Despite Briullov is considered the most important Russian romantic painter the neoclassical influence is still very dominant here. Wilde barbaric hordes are sacking Rome the cradle of modern culture.
Peyron was one of the most influential neoclassical painters of his time until the rise of David. He shows here the great Byzantine General who defeated Vandals and Ostrogoths but was nonetheless blinded by an ungrateful Emperor. Here the old blind hero is still worshiped by one of his veterans.
A genre painting by the Spanish painter Francisco José Domingo y Marqués (1842-1920).
One of the typical idyllic simulations of old Rome by Alma-Tadelma. All is splendid marble, colourful flowers, celebrating women and jubilant children. What a time!
Suchodolski shows here no individualistic or even heroic struggle. The battle (if it could be called one) has dissolved in pure chaos and disorder. Impressive are the huge masses of fleeing troops.
Dicksee was a typical Victorian painter who exploited historical subjects in a manner which is still considered as Pre-Raphaelite style even though it has absolutely nothing to do with that.
Lorrain was famous above all for his landscape paintings, mostly showing classical architecture and a seaport. He preferred historical subjects, which gave him the reason to paint his beloved classical architecture.
Vercingétorix surrendering to Caesar (1886) by the French history painter Henri-Paul Motte (1846-1922).
Leutze depicted here the dramatic moment when Columbus was released from prison to defend his cause before the Catholic monarchs. On the floor are lying still his shackles indicating his imprisonment and the queen has turned her head away ashamed. Besides the magnificent costumes Leutze dedicated a great effort to the architecture on the Alhambra palace in Granada where the meeting took place.
The Delphic Oracle (1899) by the British painter John William Godward (1861 –1922). Godward was a protégé of Sir Lawrence Alma-Tadelma and had great success at the end of the 19th century.
Thingvellir (1897) by the British painter William Collingwood (1819-1903). Collingwood was a well known watercolor landscape painter and depicted here the Althing (Alþingi) in medieval Iceland, which was probably the oldest parliament in Europe. I think that it’s intentional how people and tents are integrated into the landscape, so that this archaic democratic tradition becomes part of it.
Napoleon Near Moscow, Waiting for a Boyar Deputation (1891-1892) by the Russian painter Vasily Vasilyevich Vereshchagin (1842-1904). Vereshchagin depicted here Napoleon in a very symbolic way. Despite the dust clouds may be realistic they illustrate much more the treacherous illusion of Napoleons victory. There was nothing gained and soon all will be gone.
