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Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhibited his first works at the age of 17 in the 1812 Salon in the so-called "juste-milieu" (in English, literally, middle path) tradition. Scheffer was attracted to romantic themes gleaned from contemporary authors such as Sir Walter Scott and Goethe. His meteoric rise in the art world drew instant critical acclaim and the acquaintance of such artists as Théodore Géricault, Eugène Delacroix, and Paul Delaroche.This work was not seen until after Scheffer's death. He stopped exhibiting at the Salon altogether in 1846 and became increasingly preoccupied with religious imagery with a seriousness that reflects a pointed departure from his earlier, more anecdotal work. In this iconic image, he focuses on the solitary figure of Christ, who is weeping for the coming destruction of Jerusalem, as described by the Evangelist Luke in the New Testament (19:41): "As he came near and saw the city, he wept over it."

Page data

Page
1
Source index
0
Type
photo
Media ID
43bbabba7454773c
Size
unknown

Document data

ID
39318
Core
obj
Type
drawing
DTO data
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    "stage": "normalized",
    "title": "Christ Weeping Over Jerusalem",
    "description": "Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhibited his first works at the age of 17 in the 1812 Salon in the so-called \"juste-milieu\" (in English, literally, middle path) tradition. Scheffer was attracted to romantic themes gleaned from contemporary authors such as Sir Walter Scott and Goethe. His meteoric rise in the art world drew instant critical acclaim and the acquaintance of such artists as Théodore Géricault, Eugène Delacroix, and Paul Delaroche.This work was not seen until after Scheffer's death. He stopped exhibiting at the Salon altogether in 1846 and became increasingly preoccupied with religious imagery with a seriousness that reflects a pointed departure from his earlier, more anecdotal work. In this iconic image, he focuses on the solitary figure of Christ, who is weeping for the coming destruction of Jerusalem, as described by the Evangelist Luke in the New Testament (19:41): \"As he came near and saw the city, he wept over it.\"",
    "provenance": "Avery, 1882 [from Henry Walters handwritten notebook, 1887, no. 65]; William T. / Henry Walters Collection, Baltimore, 1882, by purchase; Walters Art Museum, 1931, by bequest.",
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Context sent to Scholar

Document identity
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Document source metadata
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    "sourceUrl": "https://purl.thewalters.org/art/37.111",
    "contentType": "drawing",
    "stage": "normalized",
    "title": "Christ Weeping Over Jerusalem",
    "description": "Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhibited his first works at the age of 17 in the 1812 Salon in the so-called \"juste-milieu\" (in English, literally, middle path) tradition. Scheffer was attracted to romantic themes gleaned from contemporary authors such as Sir Walter Scott and Goethe. His meteoric rise in the art world drew instant critical acclaim and the acquaintance of such artists as Théodore Géricault, Eugène Delacroix, and Paul Delaroche.This work was not seen until after Scheffer's death. He stopped exhibiting at the Salon altogether in 1846 and became increasingly preoccupied with religious imagery with a seriousness that reflects a pointed departure from his earlier, more anecdotal work. In this iconic image, he focuses on the solitary figure of Christ, who is weeping for the coming destruction of Jerusalem, as described by the Evangelist Luke in the New Testament (19:41): \"As he came near and saw the city, he wept over it.\"",
    "provenance": "Avery, 1882 [from Henry Walters handwritten notebook, 1887, no. 65]; William T. / Henry Walters Collection, Baltimore, 1882, by purchase; Walters Art Museum, 1931, by bequest.",
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}
Document source extras
{
    "inscriptions": "[Signautre] Lower left: Ary Scheffer; [Date] Lower left: 1851",
    "med": "oil on fabric",
    "creator_ids": [
        "5601"
    ],
    "collection_ids": [
        "EAN"
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    "exhibition_ids": [
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        "3300"
    ]
}
Page context
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