Pesquisando por: "Battle scenes" - Fotoarena - Agência de fotojornalismo

alb3634552 Speculum Romanae Magnificentiae: The Victory of Scipio. Artist: Master of the Die (Italian, active Rome, ca. 1530-60); After (?) Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome) in the first state. Dimensions: plate: 8 9/16 x 10 in. (21.8 x 25.4 cm)sheet: 19 x 13 3/16 in. (48.3 x 33.5 cm). Publisher: Published by Antonio Lafreri (French, Orgelet, Franche-Comte ca. 1512-1577 Rome). Series/Portfolio: Speculum Romanae Magnificentia. Date: 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, clients composed their own selection from the corpus to be bound, or collected a group of prints over time. When Lafreri died, two-third of the existing copper plates went to the Duchetti family (Claudio and Stefano), while another third was distributed among several publishers. The Duchetti appear to have standardized production, offering a more or less uniform version of the Speculum to their clients. The popularity of the prints also inspired other publishers in Rome to make copies however, and to add new prints to the corpus. The museum's copy of the Speculum entered the collection as a group of 3 albums with inlaid engravings and etchings. The prints have since been removed, but the original place of each print within the album is contained in the accession number: 41.72(volume.place).Originally volume 2, plate 134 in the scrapbook. Museum: Metropolitan Museum of Art, New York, USA.

alb3639502 The Battle of Qos-qulaq. Artist: after Giuseppe Castiglione (Italian, Milan 1688-1766 Beijing); (direxit) Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); Benoit Louis Prevost (French, 1747-ca. 1804). Dimensions: Sheet: 25 11/16 × 39 5/8 in. (65.2 × 100.7 cm)Plate: 22 5/8 × 36 1/8 in. (57.5 × 91.8 cm). Series/Portfolio: The Conquests of the Emperor of China(Les Conquêtes de l'Empereur de la Chine). Date: 1774.This print shows the 1759 battle of Qos-qulaq during which the Khoja were defeated. Qing officers on horseback instruct their cavalry and archers on horseback chase enemy horsemen.Part of a set of sixteen, "The Battle of Qos-qulaq" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris.The prints exemplify the fusion of Eastern and Western representational styles fostered within the Qing imperial painting academy. The European technique of chiaroscuro-the modeling of forms through the use of light and shading-has been visibly tempered, as has the use of one-point perspective. Instead, the scenes present panoramic views and strongly up-tilt ground planes. At the same time, howevery, they reflect European preferences for anatomical accuracy, a single light source, and the mathematically correct reduction of scale to create the illusion of recession. Museum: Metropolitan Museum of Art, New York, USA. Author: Benoît Louis Prévost. (direxit) Charles Nicolas Cochin II. After Giuseppe Castiglione.