http://www.artsconnected.org/resource/97044/destruction-of-the-beast-and-the-false-prophet-gallery-label-current ArtsConnectEd.org Art Collector Set: Destruction of the Beast and the False Prophet: Gallery Label - Current http://www.artsconnected.org/images/favicon.png http://www.artsconnected.org/resource/97044/destruction-of-the-beast-and-the-false-prophet-gallery-label-current 16 16 http://www.artsconnected.org/resource/97044/destruction-of-the-beast-and-the-false-prophet-gallery-label-current Wed, 01 Jun 2011 00:00:00 -0400 <table cellspacing="0"> <tr> <td class="detail_label">Title</td> <td><h3>Destruction of the Beast and the False Prophet: Gallery Label - Current</h3></td> </tr> <tr> <td class="detail_label">Author</td> <td><h3>Minneapolis Institute of Arts</h3></td> </tr> <tr> <td class="detail_label">Date</td> <td><h3>2011-12-07</h3></td> </tr> <tr> <td class="detail_label" style="padding-right:7px;">Institution</td> <td>Minneapolis Institute of Arts</td> </tr> </table><br/>The popularity of Benjamin West owed entirely to the patronage of George III and his project for the Chapel of Revealed Religion at Windsor Castle (1780-1801). He exhibited this picture, also known as <i>The Messiah on a White Horse</i>, at the Royal Academy in 1804, and later claimed that the subject was conceived for the Revealed Religion project, although a larger version never materialized. The principal figure is the heroic rider of Revelations, often identified as the messiah. The painting probes the extent to which the apocalyptic sublime can introduce the grotesque without being overwhelmed by it. http://www.artsconnected.org/resource/97044/destruction-of-the-beast-and-the-false-prophet-gallery-label-current The popularity of Benjamin West owed entirely to the patronage of George III and his project for the Chapel of Revealed Religion at Windsor Castle (1780-1801). He exhibited this picture, also known as The Messiah on a White Horse, at the Royal Academy in 1804, and later claimed that the subject was conceived for the Revealed Religion project, although a larger version never materialized. The principal figure is the heroic rider of Revelations, often identified as the messiah. The painting probes the extent to which the apocalyptic sublime can introduce the grotesque without being overwhelmed by it." type="image/jpeg" />The popularity of Benjamin West owed entirely to the patronage of George III and his project for the Chapel of Revealed Religion at Windsor Castle (1780-1801). He exhibited this picture, also known as The Messiah on a White Horse, at the Royal Academy in 1804, and later claimed that the subject was conceived for the Revealed Religion project, although a larger version never materialized. The principal figure is the heroic rider of Revelations, often identified as the messiah. The painting probes the extent to which the apocalyptic sublime can introduce the grotesque without being overwhelmed by it." type="image/jpeg" />Copyright Minneapolis Institute of ArtsMinneapolis Institute of Arts