One hundred works between history and spectacle
The 100known paintings that tell the storyJean-Leon Gérôme
From Roman arenas to mosques in Cairo, Gérôme stages history with formidable precision - Hollywood will arrive later, with more cameras and not always more sets.
Pollice Verso1872 · Phoenix Art Museum
Jean-Léon Gérôme was one of the great image makers of the 19th century: Spectacular Antiquity, Recomposed Orient, historical dramas and reflections on sculpture. This journey follows a career where every detail seems documented, even when the show discreetly takes over the document.
Jean-Leon Gérôme
Pollice Verso
Exhibited in 1872, this gladiator fight has permanently fixed the famous lowered thumb in the modern imagination, even if historians still discuss the ancient meaning of the gesture. Gérôme gathers armor, sand, crowd and vestal virgins with one spectacular precision which will directly influence cinema. Ridley Scott will use it in particular as a visual reference for Gladiator.
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Jean-Leon Gérôme
The Snake Charmer
Around 1879, Gérôme installed a young charmer in front of a wall covered with carefully described Ottoman tiles. The scene appears documentary, but it brings together Western observations, objects and fantasies rather than a moment seized on site. This ambiguity explains why the painting has become both an icon of orientalism and one of its most discussed images.
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Jean-Leon Gérôme
The Death of Caesar
Gérôme does not paint the assassination of Caesar, but the second that follows: the body remains alone while the conspirators leave the theater, swords raised. Between 1859 and 1867, he took up this composition which transformed architecture and light and some accessories reversed into real staging. The crime is over; the silence has just begun.
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Jean-Leon Gérôme
Phryne in front of the Areopagus
Presented at the Salon of 1861, the painting illustrates the legend according to which the orator Hyperides revealed Phryne before his judges in order to obtain her acquittal. Gérôme contrasts the luminous body of the accused with the very theatrical reactions of the Areopagus. The ancient trial thus becomes a scene about the gaze, power and a suddenly very distracted justice.
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Jean-Leon Gérôme
The Slave Market
Painted in 1866, this fictional market focuses attention on the humiliating inspection of a woman put up for sale. The smooth construction and archaeological details give the spectacle an appearance of truth that makes its violence more disturbing. Today, the work is also examined as a major example of how orientalism made elsewhere for the European public.
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Jean-Leon Gérôme
Hail Caesar, morituri greeting you
At the Salon of 1859, Gérôme presented gladiators saluting Vitellius before the fight, in an amphitheater reconstructed with an almost cinematographic ambition. The Latin formula of the title was traditionally associated with Claudius, not with this scene is precise, but the image has made it inseparable from the arenas. History painting here takes on the appearance of a blockbuster before the invention of film.
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Jean-Leon Gérôme
Bonaparte before the Sphinx
Around 1886, Gérôme imagined Bonaparte alone facing the Sphinx, while his army stretched like a thread in the desert. Nothing documents such a solitary encounter: the painter rather constructs a symbolic duel between modern ambition and egyptian eternity. The general seems conquering, but the stone clearly has more time on its hands.
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Jean-Leon Gérôme
The execution of Marshal Ney
Painted in 1868, the work shows the aftermath of the execution of Marshal Ney, shot in 1815: the platoon moves away and the body remains against the wall. Gérôme refuses the heroic moment to emphasize the cold brutality of the result. Des critics criticized him for this realism without consolation, precisely what gives the painting its strength today.
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Jean-Leon Gérôme
Last prayers of Christian martyrs
Commissioned in 1863 by William T. Walters, this vast stage was not delivered until 1883, twenty years later: Gérôme knew how to keep a collector waiting. The condemned pray in the center of the arena while the wild animals approach and the crosses burn around the edge. Spectacular architecture does not lessen anxiety; on the contrary, it gives it a whole stage to resonate.
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Jean-Leon Gérôme
Consummatum est
At the Salon of 1867, Gérôme surprised by leaving the Crucifixion off-camera: only the shadows of the three crosses extended in the foreground. The crowd descends towards Jerusalem under a stormy sky, as if after an event that the spectator arrives too late to see. This radical ellipse was strongly criticized, but it announces with astonishing effectiveness the framing of the cinema.
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Jean-Leon Gérôme
Continuation of a masked ball
At the Salon of 1857, Gérôme transforms a news item into a frozen drama: after a duel, a dying Pierrot is supported by his companions while the murderer walks away. Carnival costumes still make snow, blood and silence more cruel. The mask was to allow a role to be played; here it stays in place when the comedy is over.
