The Foundation of Saint Petersburg by the German-Russian painter Alexander Ewstafijewitsch von Kotzebue (1815-1889). Kotzebue depicted here Tsar Peter the Great as a the visionary founder of the city. Artisans and architects are fascinated at his feet while he is dramatically illuminated.
Battle of Svolder (1883) by the Norwegian painter Otto Ludvig Sinding (1842-1909). Sinding depicted here the decisive battle which resulted in the independence of Norway. Quite normal work that far, but more interesting is that he was much more famous for his landscape paintings of the wild Lofoten Islands. And because of that, I think, his battle painting is much more about the sea in the North and the light there than about that battle itself.
Bacci Ball (1880) by the Italian painter Ludovico Marchetti (1853-1909). Marchetti was specialized in sweet scenes settled in the Orient or in an innocent past, in this case mostly early 18th century.
The Landing of the Pilgrim Fathers by the Anglo-American painter George Henry Boughton (1834-1905). One of the great foundation myths of the United States. The men are pious but armed, few in a deserted hostile world. Looks nothing inviting at all, their new world.
Faithful Unto Death - Christianae ad Leones (1897) by the British painter Herbert Gustave Carmichael Schmalz (1856-1935). One of that typical cheesy arena paintings where decorative naked Christians are waiting for the lions. Should be a great horror show but in the end it's all about the beautiful girls exposed to the onlooker – of the painting!
Ecce Homo! (1871) by the Italian painter Antonio Ciseri (1821-1891). Ciseri depicts here the moment when Pontius Pilate presents Jesus to the crowd. That's a classical scenery, but really new it isn't a religious painting, with all the architecture, the clothes the dramatic scenery it's pure history painting. It's much more decoration than religion.
Cleopatra by the American artist Maxfield Parrish (1870-1966). Parrish doesn't intend to simulate a far past, Cleopatra looks like a woman of the golden twenties. She's only a symbol for the timeless femme fatale.
Druids cutting the mistletoe (1900) by the French history painter Henri-Paul Motte (1846-1922). Today it looks much more like a fantasy scene from the Lord of the Rings, but then many people thought that their past may have looked like this.
The battle of Legnano 1176 (1831) by the Italian painter Massimo Taparelli, marquis d'Azeglio (1798-1866). Taparelli is glorifying here the moment when the citizens of the Lombard League defend their Carroccio a sacred wagon with the city standard against the knights of Emperor Frederick Barbarossa.
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).
