Anton Raphael Mengs
1728-1779 Dutch Anton Raphael Mengs Gallery Mengs was born in 1728 at Usti nad Labem (German: Aussig) in Bohemia on 12 March 1728; he died in Rome 29 June 1779. His father, Ismael Mengs, a Danish painter, established himself finally at Dresden, whence in 1741 he took his son to Rome. In Rome, his fresco painting of Parnassus at Villa Albani gained him a reputation as a master painter. The appointment of Mengs in 1749 as first painter to Frederick Augustus, elector of Saxony did not prevent his spending much time in Rome, where he had married Margarita Quazzi who had sat for him as a model in 1748, and abjured the Protestant faith, and where he became in 1754 director of the Vatican school of painting, nor did this hinder him on two occasions from obeying the call of Charles III of Spain to Madrid. There Mengs produced some of his best work, and specially the ceiling of the banqueting-hall of the Royal Palace of Madrid, the subject of which was the Triumph of Trajan and the Temple of Glory. Among his pupils there was Agust??n Esteve. After the completion of this work in 1777, Mengs returned to Rome, and there he died, two years later, in poor circumstances, leaving twenty children, seven of whom were pensioned by the king of Spain. His portraits and autoportraits recall an attention to detail and insight, often lost from the grand manner paintings. Besides numerous paintings in the Madrid gallery, the Ascension and St Joseph at Dresden, Perseus and Andromeda at Saint Petersburg, and the ceiling of the Villa Albani must be mentioned among his chief works. In 1911, Henry George Percy, 7th Duke of Northumberland, possessed a Holy Family, and the colleges of All Souls and Magdalen, at Oxford, possessed altar-pieces by Mengs's hand. In his writings, in Spanish, Italian and German, Mengs has put forth his eclectic theory of art, which treats of perfection as attainable by a well-schemed combination of diverse excellences Greek design, with the expression of Raphael, the chiaroscuro of Correggio, and the colour of Titian. He would have fancied himself the first neoclassicist, while in fact he may be the last flicker of Baroque art. Or in the words of Wittkower, In the last analysis, he is as much an end as a beginning. His intimacy with Johann Joachim Winckelmann, who constantly wrote at his dictation, has enhanced his historical importance, for he formed no scholars, and the critic must now concur in Goethe's judgment of Mengs in Winckelmann und sein Jahrhundert; he must deplore that so much learning should have been allied to a total want of initiative and poverty of invention, and embodied with a strained and artificial mannerism. Mengs was famous for his rivalry with the contemporary Italian painter Pompeo Batoni.

 

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Anton Raphael Mengs Self Portrait  ddd oil painting   

Painting ID::  2890
Anton Raphael Mengs
Self Portrait ddd

   
   
     

 

 

Anton Raphael Mengs Self Portrait  12 oil painting   

Painting ID::  2891
Anton Raphael Mengs
Self Portrait 12
The Hermitage, St.Petersburg

   
   
     

 

 

Anton Raphael Mengs self-Portrait (nn03) oil painting   

Painting ID::  23379
Anton Raphael Mengs
self-Portrait (nn03)
c 1774 Oil on canvas 102 x 77 cm 40 1/4 x 30 1/4 in Hermitage Museum St Petersburg

   
   
     

 

 

Anton Raphael Mengs Maria Luisa of Parma oil painting   

Painting ID::  31356
Anton Raphael Mengs
Maria Luisa of Parma
nn07 1765 oil on canvas; 48??38 cm? Prado, Madrid, Spain

   
   
     

 

 

Anton Raphael Mengs Allegory of History oil painting   

Painting ID::  33834
Anton Raphael Mengs
Allegory of History
mk86 c.1772/73 Fresco 420x260cm Rome,Vatican,Biblioteca Vaticana,Sala dei Papiri

   
   
     

 

 

Anton Raphael Mengs Self-Portrait oil painting   

Painting ID::  38544
Anton Raphael Mengs
Self-Portrait
mk138 c.1773/74 Oil on wood 90.5x74.5cm

   
   
     

 

 

Anton Raphael Mengs St Foseph-s dream oil painting   

Painting ID::  39719
Anton Raphael Mengs
St Foseph-s dream
mk150 c.1773/4 Oak 114x86cm

   
   
     

 

 

Anton Raphael Mengs Self-Portrait oil painting   

Painting ID::  40599
Anton Raphael Mengs
Self-Portrait
mk156 c.1775 Oil on panel 97x72.6cm

   
   
     

 

 

Anton Raphael Mengs The Holy Family oil painting   

Painting ID::  62818
Anton Raphael Mengs
The Holy Family
1769 Oil on canvas, 112 x 91 cm Museum of Fine Arts, Budapest The artist used a single colour, gray, and used the various shades of this colour to create a total pictorial illusion. Artist: MENGS, Anton Raphael Title: The Holy Family Date: 1751-1800 German , painting : religious

   
   
     

 

 

Anton Raphael Mengs maria luisa of parmathe princess of asturias oil painting   

Painting ID::  64324
Anton Raphael Mengs
maria luisa of parmathe princess of asturias
1765 paris. louvre

   
   
     

 

 

Anton Raphael Mengs Portrait of Isabel Parreno Arce Ruiz de Alarcon y Valdes, Marchioness of Llano oil painting   