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Jean-Leon Gérôme
Pygmalion and Galatea
Around 1890, Gérôme painted the moment when the statue of Galatea comes to life under the kiss of Pygmalion. He created several versions showing the group from different angles, as if the viewer were revolving around a real sculpture. A painter who became a sculptor himself, Gérôme naturally chose the myth where the artist obtained the most flattering possible proof of his talent.
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Jean-Leon Gérôme
The Gray Eminence
"The Gray Eminence" isolates the decisive moment. "The Gray Eminence" transforms the story into a spectacle. In "The Gray Eminence", Gérôme gives detail the value of proof. Finally, "The Gray Eminence" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
Diogenes
"Diogenes" deploys a calculated scene. "Diogenes" recomposes Antiquity like a scene. In "Diogenes", Gérôme directs the gaze through architecture. Finally, "Diogenes" unites erudition and imagination.
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Jean-Leon Gérôme
King Candaule
"King Candaule" animates each accessory. "King Candaule" recomposes Antiquity like a scene. In "King Candaule", Gérôme contrasts calm with violence. Finally, "King Candaule" transforms the spectator into a juror.
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Jean-Leon Gérôme
Reception of the Grand Condé at Versailles
"Reception of the Grand Condé at Versailles" simplifies the essential action. "Reception of the Grand Condé at Versailles" dramatizes an episode in French history. In "Reception of the Grand Condé at Versailles", Gérôme suspends the story before its outcome. Finally, "Reception of the Grand Condé at Versailles" invites us to believe as much as to doubt.
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Jean-Leon Gérôme
Louis XIV and Molière
"Louis XIV and Molière" builds a tense expectation. "Louis XIV and Molière" dramatizes an episode in French history. In "Louis XIV and Molière", Gérôme erases the touch to reinforce the illusion. Finally, "Louis XIV and Molière" already prepares the view of cinema.
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Jean-Leon Gérôme
The Truth emerging from the well armed with its swift to punish humanity
"The Truth emerging from the well armed with its swift to punish humanity" retains the aftermath of the gesture. "The Truth emerging from the well armed with its swift to punish humanity" transforms the story into a spectacle. In "The Truth Coming Out from the well armed with his swift to punish humanity", Gérôme takes care of costumes and accessories. Finally, "The Truth emerging from the well armed with its swift to punish humanity" lets the story continue out of frame.
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Jean-Leon Gérôme
Prayer in Cairo
"Prayer in Cairo" balances crowds and silence. "Prayer in Cairo" lets warm light reign. In "Prayer in Cairo", Gérôme places the spectator as a witness. Finally, "Prayer in Cairo" keeps its secret behind the finished.
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Jean-Leon Gérôme
General Bonaparte in Cairo
"General Bonaparte in Cairo" turns the episode into an image. "General Bonaparte in Cairo" mixes topography and spectacle. In "General Bonaparte in Cairo", Gérôme composes like a director. Finally, "General Bonaparte in Cairo" makes the setting a protagonist.
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Jean-Leon Gérôme
Cleopatra and Caesar
"Cleopatra and Caesar" frames with cold precision. "Cleopatra and Caesar" recomposes Antiquity like a scene. In "Cleopatra and Caesar", Gérôme takes care of costumes and accessories. Finally, "Cleopatra and Caesar" unites erudition and imagination.
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Jean-Leon Gérôme
Bachi Bouzouk
"Bachi Bouzouk" observes without apparent comment. "Bachi Bouzouk" composes a meticulous Orient. In "Bachi Bouzouk", Gérôme places the spectator as a witness. Finally, "Bachi Bouzouk" transforms the spectator into a juror.
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Jean-Leon Gérôme
Bachi Bouzouk black
"Bachi Bouzouk noir" isolates the decisive moment. "Bachi Bouzouk noir" reinvents the memory of the trip. In "Bachi Bouzouk noir", Gérôme composes like a director. Finally, "Bachi Bouzouk noir" invites you to believe as well as to doubt.
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Jean-Leon Gérôme
Bachi-bouzouk singing
"Bachi-bouzouk chantant" deploys a calculated scene. "Bachi-bouzouk chantant" orders light and architecture. In "Bachi-bouzouk chantant", Gérôme makes the selected gestures speak. Finally, "Bachi-bouzouk chantant" already prepares the look of cinema.
