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Tuesday, 27 January 2009

ALWAYS WAS PAY IN THIS WAY


THE FINDING
OF MOSES


THE DEATH
OF PHARAOH
FIRST-BORN-
SON

5 comments:

Dave King said...

I didn't know either fo these. I am really pleased to have been shown the Moses one. Thanks for that.

p.marlon said...

Moses-ia a weel popular taste, the composition as a little exaggerated; the Pharaoh remember me Caravaggio-great-,(to popular ones) - perhaps is too dark????he-he.

Sepiru Chris said...

Hi Elaine,

Ah, You had solved the comment conumdrum before I managed to send you my settings.

Disregard my email, I guess!

I love the Pharaoh cradling his dead first-born son. And yes, I can well see the similarities with Caravaggio's chiaroscuro.

I was about to say that it reminded me a bit of some of the Flemish painters, and then I googled the painter and find out it he was Laurens Tadema from Friesland.

This really is a lovely composition. Where is this located? I would love to visit this mourning Pharaoh in person.

I am guessing that the Finding of Moses is a later composition, because it looks like it is greatly influenced by the Jugendstil movement from Vienna after the turn of the century. Am I correct or is Sir Lawrence Alma Tadema a pre-cursor of the period's style?

Tschüss,
Chris

ELAINE ERIG said...

Chris, when Alma-Tadema arrived in Naples for the first time, he discovered a lively school of local painters inspired by Pompeii, over 30 of whom are represented in the show by more than 50 pictures and sculptures.A number of local painters did accomplished overviews of Pompeii against the suggestive backdrop of the dormant Vesuvius emitting a picturesque plume of smoke into a tranquil blue sky, and more detailed images of parts of the ruins. The Neapolitan-born Domenico Morelli (Alma-Tadema and he became lifelong friends) more or less single-handedly began the local school of Roman history painting with his "Il Bagno Pompeiano" (The Pompeiian Bath) a couple of years before the Dutch artist's first visit. Morelli was very much stimulated in this by the French Orientalist paintings - in particular, harem and Turkish bath scenes, with their potential for eroticism as well as exoticism - that he had seen in Paris in the 1850s (Also Caravaggio have is painting made during severals Naples and Sicilia travel life.

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