[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"museum-the-louvre":3,"museum-nearby-the-louvre":41,"museum-paintings-the-louvre":89},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":10,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29,"popularPaintingImages":30},"Rue de Rivoli",48.8606,2.3376,"The Louvre","75001","3e34a0d4-4a99-4a9b-b804-3459b1a9d4f8",{"latitude":11,"longitude":12,"name":13,"id":14,"country":15,"slug":19,"image":20},48.8566,2.3522,"Paris","c9f0f895-fbdd-4ad7-9f28-2af0649b67a6",{"id":16,"name":17,"slug":18},"a9e28580-2462-4a82-8456-a1e0f199e85f","France","france","paris","","the-louvre","The Louvre, or the Louvre Museum (French: Musée du Louvre), is a national art museum in Paris, France, and the most visited museum in the world. It is located on the Right Bank of the Seine in the city's 1st arrondissement (district) and home to some of the most canonical works of Western art, including the Mona Lisa, Venus de Milo, and Winged Victory. The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French kings.\n\nThe building was redesigned and extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces. The palace and exhibition space was expanded in the 19th century and again in the 20th.\n\nThe museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed from 1796 until 1801. The collection was increased under Napoleon, after the Napoleonic looting of art in Europe, Egypt, and Syria, and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided into eight departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.\n\nThe Musée du Louvre contains approximately 500,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 m2 (652,000 sq ft) dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds. At any given point in time, approximately 38,000 objects from prehistory to the 21st century are being exhibited over an area of 72,735 m2 (782,910 sq ft), making it the largest museum in the world. It received 8.7 million visitors in 2024, ranking it as the most-visited art museum, and most-visited museum of any category, in the world.","the-louvre\u002Fbackground\u002Fthe-louvre_background","the-louvre\u002Flogo\u002Fthe-louvre_logo","01 40 20 53 17",1,"Daily: 9:00 AM – 6:00 PM\nWednesday and Friday: open until 8:30 PM\nTuesday: closed","https:\u002F\u002Fwww.louvre.fr","Louvre",[31,32,33,34,35,36,37,38,39,40],"leonardo-da-vinci\u002Fmona-lisa\u002Fmona-lisa","eugene-delacroix\u002Fliberty-leading-the-people\u002Fliberty-leading-the-people","paolo-veronese\u002Fthe-wedding-at-cana\u002Fthe-wedding-at-cana","theodore-gericault\u002Fthe-raft-of-the-medusa\u002Fthe-raft-of-the-medusa","jacques-louis-david\u002Fthe-coronation-of-napoleon\u002Fthe-coronation-of-napoleon","jean-auguste-dominique-ingres\u002Fgrande-odalisque\u002Fgrande-odalisque","jacques-louis-david\u002Foath-of-the-horatii\u002Foath-of-the-horatii","jacques-louis-david\u002Fthe-death-of-marat\u002Fthe-death-of-marat","john-martin\u002Fthe-pandemonium\u002Fthe-pandemonium","nicolas-poussin\u002Fthe-judgement-of-solomon\u002Fthe-judgement-of-solomon",[42,60,74],{"address":43,"latitude":44,"longitude":45,"name":46,"zipCode":47,"id":48,"city":49,"slug":51,"description":52,"background":53,"logo":54,"phone":55,"popularity":56,"schedules":57,"website":58,"wikipediaId":59},"1 Rue de la Légion d'Honneur",48.86,2.3266,"Musée d'Orsay","75007","e3189a17-9a4c-4dd4-bc32-49a8f12e1ab3",{"latitude":11,"longitude":12,"name":13,"id":14,"country":50,"slug":19,"image":20},{"id":16,"name":17,"slug":18},"musee-d-orsay","The Musée d'Orsay (UK: \u002Fˌmjuːzeɪ dɔːrˈseɪ\u002F MEW-zay dor-SAY, US: \u002Fmjuːˈzeɪ -\u002F mew-ZAY -⁠, French: ; English: Orsay Museum) is a museum in Paris, France, on the Left Bank of the Seine. It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built from 1898 to 1900. The museum holds mainly French art (including works by France based foreign artists) dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. It houses the largest collection of Impressionist and post-Impressionist masterpieces in the world, by painters including Berthe Morisot, Claude Monet, Édouard Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and van Gogh. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986. It is one of the largest art museums in Europe.\n\nIn 2022 the museum had 3.2 million visitors, up from 1.4 million in 2021. It was the sixth-most-visited art museum in the world in 2022, and second-most-visited art museum in France, after the Louvre.","musee-dorsay\u002Fbackground\u002Fmusee-dorsay_background","musee-dorsay\u002Flogo\u002Fmusee-dorsay_logo","01 40 49 48 14",9,"Daily: 09:30 AM - 18:00 PM\nThursday: open until 09:45 PM\nMonday, 1 May, 25 December: closed","https:\u002F\u002Fwww.musee-orsay.fr","Musée_d'Orsay",{"address":61,"latitude":62,"longitude":63,"name":64,"zipCode":8,"id":65,"city":66,"slug":68,"description":20,"background":69,"logo":70,"phone":71,"popularity":72,"schedules":20,"website":73,"wikipediaId":20},"Jardin des Tuileries",48.8628,2.3253,"Musée de l'Orangerie","7afc3fa0-41dd-4a25-834c-c43ae6e339fa",{"latitude":11,"longitude":12,"name":13,"id":14,"country":67,"slug":19,"image":20},{"id":16,"name":17,"slug":18},"musee-de-l-orangerie","musee-de-l-orangerie\u002Fbackground\u002Fmusee-de-l-orangerie_background","musee-de-l-orangerie\u002Flogo\u002Fmusee-de-l-orangerie_logo","01 44 50 43 00",18,"https:\u002F\u002Fwww.musee-orangerie.fr\u002Fen",{"address":75,"latitude":11,"longitude":76,"name":77,"zipCode":47,"id":78,"city":79,"slug":81,"description":82,"background":83,"logo":84,"phone":85,"popularity":86,"schedules":20,"website":87,"wikipediaId":88},"Hôtel national des Invalides, 129 rue de Grenelle",2.3126,"Army