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Jean-Leon Gérôme
Prayer in the mosque
"Prayer in the mosque" animates each accessory. "Prayer in the mosque" transforms elsewhere into a theater. In "Prayer in the Mosque", Gérôme organizes a theatrical depth. Finally, "Prayer in the Mosque" lets the story continue out of frame.
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Jean-Leon Gérôme
Roman slave market
"Roman slave market" simplifies the essential action. "Roman slave market" transforms the story into a spectacle. In "Roman Slave Market", Gérôme gives the detail as proof. Finally, "Roman Slave Market" keeps its secret behind the finish.
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Jean-Leon Gérôme
Sale of slaves in Rome
"Sale of slaves in Rome" builds a tense expectation. "Sale of slaves in Rome" recomposes Antiquity like a scene. In "Sale of Slaves in Rome", Gérôme directs the gaze through architecture. Finally, "Sale of Slaves in Rome" makes the setting a protagonist.
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Jean-Leon Gérôme
Greek interior
"Greek Interior" retains the aftermath of the gesture. "Greek Interior" transforms the story into a spectacle. In "Greek Interior", Gérôme contrasts calm with violence. Finally, "Greek Interior" makes the silence almost visible.
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Jean-Leon Gérôme
The Gynecaeus
"Le Gynécée" balances crowd and silence. "Le Gynécée" transforms the story into a spectacle. In "Le Gynécée", Gérôme suspends the story before its outcome. Finally, "Le Gynécée" gives the past an immediate presence.
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Jean-Leon Gérôme
Dance of Almeh
"Dance of the Almeh" transforms the episode into an image. "Dance of the Almeh" mixes topography and spectacle. In "Dance of the Almeh", Gérôme erases the key to reinforce the illusion. Finally, "Dance of the Almeh" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
Almeh performing the sword dance
"Almeh performing the sword dance" frames with cold precision. "Almeh performing the sword dance" confronts observation and imagination. In "Almeh performing the sword dance", Gérôme contrasts calm with violence. Finally, " Almeh performing the sword dance is already preparing the cinema's outlook.
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Jean-Leon Gérôme
Almées playing chess
"Almées playing chess" observes without apparent comment. "Almées playing chess" transforms the story into a spectacle. In "Almées playing chess", Gérôme suspends the story before its outcome. Finally, "Almées playing chess" lets the story continue out of frame.
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Jean-Leon Gérôme
Bather at the Brousse swimming pool
"Bather at the Brousse swimming pool" isolates the decisive moment. "Bather at the Brousse swimming pool" orders bodies, marbles and textiles. In "Bather at the Brousse swimming pool", Gérôme erases the key to reinforce the illusion. Finally, " Bather at the Brousse swimming pool keeps her secret behind the finish.
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Jean-Leon Gérôme
The Great Bush Pool
"La Grande Piscine de Brousse" unfolds a calculated scene. "La Grande Piscine de Brousse" transforms the story into a spectacle. In "La Grande Piscine de Brousse", Gérôme takes care of costumes and accessories. Finally, "La Grande Piscine de Brousse" makes the setting a protagonist.
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Jean-Leon Gérôme
Moorish bath
"Moorish bath" enlivens every accessory. "Moorish bath" orders bodies, marbles and textiles. In "Moorish Bath", Gérôme places the viewer as a witness. Finally, "Moorish Bath" makes the silence almost visible.
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Jean-Leon Gérôme
After the bath
"After the bath" simplifies the essential action. "After the bath" orders bodies, marbles and textiles. In "After the Bath", Gérôme composes like a director. Finally, "After the Bath" gives the past an immediate presence.
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Jean-Leon Gérôme
The bath
"Le Bain" builds a tense wait. "Le Bain" orders bodies, marbles and textiles. In "Le Bain", Gérôme makes the gestures chosen speak. Finally, "Le Bain" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
Harem excursion
"Harem Excursion" remembers the aftermath of the gesture. "Harem Excursion" patiently reconstructs the setting. In "Harem Excursion", Gérôme organizes a theatrical depth. Finally, "Harem Excursion" unites erudition and imagination.
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Jean-Leon Gérôme
The Harem in the kiosk
"The Harem in the kiosk" balances crowds and silence. "The Harem in the kiosk" lets warm light reign. In "The Harem in the Kiosk", Gérôme gives detail the value of proof. Finally, "The Harem in the kiosk" transforms the spectator into a juror.
