Friedrich the Great after the Battle of Kolin

Title: Friedrich der Große nach der Schlacht bei Kolin (Frederick the Great after the battle of Kolin)
Artist: Julius Schrader (1815-1900)
Date: 1849

The Battle of Kolín on 18 June 1757 saw 44,000 Austrians under Count von Daun defeat 32,000 Prussians under Friedrich the Great during the Third Silesian War (Seven Years' War). The Prussians lost the battle and nearly 14,000 men, the Austrians lost 8,000 men. The battle was Friedrich's first defeat in this war, and forced him to abandon his intended march on Vienna, raise his siege of Prague, and fall back on Litoměřice. The Austrians, reinforced by the 48,000 troops in Prague, followed them, 100,000 strong, and, falling on Prince August Wilhelm of Prussia, who was retreating eccentrically (for commissariat reasons) at Zittau, inflicted a severe check upon him. The king was compelled to abandon Bohemia. This painting by Julius Schrader showed the exhausted monarch resting on a bench after the battle.

Sources :

https://en.wikipedia.org/wiki/Battle_of_Kol%C3%ADn

Friedrich The Great after the Seven years' War

Title: Friedrich der Große nach dem Siebenjährigen Krieg in der Eosander-Kapelle von Schloss Charlottenburg (Frederick The Great after the Seven years' War in the Eosander Chapel of Schloss Charlottenburg)
Artist: Arthur Kampf
Date: 1889

King Friedrich II of Prussia sitting in a chair while listening to the sounds of a choir. Kampf characterize the powerful ruler in a highly expressive and gloom mood. Large Format main work of the artist from his early Berlin period of creativity.

Arthur Kampf studied at the art academy in Düsseldorf under Peter Janssen the Elder.  Afterwards he took a position as an assistant teacher initially and then as a professor at the academy.  In 1898 he moved to Berlin.  Here he became a member and later President of the Royal Academy of Arts.  From 1915 to 1925 he was director of the Academy of Fine Arts in Berlin. As a history painter Kampf created numerous monumental commissions and paintings with allegorical and historical or war themes. The majority of Kampf's oeuvre is now lost or was destroyed in the war

Source :

http://www.askart.com/artist/Arthur_Kampf/11043732/Arthur_Kampf.aspx#

https://schloss-ahlden.de/catidx.php?mode=obj&id=15413676

Albert, Prince of Wales (Later Edward VII of Great Britain)

Title: Albert, Prince of Wales
Artist: Franz Xaver Winterhalter
Date: 1864

Oil on canvas, 161.8 x 114.1 cm. Winterhalter was born in the Black Forest where he was encouraged to draw at school. In 1818 he went to Freiburg to study under Karl Ludwig Schüler and then moved to Munich in 1823, where he attended the Academy and studied under Josef Stieler, a fashionable portrait painter. Winterhalter was first brought to the attention of Queen Victoria by the Queen of the Belgians and subsequently painted numerous portraits at the English court from 1842 till his death. Prince Albert Edward, Queen Victoria’s eldest son, is dressed in the uniform of Colonel of the 10th Hussars and holds his shako which, from 1800 onwards, became a common military head-dress in most armies. He wears the ribbon and star of the Garter, the badge of the Golden Fleece, and the Star of India. The portrait was commissioned by Queen Victoria along with that of Princess Alexandra (RCIN 402351) whom he had married in 1863. Signed and dated: Fr Winterhalter 1864.

Source :
https://www.royalcollection.org.uk/collection/402352/edward-vii-1841-1910-when-prince-of-wales

Franz Joseph I, Emperor of Austria (1830-1916)

Title: Franz Joseph I, Emperor of Austria (1830-1916)
Artist: Franz Xaver Winterhalter
Date: 1865

Franz Joseph I, Emperor of Austria wearing the dress uniform of an Austrian Field Marshal (scarlet trousers and white summer undress tunic) with the Great Star of the Military Order of Maria Theresa. The Golden Fleece suspended from the base of his collar. His hairline was already in full retreat, but his most remarkable features were a wide 'tash and a set of cavalry whiskers that reached down to his sloping shoulders.

Franz Xaver Winterhalter (1803-73) was the outstanding court portraitist of mid-19th century Europe. For Queen Victoria alone he painted over 120 works, and he was also portrait painter to the French court, first to Louis-Philippe, and later to Napoleon III and the Empress Eugenie. Over his long career Winterhalter painted an array of the crowned heads of Europe, and the most beautiful women of the day, many of them dressed in the spectacular silk and tulle confections of the Parisian couturier, Worth.