Painting ID::  76044
Anton Raphael Mengs
Portrait of Isabel Parreno Arce Ruiz de Alarcon y Valdes, Marchioness of Llano
1770-1775 Oil on canvas 250 ?? 148 cm (98.4 ?? 58.3 in) cjr

   
   
     

 

 

Anton Raphael Mengs Portrait of Maria Carolina of Austria Queen consort of Naples and Sicily oil painting   

Painting ID::  76196
Anton Raphael Mengs
Portrait of Maria Carolina of Austria Queen consort of Naples and Sicily
1772-73 cjr

   
   
     

 

 

Anton Raphael Mengs Self-portrait oil painting   

Painting ID::  76219
Anton Raphael Mengs
Self-portrait
ca. 1778(1778) Oil on wood 56.5 ?? 43 cm (22.2 ?? 16.9 in) cjr

   
   
     

 

 

Anton Raphael Mengs Maria Luisa von Parma Prinzessin von Asturien oil painting   

Painting ID::  76549
Anton Raphael Mengs
Maria Luisa von Parma Prinzessin von Asturien
ca. 1765(1765) Oil on canvas 152 ?? 110 cm (59.8 ?? 43.3 in) cjr

   
   
     

 

 

Anton Raphael Mengs Self-portrait oil painting   

Painting ID::  76685
Anton Raphael Mengs
Self-portrait
after 1777(1777) Oil on canvas cjr

   
   
     

 

 

Anton Raphael Mengs Self-portrait oil painting   

Painting ID::  76784
Anton Raphael Mengs
Self-portrait
ca. 1775(1775) Oil on canvas 102 ?? 77 cm (40.2 ?? 30.3 in) cjr

   
   
     

 

 

Anton Raphael Mengs Portrait of Charles III of Spain oil painting   

Painting ID::  77074
Anton Raphael Mengs
Portrait of Charles III of Spain
1761 cjr

   
   
     

 

 

Anton Raphael Mengs Self-portrait oil painting   

Painting ID::  77103
Anton Raphael Mengs
Self-portrait
1773(1773) Oil on wood 98 ?? 73 cm (38.6 ?? 28.7 in) cjr

   
   
     

 

 

Anton Raphael Mengs Portrait of Domenico Annibali (1705-1779), Italian singer oil painting   

Painting ID::  77800
Anton Raphael Mengs
Portrait of Domenico Annibali (1705-1779), Italian singer
1750(1750) Oil on canvas 95 cm (37.4 in). Height: 125 cm (49.2 in). cjr

   
   
     

 

 

Anton Raphael Mengs Retrato de la Marquesa de Llano oil painting   

Painting ID::  77969
Anton Raphael Mengs
Retrato de la Marquesa de Llano
Date 1770-1775 Medium Oil on canvas Dimensions 250 x 148 cm (98.4 x 58.3 in) cyf

   
   
     

 

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Anton Raphael Mengs
1728-1779 Dutch Anton Raphael Mengs Gallery Mengs was born in 1728 at Usti nad Labem (German: Aussig) in Bohemia on 12 March 1728; he died in Rome 29 June 1779. His father, Ismael Mengs, a Danish painter, established himself finally at Dresden, whence in 1741 he took his son to Rome. In Rome, his fresco painting of Parnassus at Villa Albani gained him a reputation as a master painter. The appointment of Mengs in 1749 as first painter to Frederick Augustus, elector of Saxony did not prevent his spending much time in Rome, where he had married Margarita Quazzi who had sat for him as a model in 1748, and abjured the Protestant faith, and where he became in 1754 director of the Vatican school of painting, nor did this hinder him on two occasions from obeying the call of Charles III of Spain to Madrid. There Mengs produced some of his best work, and specially the ceiling of the banqueting-hall of the Royal Palace of Madrid, the subject of which was the Triumph of Trajan and the Temple of Glory. Among his pupils there was Agust??n Esteve. After the completion of this work in 1777, Mengs returned to Rome, and there he died, two years later, in poor circumstances, leaving twenty children, seven of whom were pensioned by the king of Spain. His portraits and autoportraits recall an attention to detail and insight, often lost from the grand manner paintings. Besides numerous paintings in the Madrid gallery, the Ascension and St Joseph at Dresden, Perseus and Andromeda at Saint Petersburg, and the ceiling of the Villa Albani must be mentioned among his chief works. In 1911, Henry George Percy, 7th Duke of Northumberland, possessed a Holy Family, and the colleges of All Souls and Magdalen, at Oxford, possessed altar-pieces by Mengs's hand. In his writings, in Spanish, Italian and German, Mengs has put forth his eclectic theory of art, which treats of perfection as attainable by a well-schemed combination of diverse excellences Greek design, with the expression of Raphael, the chiaroscuro of Correggio, and the colour of Titian. He would have fancied himself the first neoclassicist, while in fact he may be the last flicker of Baroque art. Or in the words of Wittkower, In the last analysis, he is as much an end as a beginning. His intimacy with Johann Joachim Winckelmann, who constantly wrote at his dictation, has enhanced his historical importance, for he formed no scholars, and the critic must now concur in Goethe's judgment of Mengs in Winckelmann und sein Jahrhundert; he must deplore that so much learning should have been allied to a total want of initiative and poverty of invention, and embodied with a strained and artificial mannerism. Mengs was famous for his rivalry with the contemporary Italian painter Pompeo Batoni.