Timeline of World History TIMELINE OF WORLD HISTORY



1800 - 1899
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
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1820 - 1829
History at a Glance
1820 Part I
Ferdinand VII
Trienio Liberal
Caroline of Brunswick
Charles Ferdinand, Duke of Berry
Henri, Count of Chambord
Cato Street Conspiracy
"Missouri Compromise"
Congress of Troppau
Liberal Revolution in Portugal
Ecuadorian War of Independence
Sucre Antonio Jose
Engels Friedrich
Erskine Thomas
Gorres Joseph
Spencer Herbert
1820 Part II
Keats: "Ode to a Nightingale"
Pushkin: "Ruslan and Ludmila"
Fet Afanasy
Scott: "Ivanhoe"
Shelley: "Prometheus Unbound"
William Blake: The Book of Job
Tenniel John
Discovery of the Venus de Milo
Fromentin Eugene
Vieuxtemps Henri
Henri Vieuxtemps - Elegy for Viola and Piano Op.30
Henri Vieuxtemps
Moffat Robert
Florence Nightingale
Anthony Susan Brownell
1821 Part I
Congress of Laibach
Victor Emmanuel I
Felix Charle
Battle of Novara
Greek War of Independence
Greek Revolution Timeline
Battle of Alamana
Battle of Carabobo
Independence of Brazil
Ecole Nationale des Chartes
Concordats with individual states of Germany
Baker Eddy Mary
Grote George
Hegel: "Grundlinien der Philosophie des Rechts"
Mill James
Champollion Jean-François
1821 Part II
Baudelaire Charles
Charles Baudelaire
"The Flowers of Evil"
Fenimore Cooper: "The Spy"
Dostoevsky Fyodor
Fyodor Dostoyevsky
"The Idiot"
Flaubert Gustave
Gustave Flaubert
Madame Bovary
Goethe: "Wilhelm Meisters Wanderjahre"
William Hazlitt: "Table-Talk"
Quincey Thomas
Thomas de Quincey: "Confessions of an English Opium Eater"
Thomas De Quincey 
"Confessions of an English Opium-Eater"
Shelley: "Adonais"
Nekrasov Nekolay
Brown Ford Madox
Ford Madox Brown
Weber: "Der Freischutz"
Helmholtz Hermann
Seebeck Thomas Johann
Virchow Rudolf
Wheatstone Charles
"The Guardian"
1822 Part I
Chios Massacre
Battle of Dervenakia
Grant Ulysses
Iturbide Augustin
Congress of Verona
Colebrooke Henry Thomas
Fourier Joseph
Poncelet Jean-Victor
Goncourt Edmond
Nodier Charles
Vigny Alfred-Victor
1822 Part II
Delacroix: "Dante and Virgil Crossing the Styx"
Martin John
John Martin
Franck Cesar
Cesar Franck - Prelude, Chorale and Fugue
Cesar Franck
Royal Academy of Music, London
Schubert: Symphony No. 8 ("The Unfinished")
Mendel Gregor
Pasteur Louis
Schliemann Heinrich
1823 Part I
Federal Republic of Central America
Monroe Doctrine
Renan Ernest
Ernest Renan
"The Life of Jesus"
Fenimore Cooper: "The Pioneers"
Ostrovski Alexander
Petofi Sandor
Yonge Charlotte Mary
1823 Part II
Ferdinand Waldmuller: "Portrait of Beethoven"
Beethoven: "Missa Solemnis"
Bishop Henry Rowley
Bishop "Home! Sweet Home!"
Schubert: "Rosamunde"
Weber: "Euryanthe"
Babbage Charles
Macintosh Charles
Navigation of the Niger
Oudney Walter
Denham Dixon
Clapperton Bain Hugh
"The Lancet"
Royal Thames Yacht Club
1824 Part I
First Anglo-Burmese War (1824–1826)
Russo-American Treaty of 1824
First Siege of Missolonghi
Constitution of Mexico
Battle of Ayacucho
Bockh August
Botta Carlo Giuseppe Guglielmo
Dumas Alexandre, fils
Landor Walter Savage
Walter Scott: "Redgauntlet"
1824 Part II
Delacroix: "The Massacre at Chios"
John Flaxman: "Pastoral Apollo"
Ingres: "Vow of Louis XIII"
Israels Joseph
Joseph Israels
Overbeck: "Christ's entry into Jerusalem"
Gerome Jean-Leon
Jean-Leon Gerome
Boulanger Gustave
Gustave Boulanger
Girodet Anne-Louis
Anne-Louis Girodet-Trioson
1824 Part III
Beethoven: Symphony No. 9
Bruckner Anton
Anton Bruckner - Locus Iste
Anton Bruckner
Smetana Bedrich
Smetana - Die Moldau
Bedrich Smetana
Aspdin Joseph
Carnot Sadi
Thomson William
The Hume and Hovell expedition
Hume Hamilton
Hovell William Hilton
Athenaeum Club, London
"Le Globe"
Royal Society for the Prevention of Cruelty to Animals
