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The Final Spectacle: Military Painting under the Second Empire, 1855–1867 by Julia Thoma
Nineteenth-Century Art Worldwide ( IF 0.1 ) Pub Date : 2020-03-15 , DOI: 10.29411/ncaw.2020.19.1.9
Katie Hornstein

quality that can be seen in a painting. Thoma describes Crimean War battle paintings in great detail, including two paintings that were regarded as critical successes, Gustave Doré’s Battle of Alma (1855) and Pils’ Landing in Crimea (1857). Thoma writes: “How to imbue a battle with historical truthfulness continued to be an urgent question when critics analyzed military paintings of the Crimean War” (147). In the same chapter, Thoma offers a fascinating reconstruction of the Crimean War Gallery, a room that no longer exists in the Château de Versailles, but that nevertheless ushered in “a new era in the genre of military painting” (147). The gallery, which used the space of the unfinished Moroccan Gallery, was conceived on the model of the two adjacent rooms at Versailles, the Constantine Gallery and the Smalah Gallery, both designed and executed by Horace Vernet under the patronage of Louis-Philippe during the July Monarchy. The Crimean War Gallery was Napoleon III’s opportunity to honor his own government’s military exploits and he did so, as Thoma describes, by engaging the services of eighteen artists. The large canvases that once lined the walls of the gallery depicted the various phases of the war, starting with the troop landings on the Crimean Peninsula. Yvon’s three monumental Hornstein: The Final Spectacle: Military Painting under the Second Empire, 1855–1867 Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020)

中文翻译:

最终的景象:第二帝国时期的军事绘画,1855-1867年,朱莉娅·托马

在画中可以看到的质量。托马(Thoma)详细描述了克里米亚战争的战斗画作,其中包括两幅被认为是非常成功的画作,古斯塔夫·多雷(GustaveDoré)的《阿尔玛之战》(1855)和皮尔斯的《在克里米亚登陆》(1857)。托马斯写道:“当评论家们分析克里米亚战争的军事绘画时,如何使历史真实性交战仍然是一个紧迫的问题”(147)。在同一章中,托马提供了克里米亚战争画廊的迷人重建,凡尔赛宫已经不存在这个房间了,但是却迎来了“军事绘画类型的新时代”(147)。该画廊使用了未完成的摩洛哥画廊的空间,是根据凡尔赛宫的两个相邻房间(君士坦丁画廊和Smalah画廊)的模型构思的,由Horace Vernet在7月君主制期间由Louis-Philippe赞助的设计和执行。克里米亚战争美术馆是拿破仑三世表彰其本国政府的军事功绩的机会,正如托马所言,他是通过聘用18位艺术家的服务来做到这一点的。曾经排在长廊墙壁上的大画布描绘了战争的各个阶段,从克里米亚半岛的部队着陆开始。伊冯的三幅宏伟的《霍恩斯坦:最后的景象:第二帝国时期的军事绘画》,1855-1867年,《十九世纪全球艺术》,第19号。1(2020年春季)通过吸引18位艺术家的服务。曾经排在长廊墙壁上的大画布描绘了战争的各个阶段,从克里米亚半岛的部队着陆开始。伊冯的三幅宏伟的《霍恩斯坦:最后的景象:第二帝国时期的军事绘画》,1855-1867年,《十九世纪全球艺术》,第19号。1(2020年春季)通过吸引18位艺术家的服务。曾经排在长廊墙壁上的大画布描绘了战争的各个阶段,从克里米亚半岛的部队着陆开始。伊冯的三幅宏伟的《霍恩斯坦:最后的景象:第二帝国时期的军事绘画》,1855-1867年,《十九世纪全球艺术》,第19号。1(2020年春季)
更新日期:2020-03-15
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