Source :
http://www.amazon.com/Franz-Winterhalter-Courts-Europe-1830-70/dp/0904017842
https://commons.wikimedia.org/wiki/File:Franz_joseph1.jpg

Portrait of Maximilian I of Mexico (1832-1867)

Title: Portrait of Maximilian I of Mexico (1832-1867)
Artist: Franz Xaver Winterhalter
Date:1864

Portrait of Maximilian I of Mexico in coronation robes. At the behest of Mexican monarchists and French Emperor Napoleon III, Austrian Prince Maximilian agreed to serve as Emperor of Mexico. Original in Chapultepec Castle, Mexico City. Monarchs have often worn ceremonial robes at their coronations and investitures. The mantles of the emperors and kings are called coronation mantles. Some monarchs have taken an oath but were not crowned. Their mantles are of the same design as those of the crowned monarchs. There are also the less costly mantles that were used for other ceremonies. They are made after the fashion of the coronation mantles. Monarchs that were not crowned, petty rulers (such as Grand Dukes in Germany) and members of royal families are often depicted in this way. These ceremonial regal robes, "Prunkmäntel" in German, may be called "ceremonial regal robes" to distinguish them from the robes that were worn at coronations.

Source :
http://blog.fords.org/2014/05/05/matias-romero/emperador_maximiliano_i_de_mexico/
https://commons.wikimedia.org/wiki/Coronation_and_royal_robes

Friedrich the Great Carrying the Flag (1758)

Title: Friedrich der grosse als Fahnentrager auf dem Schlachtfeld’ (Frederick the Great as standard-bearer at the battlefield)
Artist: Arthur Kampf
Date: 1900

On 25 August 1758 Prussian army defeated the numerically stronger forces of Russian Army at Zorndorf (approximately 90 kilometers east of Berlin) with superior organization. During the battle, Prussian king Friedrich II had taken the flag of  Prussian Infantry Regiment Nr.46 that lying on the ground and then led his retreating soldiers to a successful counterattack. Inspired by this event, German painter Arthur Kampf recreated the King Friedrich's Prowess 150 years later. In contrast to the many detailed and colorful battle scenes from that time, King Friedrich and the flag fill the whole height of the painting. Friedrich placed expansively in the foreground., Only dimly behind the dense smoke powder as a recognition to Prussian soldiers who will bring unity and dynamism for the next glorious attack. The painting staged Friedrich as a model for unconditional sacrifice: The Carrying of the Flag resolutely onward, it seem that the King does not fear for death, even though the fallen soldier has been pictured to his right and left. The German painter used the motif of the flag that had been used since the Prussian-Danish war in 1864 as a symbol for victory. However, he had made a significant error in his paintings: The four corner keys of the flag of the infantry regiment No. 46 were not red but black. Arthur Kampf, ‘Friedrich der grosse als Fahnentrager auf dem Schlachtfeld’ (‘Frederick the Great as standard-bearer at the battlefield’) now in the possession of German Historical Museum, Berlin.

Source :
https://www.dhm.de/lemo/bestand/objekt/friedrich-der-grosse-als-fahnentraeger-auf-dem-schlachtfeld-um-1900.html

Friedrich the Great and His Troops Singing at Leuthen (1757)

Title: Der Choral von Leuthen (The Hymn of Leuthen)
Artist: Arthur Kampf
Date: 1887

Arthur Kampf, ‘Der Choral von Leuthen’ (‘The Hymn of Leuthen’), created in 1887. The Battle of Leuthen, 5 December 1757. Friedrich (Frederick) the Great and his troops singing hymns to thank God for their victory over the Austrians during the Seven Years War. The song was composed in the 17th century by Johannes Crüger and inspired Johann Sebastian Bach. In 1939 the Reichsgau Köln-Aachen gave the painting to Hermann Göring for his 46th birthday. Nowadays in the possession of the Neue Pinakothek in Munich.