1825 Part I
Ferdinand IV of Naples
Francis I of the Two Sicilies
Third Siege of Missolonghi
Treaty of Saint Petersburg of 1825
Uruguay became independent of Brazil (1825)
Kruger Paul
Maximilian I
Ludwig I of Bavaria
Nicholas I
Decembrist revolt in Russia
1825 Part II
Lasalle Ferdinand
William Hazlitt: "The Spirit of the Age"
Manzoni: "The Betrothed"
Meyer Conrad Ferdinand
Pepys Samuel: "The Diaries of Samuel Pepys"
Pushkin: "Boris Godunov"
Tegner Esaias
Esaias Tegner: "Frithjofs Saga"
Constable: "Leaping Horse"
Collinson James
James Collinson
1825 Part III
Boieldieu: "La Dame blanche"
Strauss II Johann , the "Waltz King"
Johan Strauss - Blue Danube Waltz
Johann Strauss II, the "Waltz King"
Charcot Jean Martin
Gurney Goldsworthy
Stockton and Darlington Railway
The Desert
Caillie Rene-Auguste
Laing Alexander Gordon
John Franklin Canadian and Arctic expedition
Trade Union
1826 Part I
The Sortie of Missolonghi
Ottoman–Egyptian Invasion of Mani
Treaty of Yandabo
Pedro I
Maria II, Queen of Portugal
Akkerman Convention
Congress of Panama
Russo-Persian War of 1826-1828
Khan Dost Mohammad
1826 Part II
Liebknecht Wilhelm
Ruan Yuan
Fenimore Cooper: "The Last of the Mohicans"
Benjamin Disraeli: "Vivian Grey"
Scheffel Josef Viktor
Scott: "Woodstock"
Moreau Gustave
Gustave Moreau
Weber: "Oberon"
Nobili Leopoldo
Unverdorben Otto
Raffles Stamford
1827 Part I
Battle of Phaleron
Kapodistrias Ioannis Antonios
Siege of the Acropolis (1826–27)
Treaty of London
Battle of Navarino
Mahmud II
Russo-Persian War - Campaign of 1827
Coster Charles
1827 Part II
Bocklin Arnold
Arnold Bocklin
Constable: "The Cornfield"
Hunt William Holman
William Holman Hunt
Audubon John James
Audubon: "Birds of North America"
Baer Karl Ernst
Bright Richard
Lister Joseph
Niepce Nicephore
Ohm Georg Simon
Ressel Joseph
Simpson James
Wohler Friedrich
Baedeker Karl
"London Evening Standard"
1828 Part I
Ypsilantis Alexander
Russo-Turkish War of 1828–1829
"Tariff of Abominations"
Treaty of Montevideo
Guerrero Vicente
Lange Friedrich Albert
Muller Karl Otfried
Taine Hippolyte Adolphe
Noah Webster "American Dictionary of the English Language"
About Edmond
Alexandre Dumas pere: "Les Trois Mousquetaires"
Ibsen Henrik
Meredith George
George Meredith 
"The Egoist"
Oliphant Margaret
Tolstoy Leo
Leo Tolstoy
"The Kreutzer Sonata"
Verne Jules
Jules Verne
"Twenty Thousand Leagues Under the Sea."
"The Children of Captain Grant"
"The Mysterious Island"
1828 Part II
Bonington Richard Parkes
Richard Parkes Bonington
Rossetti Dante Gabriel
Dante Gabriel Rossetti
Stevens Alfred
Alfred Stevens
Stuart Gilbert
Gilbert Stuart
Auber: "La Muette de Portici"
Marschner: "Der Vampire"
Abel Niels Henrik
Burdon-Sanderson John
Cohn Ferdinand
De Vinne Theodore
Stewart Balfour
Swan Joseph
Dunant Henri
Hauser Kaspar
Working Men's Party
1829 Part I
Schurz Carl
Biddle Nicholas
Metropolitan Police Act 1829
First Hellenic Republic
Treaty of Adrianople
Attwood Thomas
Bustamante Anastasio
O’Connell Daniel
Gran Colombia–Peru War (1828-1829)
Benson Edward White
Roman Catholic Emancipation Act
Gardiner Samuel Rawson
Balzac: "Les Chouans"
Goethe: "Wilhelm Meisters Wanderjahre"
Jefferson Joseph  
Edgar Allan Poe: "Al Araaf"
Salvini Tommaso
Scott: "Anne of Geierstein"
Timrod Henry
Warner Charles Dudley
1829 Part II
Feuerbach Anselm
Anselm Feuerbach
Millais John Everett
John Everett Millais
Gottschalk Louis
Louis Moreau Gottschalk - Grande Tarantelle
Louis Gottschalk
Rossini: "William Tell"
Rubinstein Anton
Rubinstein - Piano Concerto No. 1
Anton Rubinstein
1829 Part III
Cantor Moritz Benedikt
Dobereiner Johann Wolfgang
Dreyse Nikolaus
Henry Joseph
Priessnitz Vincenz
Hydropathy, Hydrotherapy
Kekule August
Mitchell Silas Weir
Smithson James
Booth William
Salvation Army
Shillibeer George