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Jean-Leon Gérôme
The guard of the harem
"The Harem Keeper" turns the episode into an image. "The Harem Keeper" mixes topography and spectacle. In "The Harem Keeper", Gérôme directs the gaze through architecture. Finally, "The Harem Keeper" invites you to believe as well as to doubt.
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Jean-Leon Gérôme
Carpet merchant in Cairo
"Carpet Merchant in Cairo" frames with cold precision. "Carpet Merchant in Cairo" confronts observation and imagination. In "Carpet Merchant in Cairo", Gérôme organizes a theatrical depth. Finally, "Carpet Merchant in Cairo" makes the setting a protagonist.
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Jean-Leon Gérôme
The saddle bazaar, Cairo
"The saddle bazaar, Cairo" observes without apparent comment. "The saddle bazaar, Cairo" composes a meticulous Orient. In "The saddle bazaar, Cairo", Gérôme gives the detail as proof. Finally, "The saddle bazaar, Cairo", Gérôme gives the detail proof value. Finally, "The saddle bazaar, Cairo" makes the silence almost visible.
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Jean-Leon Gérôme
Guardhouse of arnauts in Cairo
"Arnaut Guard Corps in Cairo" isolates the decisive moment. "Arnaut Guard Corps in Cairo" reinvents the memory of the trip. In "Arnaut Guard Corps in Cairo", Gérôme directs the gaze through architecture. Finally, "Body guarding arnauts in Cairo" gives the past an immediate presence.
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Jean-Leon Gérôme
Turkish butcher in Jerusalem
"Turkish Butcher in Jerusalem" unfolds a calculated scene. "Turkish Butcher in Jerusalem" orders light and architecture. In "Turkish Butcher in Jerusalem", Gérôme contrasts calm with violence. Finally, "Turkish Butcher in Jerusalem" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
The muezzin
"The muezzin" animates each accessory. "The muezzin" transforms the story into a spectacle. In "The Muezzin", Gérôme suspends the story before its outcome. Finally, "The Muezzin" unites erudition and imagination.
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Jean-Leon Gérôme
Sermon at the mosque
"Sermon at the Mosque" simplifies essential action. "Sermon at the Mosque" examines daily gestures. In "Sermon at the Mosque", Gérôme erases the key to reinforce the illusion. Finally, "Sermon at the Mosque" transforms the spectator into a juror.
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Jean-Leon Gérôme
The Wall of Solomon, also known as The Wailing Wall
"The Wall of Solomon, also known as The Wailing Wall", builds a tense expectation. "The Wall of Solomon, also known as The Wailing Wall" renews the religious image through framing. In "The Wall of Solomon, also known as The Wall of lamentations", Gérôme takes care of costumes and accessories. Finally, "The Wall of Solomon, also known as The Wall of Lamentations" invites us to believe as much as to doubt.
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Jean-Leon Gérôme
Interior of a mosque
"Interior of a mosque" retains the aftermath of the gesture. "Interior of a mosque" patiently reconstructs the decor. In "Interior of a mosque", Gérôme places the viewer as a witness. Finally, "Interior of a mosque" already prepares the view of cinema.
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Jean-Leon Gérôme
Café House, Cairo (Casting Bullets)
"Café House, Cairo (Casting Bullets)" balances crowds and silence. "Café House, Cairo (Casting Bullets)" lets warm light reign. In "Café House, Cairo (Casting Bullets)", Gérôme composes like a director. Finally, "Café House, Cairo (Casting Bullets)" lets the story continue out of frame.
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Jean-Leon Gérôme
Egyptian recruits crossing the desert
"Egyptian Recruits Crossing the Desert" turns the episode into a picture. "Egyptian Recruits Crossing the Desert" mixes topography and spectacle. In "Egyptian Recruits Crossing the Desert", Gérôme makes the gestures speak restrained. Finally, "Egyptian recruits crossing the desert" keeps its secret behind the finished.
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Jean-Leon Gérôme
Arabs crossing the desert
"Arabs crossing the desert" frames with cold precision. "Arabs crossing the desert" confronts observation and imagination. In "Arabs crossing the desert", Gérôme places the viewer as a witness. Finally, "Arabs crossing the desert" disturbs by its apparent accuracy.
