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29 octobre 2013
- doi: 10.4000/miranda.2706
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info:eu-repo/semantics/reference/issn/2108-6559
https://creativecommons.org/licenses/by-nc-nd/4.0/ , info:eu-repo/semantics/openAccess
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French revolution neoclassicism Protestantism Catholicism Pandora Timanthes Paradise Lost Foxites Satan Cork Royal Academy whiggism King Lear Ugolino camera oscura St Luke’s academy Venus St Paul’s cathedral Greek art murals Grand Manner printmaking Society of Arts révolution française néoclassicisme protestantisme catholicisme Pandore Timanthes Le Paradis perdu Foxites Satan Cork Royal Academy Whigs Roi Lear Ugolino camera oscura Académie de St Luc Vénus Cathédrale St Paul art grec peinture murale grande manière petite manière gravure Society of ArtsSujets proches
Frontier troubles Wall-painting Wall decoration Fresco painting Painting, Decorative Ceilings, Painted Painted ceilings Murals Annals Lucifer Satanael Satanail Beelzebul Satan Beelzebub Arts, Occidental Arts, Western Fine arts Arts, Fine Western art (Western countries) Fine arts Iconography Arts, Fine Art, Occidental Arts, Visual Visual arts Occidental art Art, Visual Art, Western (Western countries) ArtsCiter ce document
Muriel Adrien, « Tom Dunne and William L. Pressly, James Barry, 1741-1806: History Painter », Miranda, ID : 10.4000/miranda.2706
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Despite the four books James Barry (1741-1806) authored, and despite his reputation as Britain’s greatest history painter, his achievements were given scant attention until the second half of the twentieth century. One of the reasons may be that his oeuvre is sophisticated and limited (33 pictures), including six murals, which of course cannot be traded on the art market. But this edited collection lifts the veil on many other aspects of Barry's career, suggesting why his work has long remain...