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Anton Raphael Mengs

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Anton Raphael Mengs

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As an original painter, Camuccini belongs to the Neoclassicist school fostered in Rome by Anton Raphael Mengs.
De acuerdo con el anexo V del Reglamento (CE) no #/#, no se consideraron subvencionables # EURWikiMatrix WikiMatrix
MacLaren pp. 76 dismisses both claims: "The supposed signatures of Juan Bautista Mazo and Anton Raphael Mengs in the bottom left corner are purely accidental marks."
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He worked the rest of his life along with Francisco Bayeu y Subías and other painters in developing cartons for the Royal Tapestry Factory under the direction of Anton Raphael Mengs.
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He returned to Spain in 1765 and participated in the remodeling of the Palacio Real de Madrid under the direction of Anton Raphael Mengs, who had a significant influence on his style.
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He studied painting under Israel Silvestre and Dietrich at Dresden, and went in 1752 to Rome, where, under the tuition of Anton Raphael Mengs, he became an accomplished artist in pencil and crayon.
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The Annunciation was painted by Anton Raphael Mengs, while the rest of the paintings that comprise the altarpiece have been attributed to a number of his disciples, among whom Mariano Salvador Maella and Francisco Bayeu are mentioned.
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The critic, James Grieg hypothesised that it was by Anton Raphael Mengs—although he found little support for his idea—and there was more serious discussion about the possibility of Velázquez's son-in-law and pupil, Juan del Mazo as the artist.
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Anton Raphael Mengs (March 12, 1728 – June 29, 1779) was a German painter.
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John the Baptist Preaching in the Wilderness by Anton Raphael Mengs, 1760 Prophet
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Archduke Francis at the age of 2, 1770. by Anton Raphael Mengs
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John the Baptist Preaching in the Wilderness by Anton Raphael Mengs, 1760 Bahá'í Faith
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In 1755 Maron traveled to Rome. There he lived with his teacher Anton Raphael Mengs.
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There, at the invitation of Nicolas Guibal, he frequented the studio of Anton Raphael Mengs.
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Although Batoni was considered the best Italian painter of his time, contemporary chronicles mention of his rivalry with Anton Raphael Mengs.
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Anton Raphael Mengs, German Bohemian painter born in 1728, active in Rome, Madrid and Saxony, who became one of the precursors to Neoclassical painting.
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cat. 40455 The painting, which perhaps has always belonged to the pontifical collections, entered the Picture Gallery in 1932, attributed to Anton Raphael Mengs.
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Curiously, some aspects reflect the esthetic of Anton Raphael Mengs, a young and more modern painter who was Tiepolo’s competitor at the court in Madrid.
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Paintings by Albrecht Dürer (Self-portrait, Adam and Eve), Lucas Cranach, Baldung Grien, and the neo-classical Anton Raphael Mengs (María Luisa de Parma) are displayed.
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His first training as a painter was at the age of 14 with the artist José Luján and then with the German painter Anton Raphael Mengs (1728 – 1779).
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Lopez’s style is dominated by the influenced of Anton Raphael Mengs and the Academicism and he was unaffected by the romanticism popular at the end of his career.
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The painting, which perhaps has always belonged to the pontifical collections, entered the Pinacoteca in 1932, attributed to Anton Raphael Mengs. This was subsequently altered to the painter from Lucca, Pompeo Batoni.
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Mengs, Anton Raphael Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding.
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The Roman architect Fonton is responsible for the convent and for the church, which is open to the public; noteworthy among the artworks is the painting on the high altar, by Anton Raphael Mengs.
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1765 Mengs, Anton Raphael Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding.
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In the 18th century the Bohemian artist Anton Raphael Mengs was summoned to Spain by Charles III where he became the preeminent figure in the Spanish art world, exercising a notable influence on his contemporaries.
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