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Jean-Leon Gérôme
Caravan passing near the colossi of Memnon. Thebes
"Caravan passing near the colossi of Memnon. Thebes" observes without apparent comment. "Caravan passing near the colossi of Memnon. Thebes" composes a meticulous Orient. In "Caravan passing near the colossi of Memnon. Thebes" composes a meticulous Orient. In "Caravan passing near the colossi of Memnon. Thebes", Gérôme composes like a director. Finally, "Caravan passing near the colossi of Memnon. Thebes" unites erudition and imagination.
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Jean-Leon Gérôme
The Colossi of Thebes, Memnon and Sesostris
"The Colossi of Thebes, Memnon and Sesostris" isolates the decisive moment. "The Colossi of Thebes, Memnon and Sesostris" reinvents the memory of the journey. In "The Colossi of Thebes, Memnon and Sesostris", Gérôme makes the gestures speak restrained. Finally, "The Colossi of Thebes, Memnon and Sesostris" transforms the spectator into a juror.
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Jean-Leon Gérôme
View of the Nile in Luxor
"View of the Nile in Luxor" unfolds a calculated scene. "View of the Nile in Luxor" commands light and architecture. In "View of the Nile in Luxor", Gérôme organizes a theatrical depth. Finally, "View of the Nile in Luxor" invites you to believe as well as to doubt.
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Jean-Leon Gérôme
View of Baalbek
"View of Baalbek" animates each accessory. "View of Baalbek" transforms elsewhere into a theater. In "View of Baalbek", Gérôme gives detail as proof. Finally, "View of Baalbek" already prepares the view of cinema.
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Jean-Leon Gérôme
The Gulf of Aqaba
"The Gulf of Aqaba" simplifies essential action. "The Gulf of Aqaba" examines daily actions. In "The Gulf of Aqaba", Gérôme directs the gaze through architecture. Finally, "The Gulf of Aqaba" lets the story continue out of frame.
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Jean-Leon Gérôme
Oasis
"Oasis" builds a tense expectation. "Oasis" makes fabrics and walls speak. In "Oasis", Gérôme contrasts calm with violence. Finally, "Oasis" keeps its secret behind the finish.
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Jean-Leon Gérôme
Leave the oasis
"Leaving the oasis" retains the aftermath of the gesture. "Leaving the oasis" patiently reconstructs the setting. In "Leaving the Oasis", Gérôme suspends the story before its outcome. Finally, "Leaving the Oasis" makes the setting a protagonist.
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Jean-Leon Gérôme
Dog relay in the desert
"Dog Relay in the Desert" balances crowds and silence. "Dog Relay in the Desert" lets warm light reign. In "Dog Relay in the Desert", Gérôme erases the key to reinforce the illusion. Finally, " Dog relay in the desert makes the silence almost visible.
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Jean-Leon Gérôme
Night in the desert
"Night in the Desert" turns the episode into an image. "Night in the Desert" mixes topography and spectacle. In "Night in the Desert", Gérôme takes care of costumes and accessories. Finally, "Night in the Desert" gives the past an immediate presence.
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Jean-Leon Gérôme
The Two Majesties
"The Two Majesties" frames with cold precision. "The Two Majesties" transforms the story into a spectacle. In "The Two Majesties", Gérôme suspends the story before its outcome. Finally, "The Two Majesties" invites both belief and doubt.
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Jean-Leon Gérôme
The cursed Lion
"The Cursed Lion" observes without apparent comment. "The Cursed Lion" gives animals a dramatic presence. In "The Cursed Lion", Gérôme erases the touch to reinforce the illusion. Finally, "The Cursed Lion" already prepares the cinema's perspective.
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Jean-Leon Gérôme
Tiger on the lookout
"Tiger on the lookout" isolates the decisive moment. "Tiger on the lookout" gives the animals a dramatic presence. In "Tiger on the Lookout", Gérôme takes care of costumes and accessories. Finally, "Tiger on the Lookout" lets the story continue out of frame.
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Jean-Leon Gérôme
Black panther stalking a herd of deer
"Black Panther stalking a herd of deer" unfolds a calculated scene. "Black Panther stalking a herd of deer" gives the animals a dramatic presence. In "Black Panther stalking a herd of deer", Gérôme places the spectator as witness. Finally, "Black Panther stalking a herd of deer" keeps its secret behind the finished.
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Jean-Leon Gérôme
Lion trying to grab a butterfly
"Lion trying to grab a butterfly" animates each accessory. "Lion trying to grab a butterfly" gives the animals a dramatic presence. In "Lion trying to grab a butterfly", Gérôme composes like a director. Finally, "Lion trying to grab a butterfly" makes the setting a protagonist.
