As a result, confusion reigned between history painting
in the grand style and large sensationalist canvases.
In 1816, the British Institution, an organisation run by aristocratic connoisseurs and collectors, resolved to reinvigorate British history painting
by launching a competition with a 1,000 guinea prize for large-scale pictures 'illustrative of our recent successes' at Waterloo and earlier in the Napoleonic Wars.
Telling Tales begins with the section "American History Painting
In other essays, however, she observes that traditional conventions of visual culture, particularly those of history painting
and religious iconography, served Free State painters well as they shed earlier stereotypes to create imagery grounded in the revolutionary violence and heroics leading to nationhood.
Nevertheless, Laurens gave the Salon community--and Lefebvre--a model of a Salon painter re-imagining academic art and the genre of history painting
Here, again, Saul makes use of large fields of deep red, as if alluding to Delacroix's craziest history painting
, Death of Sardanapalis (1827), which, like these Sauls, shows how destructive and stupid are those actors we call heroes.
Boydell was trying to instill the values of history painting
, with its strong geometrical form, its condensation of energy and importance in towering figures set against epic backdrops.
In her meticulous study, the first fully devoted to the half-figure history painting
of the Seicento, Sandra Gianfreda examines a wide range of issues and sources to explain the significance of this popular picture type.
His range is extraordinary: He tried his hand at everything from history painting
to elegant conversation pieces and portraits, usually with success.
In the later eighteenth century, as he observes, the highest artistic mode was considered to be history painting
but the number of portraits exhibited at the Royal Academy exceeded the history paintings
Each of their portraits is treated in the manner of a history painting
, as much by size, composition, attitude of the sitter, and the inclusion of accessories that refer to the life or the moral qualities of the sitter.
In rejecting the conservative subject matter of the traditionalist, formally trained painters of the day, the two artists made landscape the subject of their work rather than background for a history painting
or religious allegory.