Source :
http://www.germanartgallery.eu/mobile/Webshop/0/product/info/Arthur_Kampf,_Good_Friday&id=42

Public Viewing of the Corpse of Kaiser Wilhelm I (1888)

Title: Die Aufbahrung Kaiser Wilhelm I (The body of Kaiser Wilhelm I lying in state)
Artist: Arthur Kampf
Date: 1900

Also known as 'Aufbewahrung Kaiser Wilhelm I. im Berliner Dom' (Public Viewing of the Corpse of Kaiser Wilhelm I. in the Dome in Berlin). Displayed at the Grosse Münchener Kunstausstellung in the Glaspalast, 1922. In the possession of the Neue Pinakothek, Munich 

Source :
http://www.germanartgallery.eu/en/Webshop/0/product/info/Arthur_Kampf,_Mit_Mann_und_Ross_und_Wagen&id=209

Portrait of King Ferdinand VII of Spain (1814)

Title: Portrait of Ferdinand VII
Artist: Francisco Goya
Date: 1814-1815

Brought by the Museo del Prado, Ferdinand VII in Court Dress by Francisco Goya (1814-1815) shows King Ferdinand VII shortly after he had taken the throne. Goya was able to masterly capture the King's regal attire and showcase him as a powerful monarch. King Ferdinand VII's expression is almost distrustful as if he is wary of how Goya is actually painting him on the canvas while he poses9. Goya however could have painted the King with a distrustful face to symbolize how the King must have felt after having taken the throne. In 1815, King Ferdinand VII abolished the constitution and became and absolutist king. Goya may have been well aware of how tightly the King wanted to hold on to power, and almost like a premonition, knew he was distrustful on his subjects. The King would later start ruling with an iron fist. He would try to imprison or kill any liberal in Spain, and at one time this included Goya as a target. The King, being fearful of losing his power, treated the subjects so poorly that many left in exile. King Ferdinand VII became a tyrant king that was loved by very few. Later his people had revolted against him in reaction to his abuse of power. 

Source :
http://span2322finalproject.weebly.com/featured-art.html

The Capitulation of Granada

Title: La Rendición de Granada (The Surrender of Granada)
Artist: Francisco Pradilla Ortiz
Date: 1882

The Capitulation of Granada by Francisco Pradilla Ortiz (1882) from the Museo del Prado, depicts the Sultan Mohammed XII surrendering the city of Granada to King Ferdinand and Queen Isabella in 1492. Granada had been the last outpost of Moorish control in Spain. The surrender of Granada meant the end to an 800 year presence of Muslims in Spain  (bonhams). Hungry for power, King Ferdinand and Queen Isabell sought to rid Spain of all Muslims in order to create a unified Spain. Spain, after having captured Granada was now unified and could focus on its goal of creating a large empire. King Ferdinand and Queen Isabella believed Spain could be the next greatest world power and used their military strength and wealth to gain power over many peoples. The eradication of Muslims in Spain was a precursor to how the Spanish would treat the indigenous peoples of the Americas. The King and Queen are shown on their horses as they sit tall and proud after having won Granada back from the Moors. Only the Muslim leader, Sultan Mohammed XII sits atop a horse next to his counsel. The Spanish are depicted as having large numbers whereas the Sultan and his counsel are depicted in small numbers. This could have been purposefully done by the artist in order to highlight the strength and grandeur which Spain had at the time. Throughout Spanish history, Spanish Christians had warred with the Muslims that had settled in Spain. By depicting the Moors in small numbers it further highlights their lack of military skill and incompetency. 

Source :
http://span2322finalproject.weebly.com/featured-art.html

Maximilian van Oostenrijk (Maximilian I of Mexico)

Title: Maximilian van Oostenrijk
Artist: Franz Xaver Winterhalter
Date: Unknown

Maximilian (Spanish: Maximiliano; born Ferdinand Maximilian Joseph; 6 July 1832 – 19 June 1867) was the only monarch of the Second Mexican Empire. He was a younger brother of the Austrian emperor Francis Joseph I. After a distinguished career in the Austrian Navy, he entered into a scheme with Napoleon III of France to invade, conquer, and rule Mexico. France (along with the United Kingdom and Spain, who both withdrew the following year after negotiating agreements with Mexico's democratic government) had invaded Mexico in the winter of 1861, as part of the War of the French Intervention. Seeking to legitimize French rule in the Americas, Napoleon III invited Maximilian to establish a new Mexican monarchy for him. With the support of the French army, and a group of conservative Mexican monarchists hostile to the liberal administration of new Mexican President Benito Juárez, Maximilian traveled to Mexico. Once there, he declared himself Emperor of Mexico on 10 April 1864. Many foreign governments (including the United States) refused to recognize Maximilian's claim or regime. Maximilian's Second Mexican Empire was widely considered a 'puppet' regime of France. Additionally, Maximilian never completely defeated the Mexican Republic; Republican forces led by President Benito Juárez continued to be active during Maximilian's rule. With the end of the American Civil War in 1865, the United States (which had been too distracted by its own civil war to confront the European's 1861 invasion of what it considered to be its sphere-of-influence) began more explicit aid of President Juárez's forces. Matters worsened for Maximilian's 'empire' after the French withdrew its armies from Mexico in 1866. Maximilian's Mexican Empire collapsed; the Mexican government captured and executed Maximilian in 1867. His wife, Charlotte of Belgium (Carlota), had left for Europe earlier to try to build support for her husband's regime; after his execution, however, she suffered an emotional collapse and was declared insane.

