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François-Xavier FABRE, The Death of Narcissus [La mort de Narcisse] 1814

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When? This feed was archived on August 31, 2021 14:09 (2+ y ago). Last successful fetch was on April 02, 2019 03:27 (5y ago)

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Manage episode 203078497 series 2184092
Content provided by National Gallery of Australia. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by National Gallery of Australia or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
In Florence to avoid revolutionary Paris, François-Xavier Fabre circulated in largely English aristocratic circles and generated a prominent reputation as a painter of portraits and landscape souvenirs for tourists. In the face of this commercial activity, he struggled to produce work that accorded with his academic training. The Death of Narcissus provides a compelling response to this conundrum. It recounts the mythological narrative of Narcissus, a handsome youth who, indifferent to the affection of others, is condemned to fall in love with his own image in a forest pool. Narcissus fades away, losing both his senses and his beauty, as he desperately attempts to possess his own image. While the work is suggestive of the Academic genre of history painting, it represents an early historical landscape. Fabre had just read Pierre-Henri de Valenciennes’s famous Elements of Perspective (1799–1800), which sought to elevate the landscape genre to an Academic status similar to that of history painting. Valenciennes argued for landscape painting that was both highly learned and paid close attention to the study of nature. Fabre’s canvas represents an important example of an historical landscape, painted two years before the Académie in Paris created a special Grand Prix for the genre.
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30 episodes

Artwork
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Archived series ("Inactive feed" status)

When? This feed was archived on August 31, 2021 14:09 (2+ y ago). Last successful fetch was on April 02, 2019 03:27 (5y ago)

Why? Inactive feed status. Our servers were unable to retrieve a valid podcast feed for a sustained period.

What now? You might be able to find a more up-to-date version using the search function. This series will no longer be checked for updates. If you believe this to be in error, please check if the publisher's feed link below is valid and contact support to request the feed be restored or if you have any other concerns about this.

Manage episode 203078497 series 2184092
Content provided by National Gallery of Australia. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by National Gallery of Australia or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://player.fm/legal.
In Florence to avoid revolutionary Paris, François-Xavier Fabre circulated in largely English aristocratic circles and generated a prominent reputation as a painter of portraits and landscape souvenirs for tourists. In the face of this commercial activity, he struggled to produce work that accorded with his academic training. The Death of Narcissus provides a compelling response to this conundrum. It recounts the mythological narrative of Narcissus, a handsome youth who, indifferent to the affection of others, is condemned to fall in love with his own image in a forest pool. Narcissus fades away, losing both his senses and his beauty, as he desperately attempts to possess his own image. While the work is suggestive of the Academic genre of history painting, it represents an early historical landscape. Fabre had just read Pierre-Henri de Valenciennes’s famous Elements of Perspective (1799–1800), which sought to elevate the landscape genre to an Academic status similar to that of history painting. Valenciennes argued for landscape painting that was both highly learned and paid close attention to the study of nature. Fabre’s canvas represents an important example of an historical landscape, painted two years before the Académie in Paris created a special Grand Prix for the genre.
  continue reading

30 episodes

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