Museum","cfdca440-7e1c-4cf1-9145-d544d93fafdf",{"latitude":11,"longitude":12,"name":13,"id":14,"country":80,"slug":19,"image":20},{"id":16,"name":17,"slug":18},"army-museum","The Musée de l'Armée (French: ; \"Army Museum\") is a national military museum of France located at Les Invalides in the 7th arrondissement of Paris. It is served by Paris Métro stations Invalides, Varenne and La Tour-Maubourg\n\nThe Musée de l'Armée was created in 1905 with the merger of the Musée d'Artillerie and the Musée Historique de l'Armée. The museum's seven main spaces and departments contain collections that span the period from antiquity through the 20th century.","army-museum\u002Fbackground\u002Farmy-museum_background","army-museum\u002Flogo\u002Farmy-museum_logo","+33 1 44 42 38 77",39,"https:\u002F\u002Fwww.musee-armee.fr\u002Fen\u002Fhome.html","Army_Museum_(Paris)",{"items":90,"total":579,"page":580,"pageSize":581,"totalPages":26},[91,136,180,228,261,297,333,357,381,414,452,489,529,554],{"title":92,"id":93,"artists":94,"slug":109,"date":110,"description":111,"height":112,"image":31,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":114,"popularity":26,"width":115,"wikipediaId":116,"collections":117,"genres":118,"museum":123,"movements":126,"mediums":131},"Mona Lisa","5be61adf-c02d-4b8f-925f-eb7c2b0a0fc1",[95],{"name":96,"id":97,"nationality":98,"slug":102,"biography":103,"born":104,"death":105,"image":106,"popularity":26,"sex":107,"wikipediaId":108},"Leonardo da Vinci","73481ec6-d6be-4779-92dc-f44dbf7796a1",{"id":99,"name":100,"slug":101},"b6bd06f3-e4d0-44e5-b3d4-dfdf235eec5d","Italian","italian","leonardo-da-vinci","Leonardo da Vinci (1452–1519) was an Italian polymath whose brilliance spanned art, science, engineering, anatomy, architecture, and invention. Born on April 15, 1452, in the Tuscan town of Vinci, he was the illegitimate son of Ser Piero da Vinci, a notary, and Caterina, a peasant woman. Despite his informal status, Leonardo received a solid artistic and technical education after being apprenticed at around age 14 to Andrea del Verrocchio in Florence. Under Verrocchio, he learned painting, sculpture, mechanics, metalworking, and drafting, skills that laid the foundation for his multidisciplinary achievements.\n\nLeonardo’s early works already showed exceptional observational ability and mastery of technique. His “Annunciation” and contribution to Verrocchio’s “Baptism of Christ” highlighted his innovative use of light, shadow, and naturalism. By the 1480s, Leonardo accepted a position in Milan under Duke Ludovico Sforza. There he produced some of his most celebrated works, including “The Last Supper,” a mural that revolutionized narrative composition and emotional expression. During his Milanese years, Leonardo also designed military machines, hydraulic systems, architectural projects, and theatrical devices.\n\nHis notebooks reveal a mind constantly exploring the mechanics of nature. He dissected human and animal bodies to understand anatomy with unprecedented accuracy, producing studies of muscles, organs, and embryonic development. He investigated optics, flight, geology, and the movement of water. Though many of his engineering designs—such as flying machines, armored vehicles, and automated mechanisms—were never built during his lifetime, they demonstrated astonishing foresight and mechanical ingenuity.\n\nAfter Milan fell to invading forces in 1499, Leonardo traveled through Italy, working in Mantua, Venice, and Florence. During this period he began the “Mona Lisa,” perhaps the most famous painting in the world, noted for its subtle modeling, enigmatic expression, and pioneering technique of soft transitions known as sfumato. He also produced significant scientific texts and anatomical drawings, including studies of the human skull and cardiovascular system.\n\nLeonardo returned to Milan in 1506, working under French rule and continuing both artistic and scientific pursuits. In his later years, invited by King Francis I of France, he moved to the Château du Clos Lucé near Amboise. There he served as “Premier Painter and Engineer” to the king, focusing more on engineering, architecture, and scientific study than painting.\n\nLeonardo died on May 2, 1519, leaving behind thousands of pages of sketches and notes. Although only a relatively small number of his paintings survive, his legacy is immense. His ability to fuse art and science, his method of direct observation, and his visionary imagination have made him an enduring symbol of the Renaissance ideal of the universal genius.","1452-04-14","1519-05-02","leonardo-da-vinci\u002Fleonardo-da-vinci","MALE","Leonardo_da_Vinci","mona-lisa","c. 1503-1506 - c. 1517","The Mona Lisa is a half-length portrait painting by the Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as \"the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.\" The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.\n\nThe painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it became the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.\n\nThe painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films (The Theft of the Mona Lisa and Arsène Lupin), and the song \"Mona Lisa\" recorded by Nat King Cole—one of the most successful songs of the 1950s.