WThe Deluge towards Its Close is an early 19th century painting by American artist Joshua Shaw. Done in oil on canvas, the work depicts the aftermath of a storm or flood. The Metropolitan Museum of Art, which holds the painting in its collection, compares Deluge's dark an dour themes as being in the Western tradition of portraying the Biblical flood. The painting was praised by painter Benjamin West, who had also produced works concerning the Biblical flood.
WThe Dream of Ossian is an 1813 painting by the French artist Jean-Auguste-Dominique Ingres. The work depicts the legendary poet Ossian sleeping while he dreams of relatives, warriors, and maidens, which appear above him on the canvas. Ingres was influenced by his contemporaries' Ossianic works, including James Macpherson's purported translations of Ossian's poems, François Gérard's 1801 painting Ossian Evoking Phantoms, and Jean-François Le Sueur's 1803 opera Ossian, ou Les bardes.
WEngagement between the United States and the Macedonian is 1813 oil painting by American painter Thomas Birch depicting the naval engagement fought near Madeira on October 25, 1812 between the US Navy heavy frigate USS United States and the Royal Navy frigate HMS Macedonian. The battle resulted in the capture of the Macedonian, which became the first British warship to be brought to an American harbour as a prize.
WGothic Cathedral by a River is an 1813 painting by Karl Friedrich Schinkel. It shows an imaginary Gothic cathedral on an island in a river - Schinkel later became a noted proponent of neo-Gothic architecture. It is now in the Alte Nationalgalerie in Berlin.
WPtolemy Philadelphus in the Library of Alexandria is an 1813 oil on canvas painting by Vincenzo Camuccini. It is now in the National Museum of Capodimonte in Naples.
WRaphael and La Fornarina was painted in 1813, in Italy, by Jean-Auguste-Dominique Ingres. It is the first of five versions of the painting, which he completed between 1813 and his death in 1867. In 1814 his first version was exhibited at the Salon. The work shows the renowned painter, Raphael, sitting in his studio with his mistress, La Fornarina, on his knee. His embrace reflects his affection and desire for her, while his gaze towards his own artwork, his portrait of his mistress, indicates his love for art. This contrast represents the painter's major conflict between who he loves and what he loves. The mistress makes eye contact with the viewer and her posture, specifically her arms resting on his shoulders, shows how proud and satisfied she is with being his mistress and inspiration. The Fornarina's sensual gaze at the viewer claims her importance and place both within the artist's studio and profession. Although Ingres thoroughly researched the Renaissance artist's life through biographies by Giorgio Vasari and Angelo Comolli, and planned to create a series of paintings based on his life, in the end he only produced two scenes: Raphael and La Fornarina and the Betrothal of Raphael. The depiction of the Fornarina resembles not only the Virgin Mary in the painting in the background of the Madonna della seggiola, but also Ingres's depiction of the promiscuous Grande Odalisque. The parallel highlights a connection between Raphael and Ingres as they both paint what they desire.
WThe Victorious Athlete or The Triumphant Athlete is an 1813 oil on canvas painting by Francesco Hayez, now in the Accademia di San Luca in Rome.