Delacroix: "The Massacre at Chios"
YEAR BY YEAR:  1800 - 1899
1824 Part II
Delacroix: "The Massacre at Chios"

The Massacre at Chios (French: Scène des massacres de Scio) is the second major oil painting by the French artist Delacroix Eugene. The work is more than four meters tall, and shows some of the horror of the wartime destruction visited on the Island of Chios. A frieze-like display of suffering characters, military might, ornate and colourful costumes, terror, disease and death is shown in front of a scene of widespread desolation.

Unusually for a painting of civil ruin during this period, The Massacre at Chios has no heroic figure to counterbalance the crushed victims, and there is little to suggest hope among the ruin and despair. The vigour with which the aggressor is painted, contrasted with the dismal rendition of the victims has drawn comment since the work was first hung, and some critics have charged that Delacroix might have tried to show some sympathy with the brutal occupiers. The painting was completed and displayed at the Salon of 1824 and presently hangs at the Musée du Louvre in Paris.

Delacroix: "The Massacre at Chios"
A military attack on the inhabitants of Chios by Ottoman forces commenced on 11 April, 1822 and was prosecuted for several months into the summer of the same year. The campaign resulted in the deaths of twenty thousand citizens, and the forced deportation into slavery of almost all the surviving seventy thousand inhabitants.
Delacroix had been greatly impressed by his fellow Parisien Théodore Géricault's The Raft of the Medusa, a painting for which he himself modeled as the young man at the front with the outstretched arm. The pyramidal arrangement that governs Géricault's painting is similarly seen with the figures in the foreground of The Massacre at Chios. On this unlikely layout of characters, Delacroix commented, "One must fill up; if it is less natural, it will be more beautiful and fécond. Would that everything should hold together!" The dense assembly of characters at the front is in marked contrast to the open and dispersed spaces behind them. Land and sea, light and shade run appear as bands of drifting colours listlessly running into each other, and Delacroix appears to abandon the laws of perspective altogether with his rendering of clouds. The complete effect of this background is to suggest a constant opening out, dissolution and centrelessness.
Compositional structure of two human pyramids
Aesthetician Heinrich Wölfflin identified this technique, and classified it a tectonic form.

The thirteen civilians—men, women and children–have been rounded up for slaughter or enslavement. They are harshly presented to the viewer in an almost flat plane; slumped, disordered, and unevenly distributed. Their arrangement principally comprises two human pyramids–one pyramid to the left of the canvas culminating in the man with the red fez, and the other to the right culminating in the mounted soldier. The area between the two pyramids contains two soldiers in shadow, and two more Greek victims–a young man embraced by a young woman. The two men in the pyramid to the left are injured. The man at the front is on or near to the point of death, and the man poised at the top of the group appears unable to prepare a defence for himself. His gaze is in the direction of the suffering children in front of him, but it does not fall on them. This seeming detachment, coupled with the vacant stare of the dying man lend to this group an air of despondent resignation.