\n\nThe Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion as of 2023.",77,false,"La Gioconda (Italian)",53,"Mona_Lisa",[],[119],{"name":120,"id":121,"slug":122},"Figure painting","8b9c0def-0123-4567-89ab-cdef12345678","figure-painting",{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":124,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":125,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[127],{"name":128,"id":129,"slug":130,"dates":20},"High Renaissance","675dcdea-1b39-405b-b0b0-f29a287e4a90","high-renaissance",[132],{"name":133,"id":134,"slug":135},"Oil on poplar panel","e1c28c45-2750-4571-90ab-8140f8984d7c","oil-on-poplar-panel",{"title":137,"id":138,"artists":139,"slug":153,"date":154,"description":155,"height":156,"image":32,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":157,"popularity":158,"width":159,"wikipediaId":160,"collections":161,"genres":162,"museum":167,"movements":170,"mediums":175},"Liberty Leading the People","abb08780-96ca-4102-836e-2784502e960d",[140],{"name":141,"id":142,"nationality":143,"slug":147,"biography":148,"born":149,"death":150,"image":151,"popularity":56,"sex":107,"wikipediaId":152},"Eugène Delacroix","111a32a7-e031-41b7-a381-633d5274c5c0",{"id":144,"name":145,"slug":146},"ed07084f-12cd-4fcc-b61e-8f2ba92e0866","French","french","eugene-delacroix","Ferdinand Victor Eugène Delacroix (\u002Fˈdɛləkrwɑː, ˌdɛləˈkrwɑː\u002F DEL-ə-krwah, -⁠KRWAH; French: ; 26 April 1798 – 13 August 1863) was a French Romantic artist who was regarded as the leader of the French Romantic school.\n\nIn contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the \"forces of the sublime\", of nature in often violent action.\n\nHowever, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, \"Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible.\" Together with Ingres, Delacroix is considered one of the last old Masters of painting and is one of the few who was ever photographed.\n\nAs a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott, and the German author Johann Wolfgang von Goethe.","1798-04-26","1863-08-13","eugene-delacroix\u002Feugene-delacroix","Eugène_Delacroix","liberty-leading-the-people","1830","Liberty Leading the People (French: La Liberté guidant le peuple ) is a painting of the Romantic era by the French artist Eugène Delacroix, commemorating the July Revolution of 1830 that toppled King Charles X (r. 1824–1830). A bare-breasted \"woman of the people\" with a Phrygian cap personifying the concept and Goddess of Liberty, accompanied by a young boy brandishing a pistol in each hand, leads a group of various people forward over a barricade and the bodies of the fallen while holding aloft the flag of the French Revolution—the tricolour, which again became France's national flag after these events—in one hand, and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.\n\nLiberty Leading the People is exhibited in the Louvre in Paris.",260,"La Liberté guidant le peuple (French)",7,325,"Liberty_Leading_the_People",[],[163],{"name":164,"id":165,"slug":166},"Historical","7c4fd70a-c639-46a9-9138-c1a21665ca09","historical",{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":168,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":169,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[171],{"name":172,"id":173,"slug":174,"dates":20},"Romanticism","6d170858-dbc2-4658-9820-50889eb73ae6","romanticism",[176],{"name":177,"id":178,"slug":179},"Oil on canvas","f74fc1b0-2804-4c39-a52c-84cad71698d7","oil-on-canvas",{"title":181,"id":182,"artists":183,"slug":195,"date":196,"description":197,"height":198,"image":33,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":199,"popularity":200,"width":201,"wikipediaId":202,"collections":203,"genres":204,"museum":213,"movements":216,"mediums":226},"The Wedding at Cana","49099d29-29f5-43b3-a05d-a2a5a7cb051e",[184],{"name":185,"id":186,"nationality":187,"slug":188,"biography":189,"born":190,"death":191,"image":192,"popularity":193,"sex":107,"wikipediaId":194},"Paolo Veronese","22160e3b-ca40-46fc-a91b-d2d67c9ecb8c",{"id":99,"name":100,"slug":101},"paolo-veronese","Paolo Caliari (1528 – 19 April 1588), known as Paolo Veronese (\u002Fˌvɛrəˈneɪzeɪ, -zi\u002F VERR-ə-NAY-zay, -⁠zee, US also \u002F-eɪsi\u002F -⁠see; Italian: ), was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the \"great trio that dominated Venetian painting of the cinquecento\" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.\nThe Family of Darius before Alexander (1565–1570). Oil on canvas, 236.2cm × 475.9 cm, National Gallery, London.\n\nHis most famous works are elaborate narrative cycles, executed in a dramatic and colorful style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts, crowded with figures, painted for the refectories of monasteries in Venice and Verona are especially famous, and he was also the leading Venetian painter of ceilings. Most of these works remain in situ, or at least in Venice, and his representation in most museums is mainly composed of smaller works such as portraits that do not always show him at his best or most typical.\n\nHe has always been appreciated for \"the chromatic brilliance of his palette, the splendor and sensibility of his brushwork, the aristocratic elegance of his figures, and the magnificence of his spectacle\", but his work has been felt \"not to permit expression of the profound, the human, or the sublime\", and of the \"great trio\" he has often been the least appreciated by modern criticism. Nonetheless, \"many of the greatest artists ... may be counted among his admirers, including Rubens, Watteau, Tiepolo, Delacroix, and Renoir\".","c. 1528","1588-04-19","paolo-veronese\u002Fpaolo-veronese",16,"Paolo_Veronese","the-wedding-at-cana","1563","The Wedding at Cana (Italian: Nozze di Cana, 1562–1563), by Paolo Veronese, is a representational painting that depicts the biblical story of the Wedding at Cana, at which Jesus miraculously converts water into red wine (John 2:1–11). Executed in the Mannerist style (1520–1600) of the late Renaissance, the large-format (6.77 m × 9.94 m or 22 ft 3 in × 32 ft 7 in) oil painting comprehends the stylistic ideal of compositional harmony, as practised by the artists Leonardo, Raphael, and Michelangelo.: 318\n\nThe art of the High Renaissance (1490–1527) emphasised human figures of ideal proportions, balanced composition, and beauty, whereas Mannerism exaggerated the Renaissance ideals – of figure, light, and colour – with asymmetric and unnaturally elegant arrangements achieved by flattening the pictorial space and distorting the human figure as an ideal preconception of the subject, rather than as a realistic representation.: 469 The visual tension among the elements of the picture and the thematic instability among the human figures in The Wedding Feast at Cana derive from Veronese's application of technical artifice, the inclusion of sophisticated cultural codes and symbolism (social, religious, theologic), which present a biblical story relevant to the Renaissance viewer and to the contemporary viewer.