Anton Raphael Mengs


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Mengs, Anton Raphael

 

Born Mar. 22, 1728, in Aussig, in present-day Ústì nad Labem, in Czechoslovakia; died June 29, 1779, in Rome. German painter and art theorist.

Mengs worked in Dresden, Rome, and Madrid. Under the influence of his friend J. J. Winckelmann, he adopted classicist principles both in his painting and theoretical works. Mengs’ works (the fresco Parnassus, 1761, Villa Albani, Rome) are marked by eclecticism, abstraction, and idealization. His drawings and portraits are particularly expressive (Self-portrait, Hermitage, Leningrad).

WORKS

Sämtliche hinterlassene Schriften, vols 1-2. Edited by G. Schilling, Bonn, 1843-44.
In Russian translation:
In Mastera iskusstva ob iskusstve, vol. 3. Moscow, 1967. Pages 459-67.

REFERENCE

Honisch, D. A. R. Mengs und die Bildform des Frühklassizismus. Berlin, 1965.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
For Old Master drawings, don't miss Ramon Art, where the collection of Spanish, French and Italian works on paper includes sheets by Claude Deruet and Anton Raphael Mengs, or Stephen Ongpin Fine Art, which offers works by both Giambattista and Giandomenico Tiepolo.
An immense extrapolation of an eighteenth-century Parnassus by the innovative Neoclassicist Anton Raphael Mengs, Mariani's resetting includes the portraits of the then-reigning members of the Roman art world--those of the group that Germano Celant called Arte Povera as well as the artists that Achille Bonito Oliva dubbed the Transavanguardia.
A partir de un analisis comparativo de los frescos para el Palacio Real disenados por Giambattista Tiepolo y Anton Raphael Mengs, quienes elaboran por encargo de los reyes alegorias de la monarquia espanola, el primer capitulo del libro estudia como la nueva dinastia borbonica se constituye a si misma simbolicamente.
PORTRAIT: Anton Raphael Mengs, by Wilson in 1752 LANDSCAPE: A detail from Dolbadarn Castle, by Richard Wilson, oil on canvas
In the eighteenth century, no less a figure than Anton Raphael Mengs described Velazquez's Fable of Arachne as "done in such a way that it seems as if the hand played no part in the execution, but that he painted it only as an act of will." In like fashion, countless later critics have admire d the master's technique, but have failed to articulate how he achieved it.
A portrait by Anton Raphael Mengs of Carlos III of Spain marks the threshold of an exhibition that otherwise consists solely of works by Goya.
The most valuable painting, Anton Raphael Mengs' The Liberation of Andromeda by Perseus (1773-78) had already been sold by the French authorities to Catherine the Great, and today it remains in the State Hermitage Museum, St Petersburg.
She therefore identifies (as had Anton Raphael Mengs in the eighteenth century) the foreshortened figure at the center of the luminous cupola to be not an angel but the young and vigorous Christ.