Paolo and Francesca (Ingres)
Paolo and Francesca is a painting by the French artist Jean-Auguste-Dominique Ingres, produced in seven known versions between 1814 and 1819. It derives from the story of Paolo and Francesca in Dante's Inferno. With Ingres' The Engagement of Raphael, these works represent early examples of the troubador style.
Of the seven known versions, that in the Musée des beaux-arts d'Angers is considered the most complete, notably in the exaggerated form of Paolo, whose neck recalls the same artist's Jupiter and Thetis. The frontality of the composition and the details of the room and clothes refer back to the Northern Renaissance.
- Musée Condé, 1814
- 1816, Sotheby
- Musee Bonnat, 1819
- Musée des Beaux-Arts d'Angers, 1819
- Museo Soumaya (Mexico), 1850-60s? (Same version at Sotheby's, 2007 was dated 1856-1860)
Links
Bibliography
- Daniel Ternois, Ingres, Paris, Fernand Nathan, 1980 (ISBN 2-09-284-557-8)
- Robert Rosenblum, Ingres, Paris, Cercle d'Art, coll. « La Bibliothèque des Grands Peintres », 1986 (ISBN 2-7022-0192-X)
gollark: Yes. You can observe people doing mourning and its effect on their behaviour and such. You can observe the effect of *belief in* the afterlife, but not the afterlife itself unless you have a model of it which is actually... interactable with.
gollark: If there's no way to actually detect or interact with it, i.e. it existing is indistinguishable from it not existing, the question of "does it exist" is not very meaningful.
gollark: You can use advanced "multiplication" technology to compute "expected value".
gollark: Ah, but it has a probability of still existing.
gollark: What do you mean "a priori"? Just come up with some ridiculous """pure logical proof""" that the afterlife exists regardless of observations of it?
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