\n\nFrom the 16th to the 18th centuries, the painting hung in the refectory of the San Giorgio Monastery. In 1797, soldiers of Napoleon's French Revolutionary Army plundered the picture as war booty during the Italian campaigns of the French Revolutionary Wars (1792–1802). The pictorial area (67.29 m2) of the canvas makes The Wedding Feast at Cana the most expansive picture in the paintings collection of the Musée du Louvre.",677,"Nozze di Cana (Italian)",11,994,"The_Wedding_at_Cana_(Veronese)",[],[205,209],{"name":206,"id":207,"slug":208},"Christian Art","4de47523-b108-4653-9de4-31aebbb8634c","christian-art",{"name":210,"id":211,"slug":212},"Religion","6f789abc-def0-4567-8901-23456789abcd","religion",{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":214,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":215,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[217,218,222],{"name":128,"id":129,"slug":130,"dates":20},{"name":219,"id":220,"slug":221,"dates":20},"Italian Renaissance","8f9f464c-8fd7-47d8-8125-94e431bcf539","italian-renaissance",{"name":223,"id":224,"slug":225,"dates":20},"Mannerism","a2e9a5d9-ac88-4d78-a441-951345eaed58","mannerism",[227],{"name":177,"id":178,"slug":179},{"title":229,"id":230,"artists":231,"slug":243,"date":244,"description":245,"height":246,"image":34,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":247,"popularity":241,"width":248,"wikipediaId":249,"collections":250,"genres":251,"museum":254,"movements":257,"mediums":259},"The Raft of the Medusa","4afd357a-1404-4d18-b690-3835bb269603",[232],{"name":233,"id":234,"nationality":235,"slug":236,"biography":237,"born":238,"death":239,"image":240,"popularity":241,"sex":107,"wikipediaId":242},"Théodore Géricault","7c05541f-0447-46e0-8e34-0dfdf8524004",{"id":144,"name":145,"slug":146},"theodore-gericault","Jean-Louis André Théodore Géricault (French: ; 26 September 1791 – 26 January 1824) was a French painter and lithographer. His best-known painting is The Raft of the Medusa. Despite his short life, he was one of the pioneers of the Romantic movement.","1791-09-26","1824-01-26","theodore-gericault\u002Ftheodore-gericault",15,"Théodore_Géricault","the-raft-of-the-medusa","1818–1819","The Raft of the Medusa (French: Le Radeau de la Méduse ) – originally titled Scène de Naufrage (Shipwreck Scene) – is an oil painting of 1818–1819 by the French Romantic painter and lithographer Théodore Géricault (1791–1824). Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 by 716 cm (16 ft 1 in by 23 ft 6 in), it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816. On 5 July 1816, at least 150 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practiced cannibalism (one custom of the sea). The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain. Géricault chose this large-scale uncommissioned work to launch his career, using a subject that had already generated widespread public interest. The event fascinated him.\n\nThéodore Géricault's social circles had close family connections with the French navy and were directly involved in France's colonies and France's slave trade. Indeed, one of these relations, a naval officer and a slave owner, died defending France's colonial interests on the coast of west Africa in 1779 not far from the site of the Méduse shipwreck decades later.\n\nBefore Géricault began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors and constructed a detailed scale model of the raft. He visited hospitals and morgues where he could view, first-hand, the colour and texture of the flesh of the dying and dead. As he had anticipated, the painting proved highly controversial at its first appearance in the Salon of 1819, attracting passionate praise and condemnation in equal measure. However, it established his international reputation and today is widely seen as seminal in the early history of the Romantic movement in French painting.\n\nAlthough The Raft of the Medusa retains elements of the traditions of history painting, in both its choice of subject matter and its dramatic presentation, it represents a break from the calm and order of the prevailing Neoclassical school. Géricault's work attracted wide attention from its first showing and was then exhibited in London. The Louvre acquired it soon after the artist's death at the age of 32. The painting's influence can be seen in the works of Eugène Delacroix, J. M. W. Turner, Gustave Courbet, and Édouard Manet.",490,"Le Radeau de la Méduse (French)",716,"The_Raft_of_the_Medusa",[],[252,253],{"name":164,"id":165,"slug":166},{"name":120,"id":121,"slug":122},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":255,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":256,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[258],{"name":172,"id":173,"slug":174,"dates":20},[260],{"name":177,"id":178,"slug":179},{"title":262,"id":263,"artists":264,"slug":276,"date":277,"description":278,"height":279,"image":35,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":280,"popularity":281,"width":282,"wikipediaId":283,"collections":284,"genres":285,"museum":287,"movements":290,"mediums":295},"The Coronation of Napoleon","e0c79319-d085-4b49-8d29-67cc8b69a71e",[265],{"name":266,"id":267,"nationality":268,"slug":269,"biography":270,"born":271,"death":272,"image":273,"popularity":274,"sex":107,"wikipediaId":275},"Jacques Louis David","c1332724-9ff8-4985-92e0-86ca0ee64bae",{"id":144,"name":145,"slug":146},"jacques-louis-david","Jacques-Louis David (French: ; 30 August 1748 – 29 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s, his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity, severity, and heightened feeling, which harmonized with the moral climate of the final years of the Ancien Régime.