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Liberty Leading the People


French romantic painter Eugène Delacroix was inspired to paint Liberty Leading the People after the French Revolution of 1830, which ended France's absolute monarchy.


Venus de Milo


Venus de Milo (about 150-100 bc) is considered by many art historians to be the ideal of Hellenistic beauty. It was carved out of marble and stands approximately 205 cm (6 ft 10 in) high. It is housed in the Louvre in Paris, France.

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Mona Lisa


Mona Lisa (1503-1506), painted by the Italian artist Leonardo da Vinci, was also known as La Gioconda, possibly referring to the subject’s husband, banker Zanobi del Giocondo. The artist’s use of very deep space in the background with a close-in portrait is typical of Renaissance painting style. The painting hangs in the Louvre, Paris

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Mona Lisa, or La Gioconda (La Joconde), is a 16th-century oil painting on poplar wood by Leonardo da Vinci, and is, perhaps, the most famous painting in Western art history or even the world. Few other works of art are as romanticised, celebrated, parodied or reproduced. It is owned by the French government and hangs in the Musée du Louvre in Paris.


The painting shows a woman looking out at the viewer with what is described as an "enigmatic smile".


The Virgin and Child with St Anne
Leonardo da Vinci, circa 1508
oil on wood, 168 × 112 cm
Musée du Louvre


The Virgin and Child with St Anne is an oil painting by Leonardo da Vinci depicting St Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolising his Passion whilst the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo. Salzburg


In 1498, Leonardo probed into incorporating these figures together by drawing the Burlington House Cartoon (National Gallery, London), which included all three figures in addition to an infant St John the Baptist. An earlier cartoon exhibited in Santissima Annunziata in 1501 is now lost.


Ultimately, this painting would emerge during the later years of his life, when he was Louvre travel occupied with an interest in mathematics and other pursuits, its rocky landscape betraying his interest in geology. The demands of his other interests may Louvre tourism have forced him to leave this painting incomplete.


In addition to the symbolism of Christ playing with the lamb discussed above, Fra Pietro da Novellara, a Vice General of the Carmelite Order, saw a further layer of symbolic significance to the painting. He believed that St Anne's serene expression, in contrast with Mary's anxiety for her child, "perhaps stands for the Church that does not want to have the Passion of Christ prevented".


The painting's pyramidal structure influenced Raphael and Andrea del Sarto. Its composition inspired two High Renaissance sculptures, one by Andrea Sansovino (S. Agostino, Rome) and another, less successful work by Francesco da Sangallo (Orsanmichele, Florence).


The Virgin of the Rocks and Madonna of the Rocks are terms used to describe three different paintings with Louvre travel almost identical compositions. There are separate accounts over which of the paintings are verifiably Leonardo da Vinci's.


Alexandros of Antioch was an otherwise unknown master of the Hellenistic age who is most well known today for the Venus de Milo (Aphrodite of Milos) at the Louvre Museum in Paris, France.


He is known from an inscription from a now missing plinth to have been the son of Menides who was a citizen of the city of Antioch on the Maeander. The plinth was originally part of the Venus de Milo but was removed and "lost" due to museum politics and national pride at the Louvre Museum in the 1820s.


The inscription and the style of its lettering cast into doubt the claim that the statue was an original by the master sculptor Praxiteles from Attica.


Alexandros appears to have been a wandering artist who worked on commission. According to inscriptions at the ancient city of Thespiae, near Mount Helicon, in Greece, he was also a winner in contests for composing and singing. The Louvre attractions inscriptions date to around 80 BCE.


Alexandros is also thought to have sculpted a statue of Alexander the Great that is also displayed at the Louvre Museum. This statue was discovered at the Greek island of Delos.


His dates of birth and death are unknown.

The Winged Victory of Samothrace, also called Nike of Samothrace, is a marble sculpture of the Greek goddess Nike (Victory), discovered in 1863 on the island of Samothrace (Greek: ∑αμοθρακη, Samothraki) by the French consul and amateur archaeologist Charles Champoiseau. The statue is now displayed in the Louvre in Paris while a plaster replica stands in the museum at the original location of the Sanctuary of the Great Gods on Samothrace.


In Greek the statue is called the Niki tis Samothrakis (Νίκη της ∑αμοθράκης) and in French La Victoire de Samothrace.


Numerous copies exist in museums and galleries around the world; one of the best-known copies stands outside the Caesar's Palace casino in Las Vegas. The Rolls-Royce radiator figurine, Spirit of Ecstasy, was also based on the Louvre tourism Nike of Samothrace.


The Victory is one of the great surviving masterpieces of sculpture from the Hellenistic period, despite the fact that the figure is significantly damaged, missing its head and outstretched arms. By an unknown artist, (presumably Rhodian in origin), the sculpture is thought to date from the period 220-190 BCE (though some scholars date it as early as 250 BCE or as late as 180 BCE). Certainly, the parallels with figures and drapery from the Pergamon Altar (dated about 170 BCE) seem strong.


A partial inscription on the base of the statue includes the word "Rhodhios" (Rhodes), indicating that the statue was commissioned to celebrate a naval victory by Rhodes, at that time the most powerful maritime state in the Aegean. The Samothrace Archaeological Museum, however, says that the statue was an offering donated by the Macedonian general Demetrius I Poliorcetes after his naval victory at Cyprus. This would date the statue to 288 BCE at the earliest.


