pantheon honours for the boy. (www.wga.hu).

Jacques-Louis David, The Death of Bara (1794). Oil on canvas, 119 x 156 cm. Musée Calvet, Avignon.

'Only the French', declared the Convention's leader, Robespierre, 'have thirteen-year-old heroes.' This distinctly dubious compliment referred to the boy Joseph Bara, who disguised himself as a hussar in order to accompany Republican troops against rebel forces. News of his death reached Paris late in 1793, and under pressure to acknowledge popular feeling and protect his government, Robespierre insisted on full Pantheon honours for the boy. (www.wga.hu).

Jacques-Louis David, The Death of Marat (1793). Oil on canvas, Musées Royaux des Beaux-Arts, Brussels.
In his left hand Marat holds Charlotte Corday’s deceitful note that  reads (in David’s own handwriting): ‘July 13 1793: Marie-Anne-Charlotte  Corday to citizen Marat/ It is enough for me to be truly wretched to  have a right to your kindness’. Corday’s actual note to Marat had ended:  I am being persecuted for the sake of Liberty; I am unhappy, that is  sufficient to give me the right to your protection’, and the change in  wording suggests that she accomplished her murderous deed by appealing  to Marat’s kind-hearted sympathy. (www.wga.hu).

Jacques-Louis David, The Death of Marat (1793). Oil on canvas, Musées Royaux des Beaux-Arts, Brussels.

In his left hand Marat holds Charlotte Corday’s deceitful note that reads (in David’s own handwriting): ‘July 13 1793: Marie-Anne-Charlotte Corday to citizen Marat/ It is enough for me to be truly wretched to have a right to your kindness’. Corday’s actual note to Marat had ended: I am being persecuted for the sake of Liberty; I am unhappy, that is sufficient to give me the right to your protection’, and the change in wording suggests that she accomplished her murderous deed by appealing to Marat’s kind-hearted sympathy. (www.wga.hu).

THORVALDSEN, Berthel. Ganymede Waters Zeus as an Eagle (1817). Marble, height 93,5 cm. Thorvaldsens Museum, Copenhagen.

THORVALDSEN, Berthel. Ganymede Waters Zeus as an Eagle (1817). Marble, height 93,5 cm. Thorvaldsens Museum, Copenhagen.

Hippolyte Flandrin, Naked Young Man Sitting by the Sea (1855). Oil on canvas, 98 x 124 cm. Musée du Louvre, Paris.

Hippolyte Flandrin, Naked Young Man Sitting by the Sea (1855). Oil on canvas, 98 x 124 cm. Musée du Louvre, Paris.

Jean-Auguste Dominique INGRES, Portrait of Louis-François Bertin (1832). Oil on canvas, 116 x 95 cm. Musée du Louvre, Paris.

Jean-Auguste Dominique INGRES, Portrait of Louis-François Bertin (1832). Oil on canvas, 116 x 95 cm. Musée du Louvre, Paris.

Antonio Canova, Monument to Archduchess Maria Christina (detail), 1798-1805. Augustinian Church, Vienna.

Antonio Canova, Monument to Archduchess Maria Christina (detail), 1798-1805. Augustinian Church, Vienna.

Lawrence Alma-Tadema, Sappho and Alcaeus (1881). Oil on canvas. The Walters Art Museum, Baltimore, Maryland.

Lawrence Alma-Tadema, Sappho and Alcaeus (1881). Oil on canvas. The Walters Art Museum, Baltimore, Maryland.

INGRES, Jean-Auguste-Dominique, Roger Freeing Angelica (1819).
Oil on canvas, 147 x 190 cm. Musée du Louvre, Paris.

INGRES, Jean-Auguste-Dominique, Roger Freeing Angelica (1819).

Oil on canvas, 147 x 190 cm. Musée du Louvre, Paris.

DAVID, Jacques-Louis. Homer Reciting his Verses to the Greeks (1794).
Black and red chalk, pen, ink and wash, 272 x 345 mm. Musée du Louvre, Paris.

DAVID, Jacques-Louis. Homer Reciting his Verses to the Greeks (1794).

Black and red chalk, pen, ink and wash, 272 x 345 mm. Musée du Louvre, Paris.

DAVID, Jacques-Louis. Deputies swearing oaths (1791).
Pen, ink and wash with black chalk, 490 x 600 mm. Musée National du Château, Versailles.

DAVID, Jacques-Louis. Deputies swearing oaths (1791).

Pen, ink and wash with black chalk, 490 x 600 mm. Musée National du Château, Versailles.

beingyourhero:

Antonio Canova The Three Graces

beingyourhero:

Antonio Canova The Three Graces

ourladyofperpetualastonishment:

Antonio Canova, Monumento a Clemente XIII.

ourladyofperpetualastonishment:

Antonio Canova, Monumento a Clemente XIII.