格羅斯_安托萬(wàn)-讓·格羅斯油畫(huà)作品欣賞全集，Antoine-Jean, Baron Gros 格羅，安托萬(wàn) - 讓·格羅斯，男爵（3月16日出生，1771年，巴黎，法國(guó)，死于1835年6月26日，巴黎），法國(guó)浪漫主義畫(huà)家主要是想起他的歷史圖片，描繪拿破侖的軍事生涯中的重要事件。格羅斯收到來(lái)自他的父親，是一個(gè)袖珍的畫(huà)家，他的第一個(gè)藝術(shù)培訓(xùn)。在1785年，他進(jìn)入了他父親的朋友雅克 - 路易·大衛(wèi)，他崇敬，但其腦忤格羅斯的浪漫多情的天性的新古典主義風(fēng)格的工作室。作為一名學(xué)生，他更充滿活力的筆觸和彼得·保羅·魯本斯和威尼斯人的顏色比他同時(shí)代的新古典主義的硬linearism影響。在大衛(wèi)的幫助下，于1793年，格羅斯來(lái)到意大利，在熱那亞，他會(huì)見(jiàn)了約瑟芬·Beauharnais，通過(guò)她，他的英雄，拿破侖。在1796年，他跟隨法國(guó)軍隊(duì)Arcole和被提出時(shí)，拿破侖種植法國(guó)國(guó)旗上的橋梁。這件事，他在他的第一個(gè)上的橋在Arcole（1796），拿破侖的主要工作，永生。拿破侖對(duì)他賦予排名inspecteur輔助諷刺時(shí)事的滑稽劇。他陪同他的競(jìng)選拿破侖和盧浮宮選擇來(lái)自意大利的藝術(shù)作品也有幫助。所有的藝術(shù)家，誰(shuí)促成了拿破侖的神話，格羅斯上影響最深遠(yuǎn)的浪漫主義畫(huà)家正在成長(zhǎng)的一代。優(yōu)雅，豐富，這樣的歷史畫(huà)，參觀拿破侖在雅法（1804年）和拿破侖在1807年二月（1808）影響杰里柯和德拉克羅瓦Eylau，戰(zhàn)場(chǎng)上的Pesthouse戲劇性的權(quán)力。拿破侖倒臺(tái)后，恢復(fù)波旁王朝（誰(shuí)給了格羅斯的男爵稱號(hào)），大衛(wèi)被迫流亡和格羅斯成了他的工作室的頭。作為新古典主義的繼承人，格羅斯試圖在風(fēng)格接近大衛(wèi)。他繼續(xù)畫(huà)大的成分，例如，盧浮宮的埃及房間的天花板（約1824），但這些學(xué)術(shù)新古典主義的圖畫(huà)缺乏浪漫的生命力，他早期的歷史畫(huà)。他最好的作品是1815年后的畫(huà)像，其中一些接近他拿破侖的圖片，例如，年輕的姑娘在項(xiàng)鏈（1913年展出）的質(zhì)量。然而，他不斷地困擾著大衛(wèi)的批評(píng)，他的工作，并成為越來(lái)越不滿意自己的成就。一個(gè)失敗感加劇他已經(jīng)憂郁的性質(zhì)，他是自殺。格羅斯_安托萬(wàn)-讓·格羅斯油畫(huà)作品欣賞全集
Antoine-Jean, Baron Gros, (born March 16, 1771, Paris, France—died June 26, 1835, Paris), French Romantic painter principally remembered for his historical pictures depicting significant events in the military career of Napoleon. Gros received his first art training from his father, who was a painter of miniatures. In 1785 he entered the studio of his father’s friend Jacques-Louis David, whom he revered but whose cerebral Neoclassical style was uncongenial to Gros’s romantically passionate nature. As a student he was more influenced by the energetic brushwork and colour of Peter Paul Rubens and the Venetians than the hard linearism of his contemporary Neoclassicists. In 1793, with David’s help, Gros went to Italy, where, in Genoa, he met Joséphine de Beauharnais and, through her, his hero, Napoleon. In 1796 he followed the French army to Arcole and was present when Napoleon planted the French flag on the bridge. This incident he immortalized in his first major work, Napoleon on the Bridge at Arcole (1796). Napoleon bestowed on him the rank of inspecteur aux revues. He accompanied Napoleon on his campaigns and also helped select works of art from Italy for the Louvre. Of all the artists who contributed to the Napoleonic myth, Gros had the most profound effect on the rising generation of Romantic painters. The elegance, richness, and dramatic power of such historical paintings as Napoleon Visiting the Pesthouse at Jaffa (1804) and Napoleon on the Battlefield at Eylau, February 1807 (1808) influenced Théodore Géricault and Eugène Delacroix. After the fall of Napoleon and the restoration of the Bourbons (who gave Gros the title of baron), David was forced into exile and Gros became the head of his studio. As the heir of Neoclassicism, Gros tried to work in a style closer to that of David. He continued to paint large compositions—e.g., the ceiling of the Egyptian room of the Louvre (c. 1824)—but these academically Neoclassical pictures lacked the Romantic vitality of his earlier historical paintings. His best works after 1815 were portraits, some of which approached the quality of his Napoleonic pictures—e.g., Young Girl in a Necklace (exhibited 1913). He was, however, continually plagued by David’s criticism of his work and became increasingly dissatisfied with his own accomplishments. A sense of failure exacerbated his already melancholic nature, and he committed suicide.