Delacroix: "The Massacre at Chios" (detail)
In contrast, the human pyramid to the right has a vigorous vertical thrust. The writhing of the woman tied to the horse, the upward reaching stretch of the figure to her left, the shocking mane of the horse, and the twisting and commanding figure of the soldier upon it, all give dynamism to the grouping as it rises. But at the foot of the pyramid, an old woman raises her head to gaze into the sky, and to her right a baby seeks maternal comfort from a clenched-fisted corpse. Body parts including a hand and forearm, and an indistinct, congealed bloody mass hover grimly above the infant.

Of the rear, Elisabeth A. Fraser notes that "[t]he background cuts through the centre of the composition and drops inexplicably out and back from the cluster of [foreground] figures." This dramatic arrangement breaks the picture apart into fragments, with clumps of tangled bodies, scattered glances and other details competing for the viewers attention. In the middle distance, another mêlée of humanitarian disaster unfolds, and the background is an uneven display of sacked, burning settlements and scorched earth. Most of the Mediterranean horizon is painted with bleak earth colours, and it is punctuated only by smoke, the mane of the rearing horse and the head of the soldier.


Delacroix: "The Massacre at Chios" (detail). Figure of the old woman at the foot of the painting
Delacroix reveals over a number of weeks’ entries in his Journal a desire to try to get away from the academically sound and muscular figures of his previous work Dante and Virgil in Hell. Two studies Delacroix worked on at this time, Head of a Woman, and Girl Seated in a Cemetery show the combination of unexaggerated modelling and accented contour he was striving to incorporate into his larger work. The final treatment of figures in the Massacre is however less consistent than these two studies. The flesh of the dead (or dying) man at the front is for instance strongly colouristically rendered, contrasting with the more tonal modelling of the nude to the right, and the Veronese-like schematic modelling of the baby.

Delacroix: "The Massacre at Chios" (detail)
On 15 September 1821, Delacroix wrote to his friend Raymond Soulier that he wanted to make a reputation for himself by painting a scene from the war between the Ottomans and the Greeks, and have this painting displayed at the Salon. At this time Delacroix was not famous, and had yet to paint a canvas that was to be hung for public display. In the event, he decided to paint his Dante and Virgil in Hell, but even as this painting was revealed to the public in April 1822, the atrocities at Chios were being meted out in full force. In May 1823, Delacroix committed to paint a picture about the massacre.

When the Salon of 1824 opened on 25 August—an unusually late date for this institution—Delacroix's picture was shown there as exhibit no. 450 and entitled "Scènes des massacres de Scio; familles grecques attendent la mort ou l'esclavage, etc. " (English:Scenes of massacres at Chios; Greek families awaiting death or slavery, etc..) The painting was hung in the same room that housed Ingres’ The Oath of Louis ⅩIII. This display of two works exemplifying such different approaches to the expression of form marked the beginning of the public rivalry between the two artists. Delacroix thought this was the moment the academy began to regard him as an "object of antipathy".

Alexandre Dumas reported that "there is always a group in front of the picture ..., painters of every school engaged in heated discussion". Both Dumas and Stendhal remarked that they thought the picture was a depiction of a plague, which in part it was. Gros, from whose Plague of Jaffa Delacroix had noticeably borrowed, called it "the massacre of painting". Ingres said the painting exemplified the ‘fever and epilepsy’ of modern art. Critics Girodet and Thiers were, however, more flattering, and the painting was sufficiently well regarded for the state to purchase it the same year for the Musée du Luxembourg for 6000 francs. In November 1874 it was transferred to the Musée du Louvre.

