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ANTONY See also: German painter, was See also: born in 1728 at See also: Aussig in Bohemia, but his See also: father, Ismael See also: Mengs, a Danish painter, established himself finally at See also: Dresden, whence in 1741 he took his son to See also: Rome
.
The See also: appointment of Mengs in 1749 as first painter to the elector of See also: Saxony did not prevent his spending much See also: time in Rome, where he had married in 1748, and abjured the See also: Protestant faith, and where he became in 1754 director of the Vatican school of See also: painting, nor did this hinder him on two occasions from obeying the See also: call of See also: Charles III. of
See also: Spain to See also: Madrid
.
There Mengs produced some of his best See also: work, and specially the ceiling of the banqueting-See also: hall, the subject of which was the
See also: Triumph of Trajan and the See also: Temple of See also: Glory
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After the completion of this work in 1777, Mengs returned to Rome, and there he died, two years later, in poor circumstances, leaving twenty See also: children, seven of whom were pensioned by the See also: king of Spain
.
Besides numerous paintings in the Madrid gallery, the
See also: Ascension at Dresden, See also: Perseus and See also: Andromeda at St See also: Petersburg, and the ceiling of the See also: Villa See also: Albani must be mentioned among his chief See also: works
.
In See also: England, the duke of See also: Northumberland possesses a See also: Holy See also: Family, and the colleges of All Souls and Magdalen, at See also: Oxford, have altar-pieces by his See also: hand
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In his writings, in See also: Spanish, See also: Italian and German, Mengs has put forth his eclectic theory of See also: art, which treats of perfection as attainable by a well-schemed combination of diverse excellences—Greek design, with the expression of See also: Raphael, the chiaroscuro of See also: Correggio, and the colour of See also: Titian
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His intimacy with Winckelmann—who constantly wrote at his dictation—has enhanced his See also: historical importance, for he formed no scholars, and the critic must now concur in Goethe's See also: judgment of Mengs in Winckelmann and sein Jahrhundert; he must deplore that so much learning should have been allied to a See also: total want of initiative and poverty of invention, and embodied with a strained and artificial mannerism
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See Opere di Antonio Raffaello Mengs (See also: Parma, 178o) ; Mengs Werke, ubersetzt v
.
G
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F
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Prange (1786); Zeitschri t fur bildende Kunst (188o); Bianconi, Elogio storico di Mengs (Milan, 1780); Woermann, Ismael and Raphael Mengs (See also: Leipzig, 1893)
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