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Jean-Leon Gérôme
Tulip madness
"Tulip Madness" simplifies the essential action. "Tulip Madness" transforms the story into a spectacle. In "Tulip Madness", Gérôme makes the gestures chosen speak. Finally, "Tulip Madness" makes the silence almost visible.
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Jean-Leon Gérôme
A cockfight
"A cockfight" builds a tense expectation. "A cockfight" gives the animals a dramatic presence. In "A Cockfight", Gérôme organizes a theatrical depth. Finally, "A Cockfight" gives the past an immediate presence.
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Jean-Leon Gérôme
Tank race
"Tank race" retains the aftermath of the gesture. "Tank race" transforms the story into a spectacle. In "Tank Race", Gérôme gives the detail as proof. Finally, "Tank Race" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
Circus Maximus
"Circus Maximus" balances crowd and silence. "Circus Maximus" recomposes Antiquity like a scene. In "Circus Maximus", Gérôme directs the gaze through architecture. Finally, "Circus Maximus" unites erudition and imagination.
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Jean-Leon Gérôme
The End of Bullfighting
"The End of Bullfighting" turns the episode into an image. "The End of Bullfighting" transforms the story into a spectacle. In "The End of Bullfighting", Gérôme contrasts calm with violence. Finally, "The End of Bullfighting" transforms the spectator into a juror.
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Jean-Leon Gérôme
Plaza de Toros: Entrance to the Bull
"Plaza de toros: the entrance of the bull" frames with cold precision. "Plaza de toros: the entrance of the bull" gives the animals a dramatic presence. In "Plaza de toros: the entrance of the bull", Gérôme gives the detail value of proof. Finally, "Plaza de toros: the entrance of the bull" keeps its secret behind the finish.
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Jean-Leon Gérôme
Taurus and picador
"Taurus and Picador" observes without apparent comment. "Taurus and Picador" gives animals a dramatic presence. In "Taurus and Picador", Gérôme directs the gaze through architecture. Finally, "Taurus and Picador" makes the setting a protagonist.
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Jean-Leon Gérôme
The Prisoner
"The Prisoner" isolates the decisive moment. "The Prisoner" transforms the story into a spectacle. In "The Prisoner", Gérôme contrasts calm with violence. Finally, "The Prisoner" makes the silence almost visible.
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Jean-Leon Gérôme
Anacreon, Bacchus and Love
"Anacreon, Bacchus and Love" unfolds a calculated scene. "Anacreon, Bacchus and Love" recomposes Antiquity like a scene. In "Anacreon, Bacchus and Love", Gérôme suspends the story before its outcome. Finally, "Anacreon, Bacchus and Love", Gérôme suspends the story before its outcome. Finally, "Anacreon, Bacchus and Love", Gérôme suspends the story before its outcome. Finally, "Anacreon, Bacchus and Love" gives the past an immediate presence.
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Jean-Leon Gérôme
Daphnis and Chloe
"Daphnis et Chloé" animates each accessory. "Daphnis et Chloé" recomposes Antiquity like a scene. In "Daphnis et Chloé", Gérôme erases the key to reinforce the illusion. Finally, "Daphnis et Chloé" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
The Birth of Venus
"The Birth of Venus" simplifies essential action. "The Birth of Venus" recomposes Antiquity like a scene. In "The Birth of Venus", Gérôme takes care of costumes and accessories. Finally, "The Birth of Venus" unites erudition and imagination.
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Jean-Leon Gérôme
Winning Love, Whoever you are, your Master
"Winning Love, Whoever you are, your Master" builds a tense expectation. "Winning Love, Whoever you are, your Master" transforms the story into a spectacle. In "Winning Love, Whoever you are, your Master", Gérôme places the spectator as a witness. Finally, "Love victorious, Whoever you are, voice your Master" transforms the spectator into a juror.
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Jean-Leon Gérôme
Androcles
"Androclès" retains the aftermath of the gesture. "Androclès" transforms the story into a spectacle. In "Androclès", Gérôme composes like a director. Finally, "Androclès" invites you to believe as well as to doubt.
