What kind of influence did the neoclassical painter Engel have on his paintings, represented by his masterpieces "The Fountain," "The Turkish Baths," and "The Great Courtesan"?

Angel admired Greco-Roman art and Raphael, defended the classical laws as did David, but showed a keen interest in the Middle Ages and the exotic Orient, and was thus dramatically classified by some art historians as a Romantic painter.

Anger was a polymath who worshipped nature to the core. Engel studied nature before turning to the Greeks and Raphael. He once asserted, "The Greeks are nature; Raphael is Raphael because he knows nature better than anyone else." Engel was not able to abandon the treatment of light and dark entirely; he also used very strong, overly bright and unrealistic colors to compensate for the coldness of the work's colors. Under these circumstances, we usually get the impression when we look at Engel's paintings that the lines are drawn too cleanly. It is this cleanness of line that leads Engel to abstraction, which will make the picture devoid of content, but in order to express light and dark and reflections (to make the work rich in content), he also breaks up the line to make it "painterly", but in this "painterly", which is as hard as metal, there is no general "painterly" in the "painterly". However, in this "painterliness", which is as hard as metal, there is not the fluidity and "soul" that are essential to "painterliness" in general. When his line becomes too precise, he overpowers it with details and paints a bunch of decorations that are purely of low interest. But when he imitated Titian, he was Raphael, and his works became precious masterpieces. After his first visit to Rome, he perfected his style, more and more masterpieces appeared, and his art reached its peak.

Anger was passionate about representing the female nude, and his natural path was that of Eros. His penchant for female color was profound and consistent. When Engel's genius is combined with the youthful beauty of the alluring female, creativity is often unprecedented. The muscles, the curves, the dimples, the supple skin of the Turkish bathers - everything we can see in his paintings.

Turkish Bathers is one of Engel's finest creations. The nudes in the painting form a neutral tone, with tiny patches of blue, red and yellow colors, embedded like jewels, only slightly blurred, but very harmonious and consistent. In the representation of female beauty, Engel overcame that sensual predilection of his and gave it a legendary charm. The painting reflects the perfect combination of simplicity and richness, dynamics and statics, which Angell expresses with the help of a multitude of "clean" and "scrubbed" beautiful human bodies. Each bathing woman is a form of "cleansing" and "cleanliness", and the combination of many "cleansing" and "cleanliness" makes the form richer. The combination of many "clean" and "clean" forms makes the form even richer. This calm and elegant way of expressing the human body with lines and subtle shades of light and dark is from the classical tradition; however, this abstraction, which is true but beyond the real, simple but rich in variations, and soft but not soft and sweet, and the strong oriental mood that comes out of the works, are never found in the traditional classical art.

Anger achieved a perfect unity between the ideal of classical beauty and the depiction of concrete objects. Among all the oil paintings depicting women's nudity painted by Engel, The Bathers of Wappinson and The Spring are undoubtedly the best two. The Bathers of Wappinsong" was painted in 1808, when Engel was 28 years old. He was so excited by the beauty of the woman's back that he had no time to pay much attention to technique. Half-light and half-dark tones flutter on the tender back. The colors, though rather primitive, are not without their pleasures. The green curtains, the pale yellow-tinted body, the white sheets, the white and reddish silk headscarf were all arranged on a single plane, as harmoniously intertwined as in a mosaic of ornaments.

Anger began working on "The Spring" during his stay in Florence, Italy, in 1830, but never finished it. He finished it twenty-six years later, when he was already seventy-six years old. This painting is Engel's best work. The "Spring" skillfully combines classical beauty with the beauty of the female body. It brilliantly expresses the innocent youthful vigor of a young girl, and is the crystallization of his lifelong commitment to the pursuit of beauty. Although this is a work of his later years, the beauty of the women depicted in this work exceeds that of all his similar works in the past. The "Spring" is also one of the best works depicting the female human body in the history of Western European art. Thus, it can be seen that Angell's modeling power is purely a kind of sensual possession of reality, in his composition, only when his possible to fall in front of the woman, he created a real work of art.

Anger's life in the nude sketching up and down the depth of effort, and only when he was faced with a nude model, his realism of the true knowledge of the special revealed. He once said, "Standard beauty - it is the product of uninterrupted observation of the model of beauty", and also believed that: the expressive power of a painting depends on the author's extensive knowledge of sketching; leaving aside absolute accuracy, it is impossible to have a vivid representation. To master approximate accuracy is to lose it. To do so would be to create fictional characters and false feelings for which they would otherwise have no feeling. The last of the great classical painters, he absorbed the realistic techniques of his Renaissance predecessors and brought his sketching skills to perfection. The difference here is only that the nude women of masters like Masazzo, Michelangelo and Giorgione embodied a kind of ideal of the times full of humanity, while the ideal that Angell put on the nude women was the abstract concept of "eternal beauty". In fact, it is to seek to line, form, color and harmony of the female beauty of the expressive power. This is particularly evident in his paintings of nude Turkish courtesans

Nude women. In his later years, Engel painted this "Spring", further reflecting a new concept of the painter on the beauty, that is, he y felt the need to create an abstract model of classical beauty with fine modeling means. 76-year-old Engel, finally in this "Spring", the abstraction of his heart accumulated for a long time of classical beauty and concrete realistic beauty of the young girl, to find the perfect combination of form.

He demonstrated in this painting the serenity, lyricism and purity of beauty that can be universally praised by mankind. One critic who visited The Spring said, "This young girl is the spawn of the painter's art in his declining years, and her beauty has surpassed that of all women; she concentrates the beauty of each of them in one, and her figure is more animated and idealized." The Fountain was probably conceived in Florence, Italy, in 1820, so why did it take 36 years to finalize it? It begins with two of his students, Paul Balzer and Alexandre De Goffe. The "Fountain" that was first conceived in Engel's mind was modeled on the aspirations of the Italian masters in their paintings of Venus, which he had sketched as early as 1807, and then attempted to simplify the image by not being satisfied with the style of Venus that had already been painted by his predecessors. It has been suggested that the painting was originally executed with the assistance of the two students mentioned above. Engel often made copies of the same subject or idea, sometimes over the course of years or even decades. In 1857, The Springs was acquired by the Comte de De Maitre and became a private collection of paintings. Later, according to the Count's will, his family gave the painting to the state in 1878, and it finally became another treasure in the Louvre in Paris.