\n\nDavid later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic. Imprisoned after Robespierre's fall from power, he aligned himself with yet another political regime upon his release: that of Napoleon, the First Consul of France. At this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleon's fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had many pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.","1748-08-30","1825-12-29","jacques-louis-david\u002Fjacques-louis-david",17,"Jacques-Louis_David","the-coronation-of-napoleon","1805–1807","The Coronation of Napoleon (French: Le Sacre de Napoléon) is a painting completed in 1807 by Jacques-Louis David, the official painter of Napoleon, depicting the coronation of Napoleon at Notre-Dame de Paris. The oil painting has imposing dimensions – it is almost 10 metres (33 ft) wide by a little over 6 metres (20 ft) tall. The work is on display at the Louvre Museum in Paris.",621,"Le Sacre de Napoléon (French)",24,979,"The_Coronation_of_Napoleon",[],[286],{"name":164,"id":165,"slug":166},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":288,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":289,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[291],{"name":292,"id":293,"slug":294,"dates":20},"Neoclassicism","55bb3977-6a0c-40bc-8e60-e1546a18e193","neoclassicism",[296],{"name":177,"id":178,"slug":179},{"title":298,"id":299,"artists":300,"slug":312,"date":313,"description":314,"height":315,"image":36,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":316,"popularity":317,"width":318,"wikipediaId":319,"collections":320,"genres":321,"museum":326,"movements":329,"mediums":331},"Grande Odalisque","52e9f4ed-10b2-45fa-9920-5135d9c9e0b6",[301],{"name":302,"id":303,"nationality":304,"slug":305,"biography":306,"born":307,"death":308,"image":309,"popularity":310,"sex":107,"wikipediaId":311},"Jean-Auguste-Dominique Ingres","59f5f7c4-24df-4756-be46-72048f02482f",{"id":144,"name":145,"slug":146},"jean-auguste-dominique-ingres","Jean-Auguste-Dominique Ingres (\u002Fˈæŋɡrə\u002F ANG-grə; French: ; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Henri Matisse, Pablo Picasso, and other modernists.\n\nBorn into a modest family in Montauban, he travelled to Paris to study in the studio of David. In 1802 he made his Salon debut, and won the Prix de Rome for his painting The Ambassadors of Agamemnon in the tent of Achilles. By the time he departed in 1806 for his residency in Rome, his style—revealing his close study of Italian and Flemish Renaissance masters—was fully developed, and would change little for the rest of his life. While working in Rome and subsequently Florence from 1806 to 1824, he regularly sent paintings to the Paris Salon, where they were faulted by critics who found his style bizarre and archaic. He received few commissions during this period for the history paintings he aspired to paint, but was able to support himself and his wife as a portrait painter and draughtsman.\n\nHe was finally recognized at the Salon in 1824, when his Raphaelesque painting, The Vow of Louis XIII, was met with acclaim, and Ingres was acknowledged as the leader of the Neoclassical school in France. Although the income from commissions for history paintings allowed him to paint fewer portraits, his Portrait of Monsieur Bertin marked his next popular success in 1833. The following year, his indignation at the harsh criticism of his ambitious composition The Martyrdom of Saint Symphorian caused him to return to Italy, where he assumed directorship of the French Academy in Rome in 1835. He returned to Paris for good in 1841. In his later years he painted new versions of many of his earlier compositions, a series of designs for stained glass windows, several important portraits of women, and The Turkish Bath, the last of his several Orientalist paintings of the female nude, which he finished at the age of 83.","1780-08-29","1867-01-14","jean-auguste-dominique-ingres\u002Fjean-auguste-dominique-ingres",21,"Jean-Auguste-Dominique_Ingres","grande-odalisque","1814","Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting by Jean-Auguste-Dominique Ingres depicting an odalisque, or concubine in 1814. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism.\n\nGrande Odalisque received heavy criticism when it was first shown, and is renowned for the elongated proportions and lack of anatomical realism. The painting is currently owned by the Louvre Museum in Paris, which purchased the work in 1899.",88.9,"La Grande Odalisque (French)",36,162.56,"Grande_Odalisque",[],[322],{"name":323,"id":324,"slug":325},"Portrait","5e6f789a-abcd-4ef0-1234-567890abcdef","portrait",{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":327,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":328,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[330],{"name":292,"id":293,"slug":294,"dates":20},[332],{"name":177,"id":178,"slug":179},{"title":334,"id":335,"artists":336,"slug":339,"date":340,"description":341,"height":342,"image":37,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":343,"popularity":344,"width":345,"wikipediaId":346,"collections":347,"genres":348,"museum":350,"movements":353,"mediums":355},"Oath of the Horatii","7c916f46-7bc8-4a8d-9fce-d514fa897bd9",[337],{"name":266,"id":267,"nationality":338,"slug":269,"biography":270,"born":271,"death":272,"image":273,"popularity":274,"sex":107,"wikipediaId":275},{"id":144,"name":145,"slug":146},"oath-of-the-horatii","1784","Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.