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Jean-Leon Gérôme
Socrates seeking Alcibiades in the house of Aspasia
"Socrates seeking Alcibiades in the house of Aspasia" balances crowd and silence. "Socrates seeking Alcibiades in the house of Aspasia" recomposes Antiquity like a scene. In "Socrates seeking Alcibiades in the house of Aspasia" recomposes Antiquity as a scene. In "Socrates seeking Alcibiades in the house of Aspasia ", Gérôme makes the gestures retained speak. Finally, "Socrates looking for Alcibiades in Aspasia’s house" is already preparing the cinema’s perspective.
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Jean-Leon Gérôme
Dante
"Dante" turns the episode into a picture. "Dante" turns the story into a show. In "Dante", Gérôme organizes theatrical depth. Finally, "Dante" lets the story continue out of frame.
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Jean-Leon Gérôme
Michelangelo in his studio
"Michelangelo in his studio" frames with cold precision. "Michelangelo in his studio" questions the creative power of the artist. In "Michelangelo in his studio", Gérôme composes like a director. Finally, " Michelangelo in his workshop gives the past an immediate presence.
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Jean-Leon Gérôme
Tanagra Workshop
"Atelier de Tanagra" observes without apparent comment. "Atelier de Tanagra" questions the creative power of the artist. In "Atelier de Tanagra", Gérôme makes the gestures chosen speak. Finally, "Atelier de Tanagra" disturbs with its apparent accuracy.
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Jean-Leon Gérôme
Painting breathing life into sculpture
"Painting breathing life into sculpture" isolates the decisive moment. "Painting breathing life into sculpture" questions the creative power of the artist. In "Painting breathing life into sculpture", Gérôme organizes theatrical depth. Finally, "Painting breathing life into sculpture" unites erudition and imagination.
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Jean-Leon Gérôme
Self-portrait painting The Ball Player
"Self-portrait painting The Ball Player" unfolds a calculated scene. "Self-portrait painting The Ball Player" retains a physiognomy without softening it. In "Self-portrait painting The Ball Player", Gérôme gives detail proof value. Finally, "Self-portrait painting The Ball Player" transforms the spectator into a juror.
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Jean-Leon Gérôme
Self-portrait
"Self-portrait" animates each accessory. "Self-portrait" retains a physiognomy without softening it. In "Self-portrait", Gérôme directs the gaze through architecture. Finally, "Self-portrait" invites you to believe as much as to doubt.
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Jean-Leon Gérôme
Rachel, "The Tragedy"
"Rachel, "The Tragedy"" simplifies essential action. "Rachel, "The Tragedy"" retains a physiognomy without softening it. In "Rachel, "The Tragedy"", Gérôme contrasts calm with violence. Finally, "Rachel, "The Tragedy"", Gérôme contrasts calm with violence. Finally, "Rachel, "The Tragedy"" is already preparing the cinema’s perspective.
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Jean-Leon Gérôme
Madame de la Pagerie
"Madame de la Pagerie" builds a tense expectation. "Madame de la Pagerie" retains a physiognomy without softening it. In "Madame de la Pagerie", Gérôme suspends the story before its outcome. Finally, "Madame de la Pagerie" lets the story continue out of frame.
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Jean-Leon Gérôme
Portrait of Baroness Nathaniel de Rothschild, née Charlotte de Rothschild
"Portrait of Baroness Nathaniel de Rothschild, née Charlotte de Rothschild" retains the aftermath of the gesture. "Portrait of Baroness Nathaniel de Rothschild, née Charlotte de Rothschild" retains a physiognomy without softening it. In " Portrait of Baroness Nathaniel de Rothschild, née Charlotte de Rothschild", Gérôme erases the touch to reinforce the illusion. Finally, "Portrait of Baroness Nathaniel de Rothschild, née Charlotte de Rothschild" keeps its secret behind the finish.
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Jean-Leon Gérôme
Two Italian Peasant Women and a child
"Two Italian Peasant Women and a Child" balances crowds and silence. "Two Italian Peasant Women and a Child" retains a physiognomy without softening it. In "Two Italian Peasant Women and a Child", Gérôme takes care of costumes and accessories. Finally, "Two Italian Peasant Women and a Child" makes the setting a protagonist.
