The Colossus, Francisco de Goya, 1808
FRIEDRICH, Caspar David
Fog in the Elbe Valley
Oil on canvas, 33 x 43 cm
In the Winter Garden
Oil on canvas, 115 x 150 cm
Staatliche Museen, Berlin
Giovanni Bellini, Portrait of Doge Leonardo Loredan, 1501, oil on panel, 62 x 45 cm, The National Gallery, London. Source
Leonardo Loredan became the doge of Venice the same year that this portrait was painted, and he maintained the position until his death in 1521. Bellini’s portrait of Loredan is unusual because of it’s front-on position; these kinds of figures were usually painted in profile.
Self-Portrait as Philosopher of Silence
Oil on canvas, 116 x 94 cm
National Gallery, London
La Capresses des Colonies
In his unpublished memoirs Charles Cordier cites the law of April 27, 1848 that abolished slavery in France and its colonies, writing: “My art incorporated the reality of a whole new subject, the revolt against slavery and the birth of anthropology.” In pioneering ethnography as a subject for sculpture in the nineteenth century, Cordier aimed to illustrate what he described as “the idea of the universality of beauty.” His busts often paired couples of the opposite sex but of the same race. This rare instance of matched busts of women was desired by the purchaser, a gaming club in Marseilles, that also commissioned the sumptuous Second-Empire pedestals from Cordier.
The busts revel in the period taste for polychromy in sculpture, an international phenomenon sparked by artistic debates about the painting of ancient statuary and inspired by ancient Roman and Renaissance sculpture composed of variously colored marbles. On a trip to Algeria in 1856 Cordier discovered onyx deposits in recently reopened ancient quarries and began to use the stone in busts such as these. He ingeniously fitted enameled bronze heads into the vibrantly patterned stone, creating exciting though costly representations of Africans that appealed to the highest levels of European society. (MET)