\n\nIt depicts a scene from the story of the Horatii and Curiatii, a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out to them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep over her dead betrothed, the surviving brother, Publius, kills Camilla for weeping over the enemy.\n\nThe principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.\n\nIt grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.",329.8,"Le Serment des Horaces (French)",41,424.8,"Oath_of_the_Horatii",[],[349],{"name":164,"id":165,"slug":166},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":351,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":352,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[354],{"name":292,"id":293,"slug":294,"dates":20},[356],{"name":177,"id":178,"slug":179},{"title":358,"id":359,"artists":360,"slug":363,"date":364,"description":365,"height":366,"image":38,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":367,"popularity":368,"width":369,"wikipediaId":370,"collections":371,"genres":372,"museum":374,"movements":377,"mediums":379},"The Death of Marat","3ed14ae4-304e-441a-972a-e37cafc73b7c",[361],{"name":266,"id":267,"nationality":362,"slug":269,"biography":270,"born":271,"death":272,"image":273,"popularity":274,"sex":107,"wikipediaId":275},{"id":144,"name":145,"slug":146},"the-death-of-marat","1793","The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793.\n\nIn 2001, art historian T. J. Clark called David's painting the first modernist work for \"the way it took the stuff of politics as its material, and did not transmute it\".\n\nThe painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.",162,"La Mort de Marat (French)",56,128,"The_Death_of_Marat",[],[373],{"name":120,"id":121,"slug":122},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":375,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":376,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[378],{"name":292,"id":293,"slug":294,"dates":20},[380],{"name":177,"id":178,"slug":179},{"title":382,"id":383,"artists":384,"slug":399,"date":400,"description":20,"height":401,"image":39,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":20,"popularity":402,"width":403,"wikipediaId":20,"collections":404,"genres":405,"museum":407,"movements":410,"mediums":412},"The Pandemonium","f85a46fe-ccb0-4f79-88b2-0bb8e944ae97",[385],{"name":386,"id":387,"nationality":388,"slug":392,"biography":393,"born":394,"death":395,"image":396,"popularity":397,"sex":107,"wikipediaId":398},"John Martin","76da15f5-a9d6-4171-b93a-ed8560c68884",{"id":389,"name":390,"slug":391},"4f95e1f9-7996-4fe5-8182-7f7973ab50c9","English","english","john-martin","John Martin (19 July 1789 – 17 February 1854) was an English Romanticist painter, engraver, and illustrator. He was known for his typically vast and dramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the prints made from them, enjoyed great success with the general public, with Thomas Lawrence referring to him as \"the most popular painter of his day\". He was also criticized by John Ruskin and other critics.","1789-07-19","1854-02-17","john-martin\u002Fjohn-martin",38,"John_Martin_(painter)","the-pandemonium","1841",123,67,185,[],[406],{"name":210,"id":211,"slug":212},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":408,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":409,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[411],{"name":172,"id":173,"slug":174,"dates":20},[413],{"name":177,"id":178,"slug":179},{"title":415,"id":416,"artists":417,"slug":429,"date":430,"description":431,"height":432,"image":40,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":433,"popularity":434,"width":435,"wikipediaId":436,"collections":437,"genres":438,"museum":442,"movements":445,"mediums":450},"The Judgement of Solomon","1562a3e1-1c1b-440e-8c92-e832d2ee3e40",[418],{"name":419,"id":420,"nationality":421,"slug":422,"biography":423,"born":424,"death":425,"image":426,"popularity":427,"sex":107,"wikipediaId":428},"Nicolas Poussin","212f59b1-fd2d-4ae8-8ce5-f36a748d1cb1",{"id":144,"name":145,"slug":146},"nicolas-poussin","Nicolas Poussin (UK: \u002Fˈpuːsæ̃\u002F, US: \u002Fpuːˈsæ̃\u002F, French: ; June 1594 – 19 November 1665) was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.\n\nDetails of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works. His enthusiasm for the Italian works he saw in the royal collections in Paris motivated him to travel to Rome in 1624, where he studied the works of Renaissance and Baroque painters—especially Raphael, who had a powerful influence on his style. He befriended a number of artists who shared his classicizing tendencies, and met important patrons, such as Cardinal Francesco Barberini and the antiquarian Cassiano dal Pozzo. The commissions Poussin received for modestly scaled paintings of religious, mythological, and historical subjects allowed him to develop his individual style in works such as The Death of Germanicus, The Massacre of the Innocents, and the first of his two series of the Seven Sacraments.\n\nHe was persuaded to return to France in 1640 to be First Painter to the King but, dissatisfied with the overwhelming workload and the court intrigues, returned permanently to Rome after a little more than a year. Among the important works from his later years are Orion Blinded Searching for the Sun, Landscape with Hercules and Cacus, and The Seasons.","c. June 1594","1665-11-19","nicolas-poussin\u002Fnicolas-poussin",40,"Nicolas_Poussin","the-judgement-of-solomon","1649","The Judgement of Solomon is an oil on canvas painting of the judgement of Solomon by the French artist Poussin, from 1649. Produced during his 1647-1649 stay in Rome, it is now in the Louvre, in Paris. It measures 101 by 150 cm. Art historians largely consider it as one of the artist masterpieces, in the art of the 17th century French School and French art as a whole. Several engravings were produced of the work.\n\nIt was commissioned by Jean Pointel, a banker from Lyon and a close friend and faithful patron of Poussin, and sent to him to display in Paris during the following months. After Pointel's death, the work passed to the financier Nicolas du Plessis-Rambouillet, then the Procureur Général to the Parliament of Paris Achille III de Harlay, and then to Charles-Antoine Hérault, a painter and a member of the Académie française. Hérault sold the work to Louis XIV in 1685 for 5000 livres.\n\nThe French royal collection initially hung it in a cabinet in the surintendance des Bâtiments, before moving it to the château de Versailles around 1710, before being seen in the salon of the directeur des Bâtiments du roi in 1784. In 1792–1793, in accordance with the principles of the Decree of 2 November 1789, the painting was seized by the revolutionary state and moved to the Louvre as one of the works displayed there when it first opened as a public museum on 10 August 1793.",101,"Le Jugement de Salomon (French)",71,150,"The_Judgement_of_Solomon_(Poussin)",[],[439,440,441],{"name":206,"id":207,"slug":208},{"name":210,"id":211,"slug":212},{"name":164,"id":165,"slug":166},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":443,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":444,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[446],{"name":447,"id":448,"slug":449,"dates":20},"Classicism","84d006b1-9f03-4f77-ad3a-3d96bb41acfe","classicism",[451],{"name":177,"id":178,"slug":179},{"title":453,"id":454,"artists":455,"slug":467,"date":468,"description":469,"height":470,"image":471,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":472,"popularity":473,"width":474,"wikipediaId":475,"collections":476,"genres":477,"museum":479,"movements":482,"mediums":487},"Portrait of Louis XIV","b3e79c90-e8bb-41a6-a9de-08d220a4aa4a",[456],{"name":457,"id":458,"nationality":459,"slug":460,"biography":461,"born":462,"death":463,"image":464,"popularity":465,"sex":107,"wikipediaId":466},"Hyacinthe Rigaud","6b598694-f0a7-48bc-a8ca-c956ce389bc8",{"id":144,"name":145,"slug":146},"hyacinthe-rigaud","Jacint Rigau-Ros i Serra (Catalan pronunciation: ; 18 July 1659 – 29 December 1743), known in French as Hyacinthe Rigaud (pronounced ), was a Catalan-French baroque painter most famous for his portraits of Louis XIV and other members of the French nobility.","1659-07-18","1743-12-29","hyacinthe-rigaud\u002Fhyacinthe-rigaud",44,"Hyacinthe_Rigaud","portrait-of-louis-xiv","1701","Portrait of Louis XIV in Coronation Robes was painted in 1701 by the French painter Hyacinthe Rigaud after being commissioned by the king who wanted to satisfy the desire of his grandson, Philip V of Spain, for a portrait of him. Louis XIV kept it hanging at Versailles. It has since become the most recognisable portrait of the king.",277,"hyacinthe-rigaud\u002Fportrait-of-louis-xiv\u002Fportrait-of-louis-xiv","Portrait de Louis XIV en costume de sacre (French)",81,194,"Portrait_of_Louis_XIV",[],[478],{"name":323,"id":324,"slug":325},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":480,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":481,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[483],{"name":484,"id":485,"slug":486,"dates":20},"Baroque","645c114f-78c5-4b27-98f2-fc83d056fc37","baroque",[488],{"name":177,"id":178,"slug":179},{"title":490,"id":491,"artists":492,"slug":507,"date":508,"description":509,"height":510,"image":511,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":512,"popularity":513,"width":514,"wikipediaId":515,"collections":516,"genres":517,"museum":519,"movements":522,"mediums":527},"The Astronomer","3ad5db0b-c924-4180-8527-496f80e37c40",[493],{"name":494,"id":495,"nationality":496,"slug":500,"biography":501,"born":502,"death":503,"image":504,"popularity":505,"sex":107,"wikipediaId":506},"Johannes Vermeer","ad9d6e2f-2c64-494a-a9c9-b55c2e9aee8d",{"id":497,"name":498,"slug":499},"a9c6c9dc-fe5f-46ac-ad89-5121979f7bb7","Dutch","dutch","johannes-vermeer","Johannes Vermeer (\u002Fvərˈmɪər, vərˈmɛər\u002F vər-MEER, vər-MAIR, Dutch: ; see below; also known as Jan Vermeer; October 1632 – 15 December 1675) was a Dutch painter who specialized in domestic interior scenes of middle-class life. He is considered one of the greatest painters of the Dutch Golden Age. During his lifetime, he was a moderately successful provincial genre painter, recognized in Delft and The Hague. He produced relatively few paintings, primarily earning his living as an art dealer. He was not wealthy; at his death, his wife was left in debt.\n\nVermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for making masterful use of light in his work. \"Almost all his paintings\", Hans Koningsberger wrote, \"are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.\"\n\nThe modest celebrity he enjoyed during his life gave way to obscurity after his death. He was barely mentioned in Arnold Houbraken's major source book on 17th-century Dutch painting (Grand Theatre of Dutch Painters and Women Artists, published 1718) and, as a result, was omitted from subsequent surveys of Dutch art for nearly two centuries. In the 19th century, Vermeer was rediscovered by Gustav Friedrich Waagen and Théophile Thoré-Bürger, who published an essay attributing 66 works to him, although only 34 paintings are universally attributed to him today. Since that time, Vermeer's reputation has grown enormously.","1632-10-31","1675-12-15","johannes-vermeer\u002Fjohannes-vermeer",6,"Johannes_Vermeer","the-astronomer","c. 1668","The Astronomer (Dutch: De astronoom) is a painting finished in about 1668 by the Dutch Golden Age painter Johannes Vermeer. It is in oil on canvas with dimensions 51 cm × 45 cm (20 in × 18 in).\n\nPortrayals of scientists were a favourite topic in 17th-century Dutch painting and Vermeer's oeuvre includes both this astronomer and the slightly later The Geographer. Both are believed to portray the same man, possibly Antonie van Leeuwenhoek. A 2017 study indicated that the canvas for the two works came from the same bolt of material, confirming their close relationship. It has been proposed that Vermeer used a camera obscura as an aid to reconstruct the geometry of the rooms and the objects in his paintings. Both paintings portray the same room and furniture, slightly rearranged.\n\nThe painting shows an astronomer looking at a globe. The astronomer's profession is shown by the celestial globe (version by Jodocus Hondius) and the book on the table, the 1621 edition of Adriaan Metius's Institutiones Astronomicae Geographicae. Symbolically, the volume is open to Book III, a section advising the astronomer to seek \"inspiration from God,\" and the painting on the wall shows the Finding of Moses—Moses may represent knowledge and science (\"learned in all the wisdom of the Egyptians\"). It is notable that a telescope is absent from the scene; Jacob Metius is credited by his brother, Adriaan Metius, as the inventor of the telescope. Art historian Julian Jason Haladyn has suggested that this conveys interiority.",51,"johannes-vermeer\u002Fthe-astronomer\u002Fthe-astronomer","De astronoom (Dutch)",85,45,"The_Astronomer_(Vermeer)",[],[518],{"name":120,"id":121,"slug":122},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":520,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":521,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[523],{"name":524,"id":525,"slug":526,"dates":20},"Dutch Golden Age","88b1c589-4227-4a35-ba19-83c4ee884ff8","dutch-golden-age",[528],{"name":177,"id":178,"slug":179},{"title":530,"id":531,"artists":532,"slug":533,"date":534,"description":535,"height":473,"image":536,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":537,"popularity":538,"width":539,"wikipediaId":540,"collections":541,"genres":542,"museum":547,"movements":550,"mediums":552},"Self-Portrait","6c32519d-bf66-4323-b606-23a587852d82",[],"self-portrait-1","1794","Self-Portrait (in French: Autoportrait) is the title of a self-portrait painted by the artist Jacques-Louis David in 1794 while in imprisonment at the Hôtel des Fermes for having supported the Robespierreans. It was his third and last self-portrait. He gave the work to his former student Jean-Baptiste Isabey. It entered the collections of the Louvre in 1852 (inv. 3705).","jacques-louis-david\u002Fself-portrait-1\u002Fself-portrait-1","Autoportrait (French)",94,64,"Autoportrait_(David)",[],[543],{"name":544,"id":545,"slug":546},"Autoportrait","14bd6c5d-53fe-4b09-bb21-ff9fbbfa14e8","autoportrait",{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":548,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":549,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[551],{"name":292,"id":293,"slug":294,"dates":20},[553],{"name":177,"id":178,"slug":179},{"title":555,"id":556,"artists":557,"slug":560,"date":561,"description":562,"height":513,"image":563,"inPrivateCollection":113,"isLocationUnknown":113,"originalTitle":564,"popularity":565,"width":566,"wikipediaId":567,"collections":568,"genres":569,"museum":572,"movements":575,"mediums":577},"Et in Arcadia ego (The Arcadian Shepherds)","209f8c6b-b06b-43f9-b788-5b8b22f83f67",[558],{"name":419,"id":420,"nationality":559,"slug":422,"biography":423,"born":424,"death":425,"image":426,"popularity":427,"sex":107,"wikipediaId":428},{"id":144,"name":145,"slug":146},"et-in-arcadia-ego-the-arcadian-shepherds","1637–1638","Et in Arcadia ego (also known as Les bergers d'Arcadie or The Arcadian Shepherds) is a 1637–38 painting by Classical painter Nicolas Poussin. It depicts a pastoral scene with idealized shepherds from classical antiquity, and a woman, possibly a shepherdess, gathered around an austere tomb that includes the Latin inscription \"Et in Arcadia ego\", which is translated to \"Even in Arcadia, there am I\"; \"Also in Arcadia am I\"; or \"I too was in Arcadia\". Poussin also painted another version of the subject in 1627 under the same title.\n\nThe 1630s version is held in the Musée du Louvre, Paris, while the 1627 version is held at Chatsworth House, England. An earlier treatment of the theme was painted by Guercino c. 1618–1622, also titled Et in Arcadia ego.","nicolas-poussin\u002Fet-in-arcadia-ego-the-arcadian-shepherds\u002Fet-in-arcadia-ego-the-arcadian-shepherds","Et in Arcadia ego (Les bergers d’Arcadie) (French)",109,121,"Et_in_Arcadia_ego_(Poussin)",[],[570,571],{"name":206,"id":207,"slug":208},{"name":120,"id":121,"slug":122},{"address":4,"latitude":5,"longitude":6,"name":7,"zipCode":8,"id":9,"city":573,"slug":21,"description":22,"background":23,"logo":24,"phone":25,"popularity":26,"schedules":27,"website":28,"wikipediaId":29},{"latitude":11,"longitude":12,"name":13,"id":14,"country":574,"slug":19,"image":20},{"id":16,"name":17,"slug":18},[576],{"name":484,"id":485,"slug":486,"dates":20},[578],{"name":177,"id":178,"slug":179},14,0,30]