The Course of Empire: Destruction. Thomas Cole. Date: 1836. Style: Romanticism. Series: The Course of Empire. Genre: battle painting, allegorical painting. Media: oil, canvas. Location: New York Historical Society, New York City, NY, US. Order Oil Painting.
‘The Course of Empire: Desolation’ was created in 1836 by Thomas Cole in Romanticism style. Find more prominent pieces of landscape at Wikiart.org – best visual art database.
Jan 31, 2020 · "The Course of Empire: Destruction" is the fourth in a series of five paintings by American painter Thomas Cole (1801 - 1848 CE). It was painted in 1836 CE and is part of the collection of New York Historical Society. The painting depicts the destruction of an ancient empire, modelled after the ancient empire of the Mediterranean.
Oct 31, 2016 · Thomas Cole ‘s The Course of Empire is a five-part series of paintings depicting the rise and fall of an imaginary empire. The civilization is located at the base of a valley near a bay that leads into the sea (2). The motivation for these paintings arose from the common sentiment at the time that empires lead to gluttony and self-destruction (3).
Thomas Cole | |
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Nationality | English, American |
Known for | Painting Medium/Media: Oil on Canvas |
Notable work | The Titan's Goblet (1833), The Course of Empire (1833–36), The Oxbow (1836), The Voyage of Life (1842) |
Movement | Hudson River School |
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"The Course of Empire: Destruction" is the fourth in a series of five paintings by American painter Thomas Cole (1801 - 1848 CE). It was painted in 1836 CE and is part of the collection of New York Historical Society. The painting depicts the destruction of an ancient empire, modelled after the ancient empire of the Mediterranean.
Based on Wikipedia content that has been reviewed, edited, and republished. Original image by Thomas Cole. Uploaded by Arienne King, published on 31 January 2020 under the following license: Public Domain. This item is in the public domain, and can be used, copied, and modified without any restrictions.
Cole, T. (2020, January 31). The Course of Empire: Destruction . World History Encyclopedia. Retrieved from https://www.worldhistory.org/image/11821/the-course-of-empire-destruction/
The Italian name for the painting, La Gioconda, means 'jocund' ('happy' or 'jovial') or, literally, 'the jocund one' , a pun on the feminine form of Lisa's married name, Giocondo.
In 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck (Eugène Bataille), was shown at the " Incoherents " show in Paris.
The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife.".
Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works – the others being Saint Jerome in the Wilderness, Adoration of the Magi and The Last Supper – whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. It is believed by some that the Mona Lisa was begun in 1503 or 1504 in Florence. Although the Louvre states that it was "doubtless painted between 1503 and 1506", art historian Martin Kemp says that there are some difficulties in confirming the dates with certainty. Alessandro Vezzosi believes that the painting is characteristic of Leonardo's style in the final years of his life, post-1513. Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, "after he had lingered over it four years, [he] left it unfinished". In 1516, Leonardo was invited by King Francis I to work at the Clos Lucé near the Château d'Amboise; it is believed that he took the Mona Lisa with him and continued to work on it after he moved to France. Art historian Carmen C. Bambach has concluded that Leonardo probably continued refining the work until 1516 or 1517. Leonardo's right hand was paralytic circa 1517, which may indicate why he left the Mona Lisa unfinished.
Because the Mona Lisa ' s poplar support expands and contracts with changes in humidity , the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame described below, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.
Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre.". The model, Lisa del Giocondo, was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo.
After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisa ' s left elbow with watercolour. In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping.