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Pierre-Narcisse Guerin The Return of Marcus Sextus oil painting


The Return of Marcus Sextus
Painting ID::  70902
Pierre-Narcisse Guerin
The Return of Marcus Sextus
The Return of Marcus Sextus, Oil on canvas, 217 x 243 cm, Musee du Louvre

   
   
     

Pierre-Narcisse Guerin Morpheus and Iris oil painting


Morpheus and Iris
Painting ID::  71803
Pierre-Narcisse Guerin
Morpheus and Iris
1811(1811) Oil on canvas 251 x 178 cm (98.82 x 70.08 in)

   
   
     

Pierre-Narcisse Guerin Jeune fille en buste oil painting


Jeune fille en buste
Painting ID::  75860
Pierre-Narcisse Guerin
Jeune fille en buste
c. 1794 Oil on canvas 60.6 ?? l. 50.2 cm cjr

   
   
     

Pierre-Narcisse Guerin Jeune fille en buste oil painting


Jeune fille en buste
Painting ID::  77673
Pierre-Narcisse Guerin
Jeune fille en buste
c. 1794 Medium Oil on canvas Dimensions H. 60.6 ?? l. 50.2 cm cyf

   
   
     

Pierre-Narcisse Guerin Portrait of Louis XVIII of France oil painting


Portrait of Louis XVIII of France
Painting ID::  80495
Pierre-Narcisse Guerin
Portrait of Louis XVIII of France
19th century Medium Oil on canvas Dimensions 269 x 204 cm (105.9 x 80.3 in) cyf

   
   
     

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     Pierre-Narcisse Guerin
     (13 May 1774 - 6 July 1833) was a French painter. Guerin was born in Paris. A pupil of Jean-Baptiste Regnault, he carried off one of the three grands prix offered in 1796, in consequence of the competition not having taken place since 1793. In 1799, his painting Marcus Sextus (Louvre) was exhibited at the Salon and excited wild enthusiasm. Part of this was due to the subject - a victim of Sulla's proscription returning to Rome to find his wife dead and his house in mourning - in which an allusion was found to the turmoil of the French Revolution. Guerin on this occasion was publicly crowned by the president of the Institute, and went to Rome to study under Joseph-Benoît Suvee. In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted the Grave of Amyntas. In 1802 Guerin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Cephalus and Aurora (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified. The Restoration brought to Guerin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Academie des Beaux-Arts. His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guerin adopted a more sensuous, picturesque style. Guerin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused. On returning to Paris in 1828, Guerin, who had previously been made chevalier of the order of St. Michel, was ennobled. He now attempted to complete Pyrrhus and Priam, a work which he had begun at Rome, but in vain; his health had finally broken down, and in the hope of improvement he returned to Italy with Horace Vernet. Shortly after his arrival at Rome Baron Guerin died, on the 6th of July 1833, and was buried in the church of La Trinite de Monti by the side of Claude Lorrain.

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