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See also:DELAROCHE, HIPPOLYTE , commonly known as See also:PAUL (1797-1856), See also:French painter, was See also:born in See also:Paris on the 17th of See also:July 1797. His See also:father was an See also:expert who had made a See also:fortune, to some extent, by negotiating and cataloguing, buying and selling. He was proud of his son's See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent, and able to forward his See also:artistic See also:education. The See also:master selected was See also:Gros, then See also:painting See also:life-See also:size histories, and surrounded by many pupils. In no haste to make an See also:appearance in the See also:Salon, his first exhibited picture was a large one, Josabeth saving Joas " (1822). This picture led to his acquaintance with See also:Gericault and See also:Delacroix, with whom he remained on the most friendly terms, the three forming the central See also:group of a numerous See also:body of See also:historical painters, such as perhaps never before lived in one locality and at one See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time.
From 1822 the See also:record of his life is to be found in the successive See also:works coming from his See also:hand. He visited See also:Italy in 1838 and 1843, when his father-in-See also:law, See also:Horace See also:Vernet, was director of the French See also:Academy. His studio in Paris was in the See also:rue Mazarine, where he never spent a See also:day without some See also:good result, his hand being sure and his knowledge See also:great. His subjects, definitely expressed and popular in their manner of treatment, illustrating certain views of See also:history dear to partisans, yet romantic in their See also:general See also:interest, were painted with a See also:firm, solid, smooth See also:surface, which gave an appearance of the highest finish. This solidity, found also on the See also:canvas of Vernet, See also:Scheffer, See also:Leopold See also:Robert and See also:Ingres, was the manner of the day. It repudiates the technical See also:charm of texture and variety of handling which the See also:English school inherited as a tradition from the time of See also:Reynolds; but it is more easily under-stood by the See also:world at large, since a picture so executed depends for its interest rather on the history, See also:scene in nature or See also:object depicted, than on the executive skill, which may or may not be critically appreciated. We may add that his point of view of the historical characters which he treated is not always just. "See also:Cromwell lifting the See also:Coffin-lid and looking at the Body of See also:Charles " is an incident only to be excused by an improbable tradition; but " The See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King in the Guard-See also:Room, with villainous See also:roundhead soldiers blowing See also:tobacco See also:smoke in his patient See also:face, is a See also:libel on the Puritans; and " See also:Queen See also:Elizabeth dying on the Ground," like a she-See also:dragon no one dares to See also:touch, is sensational; while the "See also:Execution of See also:Lady Jane See also:Grey" is represented as taking See also:place in a See also:dungeon. Nothing can be more incorrect than this last as a See also:reading of English history, yet we forget the inaccuracy in admiration of the treatment which represents Lady Jane, with bandaged sight, feeling for the See also:block, her maids covering their faces, and none with their eyes visible among the many figures. On the other hand, " See also:Strafford led to Execution," when See also:Laud stretches his See also:lawn-covered arms out of the small high window of his See also:cell to give him a blessing as he passes along the See also:corridor, is perfect; and the splendid scene of See also:Richelieu in his gorgeous See also:barge, preceding the See also:boat containing Cinq-See also:Mars and De See also:Thou carried to execution by their See also:guards, is perhaps the most dramatic semi-historical See also:work ever done. " The Princes in the See also:Tower " must also be mentioned as a very See also:complete creation; and the " See also:Young See also:female See also:Martyr floating dead on the See also:Tiber " is so pathetic that See also:criticism feels hard-hearted and ashamed before it. As a realization of a See also:page of See also:authentic history, again, no picture can surpass the " Assassination of the duc de See also:Guise at See also:Blois." The expression of the murdered See also:man stretched out by the See also:side of the See also:bed, the conspirators all massed together towards the See also:door and far from the body, show exact study as well as insight into human nature. This work was exhibited in his See also:meridian time, 1835; and in the same See also:year he exhibited the " See also:Head of an See also:Angel," a study from Horace Vernet's young daughter See also:Louise, his love for whom was the absorbing See also:passion of his life, and from the See also:shock of whose See also:death, in 1845, it is said he never quite recovered. By far his finest productions after her death are of the most serious See also:character, a sequence of small elaborate pictures of incidents in the Passion. Two of these, the Virgin and the other Maries, with the apostles See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter and See also:John, within a nearly dark apartment,
8
See also:hearing the See also:crowd as it passes haling See also:Christ to See also:Calvary, and St John conducting the Virgin See also:home again after all is over, are beyond all praise as exhibiting the divine See also:story from a simply human point of view. They are pure and elevated, and also dramatic and painful. Delaroche was not troubled by ideals, and had no affectation of them. His See also:sound but hard execution allowed no See also:mystery to intervene between him and his motif, which was always intelligible to the million, so that he escaped all the See also:waste of See also:energy that painters who try to be poets on canvas suffer. Thus it is that essentially the same treatment was applied by him to the characters of distant historical times, the founders of the See also:Christian See also:religion, and the real See also:people of his own day, such as " See also:Napoleon at See also:Fontainebleau," or " Napoleon at St See also:Helena," or " See also:Marie Antoinette leaving the See also:Convention " after her See also:sentence.
In 1837 Delaroche received the See also:commission for the great picture, 27 metres See also:long, in the See also:hemicycle of the lecture See also:theatre of the Ecole See also:des See also:Beaux Arts. This represents the great artists of the See also:modern ages assembled in See also:groups on either hand of a central See also:elevation of See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white See also:marble steps, on the topmost of which are three thrones filled by the architects and sculptors of the See also:Parthenon. To See also:supply the female See also:element in this vast See also:composition he introduced the genii or See also:muses, who symbolize or reign over the arts, leaning against the See also:balustrade of the steps, beautiful and queenly figures with a certain See also:antique perfection of See also:form, but not informed by any wonderful or profound expression. The portrait figures are nearly all unexceptionable and admirable. This great and successful work is on the See also:wall itself, an inner wall however, and is executed in oil. It was finished in 1841, and considerably injured by a See also:fire which occurred in 1855, which injury he immediately set himself to remedy (finished by Robert-See also:Fleury); but he died before he had well begun, on the 4th of See also:November 1856.
Personally Delaroche exercised even a greater See also:influence than by his works. Though See also:short and not powerfully made, he impressed every one as rather tall than otherwise; his See also:physiognomy was accentuated and firm, and his See also:fine forehead gave him the See also:air of a See also:minister of See also:state.
See See also:Rees, Delaroche (See also:London, 188o). (W. B.
End of Article: DELAROCHE, HIPPOLYTE
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