Intermission, part 2

The narrative began with Act 1, scene 1 on April 10, 2013.

To access all scenes, scroll to blog archive at the bottom of the page.

For an explanation, and to see the complete set of images in this particular 'lineage' of artists, go back to part 1 of this intermission.

Francisco Goya, The Second of May 1808 or The Charge of the Mamelukes, 1814

J.M.W. Turner, Dido Building Carthage, or The Rise of the Carthaginian Empire, 1815

Eugène Delacroix, The Death of Sardanapolus, 1827

Before continuing with more examples of work by these artists whose influences we are tracking, it might be a good idea to recap those relationships to this point, before losing the thread of this particular exploration of the notion of a legacy.

A few pages back, at the opening of Act 10, scene 3, we began with a painting by Barthélémy d'Eyck (fl. 1444-1469), an  Annunciation. D'Eyck, or possibly Van Eyck (he may have been related to Jan Van Eyck, widely regarded as one of the early Flemish masters of oil painting). Barthélémy d'Eyck was apparently in Naples around 1440, likely at the behest of king Alphonso V of Aragon who had brought  together in that city a number of artists from all over Europe. It was here that our next painter, Niccolò Antonio Colantonio met and studied with D'Eyck and incorporated Northern European techniques (among others) in his own work.