#french neoclassical

[the-evil-clergyman]

Danaë by Jean-Baptiste Regnault (18th Century)

[life-imitates-art-far-more]

Jérôme-Martin Langlois (1779-1838) "Cassandra Imploring The Vengeance of Minerva Against Ajax" (1810) Oil on canvas Neoclassical

[artthatgivesmefeelings]

Lionel Royer (French, 1852-1926) Augustus at the Tomb of Alexander the Great, 1878

[empirearchives]

Terracotta bust believed to depict Juliette Récamier

Joseph Chinard

C. 1800-1805, Napoleonic era

Musée Cognacq-Jay

[liturgical-agenda]

Detail from An allegory of sculpture and architecture by Thomas Germain Joseph Duvivier

[die-rosastrasse]

Marie-Gabrielle Capet

French, 1761-1818

Self Portrait (detail), 1783

[illustratus]

Lucien Bonaparte contemplating his mistress, Alexandrine de Bleschamp Jouberthon by Guillaume Guillon-Lethière

[virgocurator]

The Unicorns

Gustave Moreau

1885, oil on canvas

[lionofchaeronea]

Allegories of the Four Continents: Africa, François Dubois, 1834

[haveyouheardthisband]

[kafkasapartment]

Cameo with a Classical Woman, French or Italian, circa 1815. Chalcedony, within an elaborate Neo-Renaissance enamelled ruby and pearl set pendant.

[the-evil-clergyman]

Ophelia by Léopold Burthe (1851)

[life-imitates-art-far-more]

François-André Vincent (1746-1816) "The Greek Priest" (c. 1782) Oil on canvas Neoclassical

[artthatgivesmefeelings]

Jules Joseph Lefebvre (French, 1836–1911) Chloé 1875

[empirearchives]

“What Napoleon criticised in the statue could perhaps be summed up in one thing: his uneasiness at the sight of his own nudity. And it was precisely his nudity that was felt to be problematic, even shocking. But how did Canova come to have the odd idea of representing Napoleon as a nude divinity?”

— Valérie Huet, Napoleon I: A New Augustus?

The nude statue of Napoleon in question:

[pagansphinx]

Eustache Le Sueur (French, 1616-1655) • Meekness • 1650 • Art Institute of Chicago

Eustache Le Sueur painted the eight Beatitudes, the ideal qualities Jesus identified in his Sermon on the Mount in the Bible, for the private chapel in his patron Guillaume Birssonnet’s Paris home. This personification of meekness was part of that decoration and accompanied an altarpiece of the Annunciation, monochrome scenes of the life of the Virgin Mary, and a ceiling depicting her Assumption. The Beatitudes, with their patterned gold ground, lined the lower story of this elegant ensemble. Only the Annunciation altarpiece and two of the Beatitudes survive.