From Wikipedia, the free encyclopedia

Eugene Delacroix
  Neoclassicism and Romanticism
Realism, Impressionism and
John Flaxman: "Pastoral Apollo"

Flaxman John. "Pastoral Apollo"

Flaxman John. "Pastoral Apollo" (details)
John Flaxman
  Neoclassicism and Romanticism
Realism, Impressionism and
Gericault Theodore, Fr. painter, d. (b. 1790)

Gericault Theodore. The Wreck. 1821-24
Theodore Gericault
  Neoclassicism and Romanticism
Realism, Impressionism and
Ingres: "Vow of Louis XIII"

Ingres Jean-Auguste-Dominique. "Vow of Louis XIII"
Jean-Auguste-Dominique Ingres
  Neoclassicism and Romanticism
Realism, Impressionism and
Israels Joseph
Jozef Israels (27 January 1824 – 12 August 1911) was a Dutch painter, and "the most respected Dutch artist of the second half of the nineteenth century".
He was born in Groningen, of Jewish parents. His father, Hartog Abraham Israels, intended for him to be a businessman, and it was only after a determined struggle that he was allowed to enter on an artistic career. However, the attempts he made under the guidance of two second-rate painters in his native town Buys and van Wicheren while still working under his father as a stock-broker's clerk, led to his being sent to Amsterdam, where he became a pupil of Jan Kruseman and attended the drawing class at the academy. He then spent two years in Paris, working in Picot's studio, and returned to Amsterdam. There he remained till 1870, when he moved to The Hague for good, where he became part of the Hague School of painters. He married Aleida Schaap and the couple had two children, a daughter Mathilde Anna Israëls and a son, Isaac Lazarus Israëls, born Amsterdam 3 Febr. 1865, who also became a fine art painter.

Jozef Israels by Jan Veth
Israëls has often been compared to Jean-François Millet. As artists, even more than as painters in the strict sense of the word, they both, in fact, saw in the life of the poor and humble a motive for expressing with peculiar intensity their wide human sympathy; but Millet was the poet of placid rural life, while in almost all Israëls' pictures there is some piercing note of woe. Edmond Duranty said of them that they were painted with gloom and suffering. He began with historical and dramatic subjects in the romantic style of the day. By chance, after an illness, he went to recruit his strength at the fishing-town of Zandvoort near Haarlem, and there he was struck by the daily tragedy of life. Thenceforth he was possessed by a new vein of artistic expression, sincerely realistic, full of emotion and pity. Among his more important subsequent works are The Zandvoort Fisherman (in the Amsterdam gallery), The Silent House (which gained a gold medal at the Brussels Salon, 1858) and Village Poor (a prize at Manchester).

In 1862 he achieved great success in London with his Shipwrecked, purchased by Mr Young, and The Cradle, two pictures that the Athenaeum magazine described as the most touching pictures of the exhibition. A portrait of Jozef Israëls was painted by the Scottish painter George Paul Chalmers(1833–1878).


Later work
His later works include The Widower (in the Mesdag collection), When we grow Old and Alone in the World (Van Gogh Museum / Amsterdam gallery), An Interior (Dordrecht gallery), A Frugal Meal (Glasgow museum), Toilers of the Sea, Speechless Dialogue, Between the Fields and the Seashore, The Bric-a-brac Seller (which gained medals of honour at the great Paris Exhibition of 1900).

David Singing before Saul, one of his later works, seems to hint at a return on the part of the venerable artist to the Rembrandtesque note of his youth. As a watercolour painter and etcher he produced a vast number of works, which, like his oil paintings, are full of deep feeling. They are generally treated in broad masses of light and shade, which give prominence to the principal subject without any neglect of detail. Israëls probably influenced many other painters and one them was the Scottish painter Robert McGregor (1847-1922).

There is a painting by Jozef Israëls in the Pushkin Museum of Fine Arts in Moscow. His son Isaac Israëls also was a painter.

From Wikipedia, the free encyclopedia


Jozef Israels. A Jewish Wedding

Joseph Israels
  Neoclassicism and Romanticism
Realism, Impressionism and
Overbeck: "Christ's entry into Jerusalem"

Overbeck Johann Friedrich. "Christ's entry into Jerusalem"
Johann Friedrich Overbeck
  Neoclassicism and Romanticism
Realism, Impressionism and
Gerome Jean-Leon
Jean-Leon Gerome (b Vésoul, Haute-Saône, 11 May 1824; d Paris, 10 Jan 1904). French painter and sculptor.

Jean-Leon Gerome
  Gérome’s father, a goldsmith from Vésoul, discouraged his son from studying to become a painter but agreed, reluctantly, to allow him a trial period in the studio of Paul Delaroche in Paris. Gérôme proved his worth, remaining with Delaroche from 1840 to 1843. When Delaroche closed the studio in 1843, Gérôme followed his master to Italy. Pompeii meant more to him than Florence or the Vatican, but the world of nature, which he studied constantly in Italy, meant more to him than all three.

An attack of fever brought him back to Paris in 1844. He then studied, briefly, with Charles Gleyre, who had taken over the pupils of Delaroche. Gérôme attended the Ecole des Beaux-Arts and entered the Prix de Rome competition as a way of going back to Italy. In 1846 he failed to qualify for the final stage because of his inadequate ability in figure drawing. To improve his chances in the following year’s competition, he painted an academic exercise of two large figures, a nude youth, crouching in the pose of Chaudet’s marble Eros (1817; Paris, Louvre), and a lightly draped young girl whose graceful mannerism recalls the work of Gérôme’s colleagues from the studio of Delaroche. Gérôme added two fighting cocks (he was very fond of animals) and a blue landscape reminiscent of the Bay of Naples.

Delaroche encouraged Gérôme to send The Cockfight (1846; Paris, Louvre) to the Salon of 1847, where it was discovered by the critic Théophile Thoré (but too late to buy it) and made famous by Théophile Gautier.
The picture pleased because it dealt with a theme from Classical antiquity in a manner that owed nothing to the unfashionable mannerisms of David’s pupils. Moreover, it placed Gérôme at the head of the NÉO-GREC movement, which consisted largely of fellow pupils of Gleyre, such as Henri-Pierre Picou (1824–95) and Jean-Louis Hamon.

Jean-Leon Gerome. Almehs playing Chess in a Cafe

Jean-Leon Gerome
  Neoclassicism and Romanticism
Realism, Impressionism and
Boulanger Gustave
Gustave Clarence Rodolphe Boulanger (1824–88) was a French figure painter known for his classical and Orientalist subjects.

Gustave Clarence Rodolphe Boulanger
Boulanger was born at Paris in 1824.

He studied with Delaroche and Jollivet, and in 1849 took the Prix de Rome.

His paintings are prime examples of academic art of the time, particularly history painting.

Boulanger had visited Italy, Greece, and North Africa, and his paintings reflect his attention to culturally correct details and skill in rendering the female form.

His works include a Moorish Cafe (1848), Cæsar at the Rubicon (1865), the Promenade in the Street of Tombs, Pompeii (1869), and The Slave Market (1888).

The recipient of many medals, he became a member of the Institut de France in 1882.

From Wikipedia, the free encyclopedia

Gustave Clarence Rodolphe Boulanger. A Tale of 1001 Nights
Gustave Boulanger
  Neoclassicism and Romanticism
Realism, Impressionism and
Girodet Anne-Louis
Anne-Louis Girodet, original name Anne-Louis Girodet de Roussy, in full (after 1806) Anne-Louis Girodet-Trioson (born January 29, 1767, Montargis, France—died December 9, 1824, Paris), painter whose works exemplify the first phase of Romanticism in French art.

Anne-Louis Girodet. Self-Portrait
  Girodet began to study drawing in 1773. He later became a student of the Neoclassical architect Étienne-Louis Boullée, with whose encouragement he joined the studio of Jacques-Louis David in late 1783 or early 1784.

Girodet won the Prix de Rome (1789) for his Joseph Recognized by His Brothers, which shows the influence of David’s Neoclassicism.

In The Sleep of Endymion (1792) Girodet displays a new emotional element akin to the troubled Romanticism of the novelist Chateaubriand.

Girodet gave his literary interests full reign in the composition of Ossian and the French Generals (1801), painted for Napoleon’s residence, Malmaison.
This unusual work melds images inspired by James Macpherson’s Ossianic works with images of the spirits of the generals who died during the French Revolution of 1789.

Girodet continued to paint literary subjects in such works as The Entombment of Atala (1808).

The latter picture, together with a windswept portrait of Chateaubriand meditating before the Roman Colosseum (1809), is most typical of his work. In 1806 Girodet was adopted by and took the name of Benoît-François Trioson, who was his tutor and guardian and probably his biological father.
Upon inheriting a large fortune (1815), Girodet-Trioson painted little, shuttered himself from daylight, and wrote poetry about painting, adjudged unreadable, and essays on aesthetics. The Musée Girodet in Montargis contains many of his paintings and drawings.

From Wikipedia, the free encyclopedia


Anne-Louis Girodet-Trioson. The Entombment of Atala
Anne-Louis Girodet-Trioson
  Neoclassicism and Romanticism
Realism, Impressionism and

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