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Jean-Leon Gérôme
The Pifferari (1870)
"Les pifferari (1870)" transforms the episode into an image. "Les pifferari (1870)" retains a physiognomy without softening it. In "Les pifferari (1870)", Gérôme places the viewer as a witness. Finally, "Les pifferari (1870)", Gérôme places the viewer as a witness. Finally, "Les pifferari (1870)", Gérôme places the spectator as a witness. Finally, "Les pifferari (1870)", Gérôme places the spectator as a witness. Finally, "Les pifferari (1870)", Gérôme
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Jean-Leon Gérôme
Peasant from the Roman countryside, from the front
"Peasant of the Roman countryside, from the front" frames with cold precision. "Peasant of the Roman countryside, from the front" retains a physiognomy without softening it. In "Peasant of the Roman countryside, from the front", Gérôme erases the key for reinforce the illusion. Finally, "Peasant of the Roman countryside, from the front" transforms the spectator into a juror.
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Jean-Leon Gérôme
Reception of Siamese ambassadors by Emperor Napoleon III at the Fontainebleau Palace, June 27, 1861
"Reception of Siamese ambassadors by Emperor Napoleon III at the Fontainebleau Palace, June 27, 1861" observes without apparent comment. "Reception of Siamese ambassadors by Emperor Napoleon III at the Fontainebleau Palace, 27 june 1861 dramatizes an episode in French history. In "Reception of Siamese ambassadors by Emperor Napoleon III at the Fontainebleau Palace, June 27, 1861", Gérôme takes care of costumes and accessories. Finally, "Reception of siamese ambassadors by Emperor Napoleon III at the Fontainebleau Palace, June 27, 1861 invites both to believe and to doubt.
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Jean-Leon Gérôme
Courtyard walk in the gardens of Versailles
"Promenade de la Cour dans les jardin de Versailles" isolates the decisive moment. "Promenade de la Cour dans les jardin de Versailles" recomposes Antiquity like a scene. In "Promenade de la Cour dans les jardin de Versailles", Gérôme places the viewer as a witness. Finally, "Promenade de la Cour dans les jardin de Versailles" is already preparing the cinema's perspective.
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Jean-Leon Gérôme
A collaboration (Molière and Corneille
"A collaboration (Molière and Corneille" deploys a calculated scene. "A collaboration (Molière and Corneille" dramatizes an episode in French history. In "A collaboration (Molière and Corneille", Gérôme composes like one director. Finally, "A collaboration (Molière and Corneille" lets the story continue outside the frame.
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Jean-Leon Gérôme
La Fontaine and Molière
"La Fontaine et Molière" animates each accessory. "La Fontaine et Molière" dramatizes an episode in French history. In "La Fontaine et Molière", Gérôme makes the gestures chosen speak. Finally, "La Fontaine et Molière" keeps its secret behind the finish.
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Jean-Leon Gérôme
Jean Bart
"Jean Bart" simplifies essential action. "Jean Bart" dramatizes an episode in French history. In "Jean Bart", Gérôme organizes theatrical depth. Finally, "Jean Bart" makes the setting a protagonist.
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Jean-Leon Gérôme
Botzaris (Markos Botsaris)
"Botzaris (Markos Botsaris)" constructs a tense expectation. "Botzaris (Markos Botsaris)" dramatizes an episode in French history. In "Botzaris (Markos Botsaris)", Gérôme gives detail as proof. Finally, "Botzaris (Markos Botsaris)", Gérôme gives detail as proof. Finally, "Botzaris (Markos Botsaris)" makes the silence almost visible.
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Jean-Leon Gérôme
Marengo
"Marengo" retains the aftermath of the gesture. "Marengo" dramatizes an episode in French history. In "Marengo", Gérôme directs the gaze through architecture. Finally, "Marengo" gives the past an immediate presence.
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Jean-Leon Gérôme
Age of Augustus: Birth of NS Jesus Christ
"Century of Augustus: Birth of NS Jesus Christ" balances crowd and silence. "Century of Augustus: Birth of NS Jesus Christ" renews the religious image through framing. In "Century of Augustus: Birth of NS Jesus Christ" renews the religious image through framing. In "Century of Augustus: Birth of NS Jesus Christ ", Gérôme opposes calm to violence. Finally, "Century of Augustus: Birth of NS Jesus Christ" disturbs by its apparent accuracy.
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Jean-Leon Gérôme
The Entry of Christ into Jerusalem
"Christ’s Entry into Jerusalem" transforms the episode into an image. "Christ’s Entry into Jerusalem" renews the religious image through framing. In "Christ’s Entry into Jerusalem", Gérôme suspends the story before its outcome. Finally, "The Entry of Christ into Jerusalem" unites erudition and imagination.
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