Source :
https://en.wikipedia.org/wiki/Maximilian_I_of_Mexico

Portrait of Napoleon III

Title: Portrait of Napoleon III (1808-1873)
Artist: Franz Xaver Winterhalter
Date:1855

Oil on canvas, 240 × 155 cm (94.49 × 61.02 in). Museo Napoleonico, Rome. Napoleon III’s empire, lasting from 1852-1870, witnessed rapid prosperity and fortune, evident when observing the courtly fashion during his reign. Franz Xaver Winterhalter (b Menzenschwand, Black Forest, 20 Apr. 1805; d Frankfurt, 8 July 1873). German painter. Early in his career he worked mainly as a lithographer, but he became famous as the leading court portrait painter of his time. From 1834 he was based mainly in Paris, but he travelled widely and painted royals from several European countries. He was a particular favourite of Queen Victoria, who called him ‘excellent, delightful Winterhalter’ (the Royal Collection has more than a hundred of his paintings), and he was also much employed by Napoleon III of France and his wife the empress Eugénie. His style was romantic, glossy, and superficial and his portraits have until recently generally been valued more as historical records than as works of art. 

Sources :
http://www.bbc.co.uk/arts/yourpaintings/artists/franz-xaver-winterhalter
http://www.mdhs.org/costumeblog/?p=179

Maharajah Duleep Singh

Title: Maharajah Duleep Singh
Artist: Franz Xaver Winterhalter
Date:1854

The King Duleep Singh. Commissioned by Queen Victoria, who noted in her journal on 10 July 1854 that "Winterhalter was in ecstasies at the beauty and nobility of bearing of the young Maharaja. He was very amiable and patient, standing so still and giving a sitting of upwards of 2 hrs'". In the portrait, the Maharaja is shown wearing his diamond aigrette and star in his turban and a jewel-framed miniature of Queen Victoria by Emily Eden.

Source :

https://commons.wikimedia.org/wiki/File:Dalip_singh_winterhalter.jpg

Louis-Philippe, King of France (1773-1850)

Title: Louis-Philippe Ier, roi des Français (1773-1850)
Artist: Franz Xaver Winterhalter
Date: 1841

Louis-Philippe I, King of the French. The King is depicted at the entrance of the Gallerie des batailles which he had furnished in the Château de Versailles.

Source :
https://en.wikipedia.org/wiki/July_Monarchy

Leopold I, King of the Belgians (1790-1865)

Title: Leopold I, King of the Belgians (1790-1865)
Artist: Franz Xaver Winterhalter
Date: 1840

Oil on canvas, 278.0 x 181.0 cm. The painting was made in Paris. Signed, dated and inscribed lower right: fr Winterhalter / Paris. 1840. Now become the collection of Musée National du Château de Versailles.


Source :
http://www.wikiart.org/en/franz-xaver-winterhalter/leopold-i-1840

Portrait of Louis-Philippe, King of the French

Title: Portrait of Louis-Philippe, King of the French
Artist: Franz Xaver Winterhalter
Date: 1845

Oil on canvas. Dimensions: 245.4 × 154.4 cm (96.6 × 60.8 in). Painted for Louis Philippe as a present to Queen Victoria. Signed and dated lower left: F Winterhalter. / 1845.

Source :

https://www.royalcollection.org.uk/eGallery/object.asp?object=407178&row=0&detail=about

Louis Philippe I, King of the French

Title: Louis-Philippe 1er, Roi Des Francais (Louis Philippe I King of the French)
Artist: Franz Xaver Winterhalter
Date: 1839

Full length, 3/4 l, in uniform, ribbon, several orders, cocked hat under left arm, right hand extended and laid on table to left beside crown. Background: garden.


Source :
https://commons.wikimedia.org/wiki/Franz_Xaver_Winterhalter