Originally located in a niche in an open air amphitheatre, the sculpture probably served as an altar, within view of the preserved ship of Demetrius I Poliorcetes and its elaborate protective building. The statue stands on the prow of a ship, representing the Louvre attractions goddess as she descended from the skies to the triumphant fleet. Rendered in white Parian marble, the Louvre travel figure (height 3.28 m / 10.7 ft, including the wings) originally formed part of the Sanctuary of the Great Gods. Before losing her arms the Nike was probably blowing a victory paean on a trumpet, as shown on coins. The prow is made of grey marble from Lartos.


The Winged Victory of Samothrace, side viewThe statue has been reassembled in stages since its original discovery in 1863. The prow was rediscovered by Champoiseau in 1879 and reconstructed in situ before being shipped to Paris. The right wing is a symmetric plaster version of the original left one. Various other fragments Louvre tourism have since been found: in 1950 one of the statue's hands was found on Samothrace and is now in a glass case in the Louvre next to the podium on which the statue stands. Neither the arms nor the head have been found.


The statue shows a mastery of form and movement which has impressed critics and artists since its discovery - it is particularly admired for its naturalistic pose and rendering of the figure's draped garments, depicted as if rippling in a strong sea breeze. It soon became a cultural icon to which artists responded in many different ways. When Filippo Tommaso Marinetti issued his Futurist Manifesto in 1908, he chose to contrast his movement with the supposedly defunct artistic sentiments of the Winged Victory: "A screaming automobile that seems to run on grapeshot is more beautiful than the Winged Victory of Samothrace."


The Victory is one of the Louvre's greatest treasures, and it is today displayed in the most dramatic fashion, at the head of the sweeping Daru staircase. The loss of the head and arms, while regrettable in a sense, is held by many to enhance the statue's depiction of the supernatural. The different finishing of the sides has led to think that it was intended to be seen from three-quarters on the left.


This statue was a favorite of Frank Lloyd Wright and he used reproductions of it in a number of his buildings, including Ward Willits House, Darwin D. Martin House and Storer House.


5.The "Aphrodite of Milos" otherwise known as the Venus de Milo is an ancient Greek statue and one of the most famous of the art of ancient Greek sculpture. It is believed to depict Aphrodite (called Venus by the Romans), the Greek goddess of love and beauty. It is a marble sculpture, slightly larger than life size at 203 cm (80 inches) high, but without its arms or its original plinth. From an Louvre attractions inscription on its now-lost plinth, it is thought to be the work of Alexandros of Antioch; it was earlier mistakenly attributed to the master sculptor Praxiteles

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13th to 15th century

The Madonna and Christ Child enthroned with angels, Cimabue (about 1270)
Saint Francis of Assisi receives the stigmata, Giotto (about 1290-1300)
Portrait of John II the Good, anonymous (about 1350). Acquired by Louis XV, part of the royal collection
The Virgin with Chancellor Rolin, Jan van Eyck (about 1435). Seized in the French Revolution (1796)
Portrait de Charles VII, Jean Fouquet (1445-1448). Bought in 1838
The Condottiero, Antonello da Messina (1475). Bought in 1865
St. Sebastian, Andrea Mantegna (1480)
Ship of Fools, Hieronymus Bosch (1490-1500)
Self-Portrait with flowers, Albrecht Dürer (1493). Bought in 1922
16th century
Mona Lisa, Leonardo da Vinci (1503-1506), acquired by Francis I in 1519
The Virgin and Child with St. Anne, Leonardo da Vinci (1508)
The Virgin and Child with Saint John the Baptist, called la Belle Jardinière, Raphael (1508). Belonged to the royal collection, acquired by Francis I
Portrait of Balthazar Castiglione, Raphael (about 1515), acquired by Louis XIV from the estate of Mazarin
The Wedding at Cana, Paolo Veronese (1562-1563). It hung 2.5 metres from the floor in the San Giorgio Maggiore monastery for 235 years, until it was plundered by Napoleon in 1797


17th century

Saint Joseph charpentier, Georges de la Tour (1642), donated in 1948
The club foot, Joseph de Ribera (1642), bequeathed in 1869
The pilgrims of Emmaus, Rembrandt (1648), seized in the French Revolution in 1793
Le young mendicant, Murillo (about 1650), bought by Louis XVI about 1782
Bathsheba at Her Bath, Rembrandt (1654, bequeathed in 1869
Ex Voto, Philippe de Champaigne (1662), seized in the French Revolution in 1793
The Lacemaker, Johannes Vermeer, (1669-1670), bought in 1870
Et in Arcadia ego, Nicolas Poussin (1637-1638)


18th century

Portrait of Louis XIV, Hyacinthe Rigaud (1701)
The Embarkation for Cythera, Antoine Watteau (1717)
La Raie, Jean-Baptiste-Siméon Chardin (before 1728)
Oath of the Horatii, Jacques-Louis David (1784)
Master Hare, Joshua Reynolds (1788-1789)

19th century

Bonaparte visitant les pestiférés de Jaffa, Antoine-Jean Gros (1804)
The Raft of the Medusa, Théodore Géricault (1819)
Liberty Leading the People, Eugène Delacroix (1830)
The Turkish bath, Ingres (1862)

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