Mythology

01 Work, CONTEMPORARY Interpretation of the Bible! ZURAB TSERETELI'S Jesus Healing the Sick, with Footnotes - #47

ZURAB TSERETELI (GEORGIAN B. 1934)

Jesus Healing the Sick

Enamel and copper

33.5 x 26 cm (13 1/4 x 10 1/4 in.)

Private collection

Sold for $1,000 USD in Oct 2022

Jesus used a variety of different methods to heal the sick and the infirmed. Sometimes they were healed through prayer alone. At other times, prayer was combined with a touch.

Zurab Tsereteli was born in Tbilisi, Georgia, in 1934 and graduated from the Tbilisi State Academy of Arts in 1958. Solo exhibitions include: the New Manege, Moscow (1998 and 2004); the UNESCO headquarters, Paris (2007), Museo di San Salvatore, Rome (2011), the Palace of Gran Guardia, Verona (2016) and the Palais des Festivals et des Congrès, Cannes (2017).

In 1995, Tsereteli established the Moscow Museum of Modern Art, officially opened in 1999 as the first state museum in Russia entirely dedicated to modern and contemporary art. In 1997, Tsereteli was elected the President of the Russian Academy of Arts. In 2001, the Gallery of Arts of Zurab Tsereteli was opened in Moscow as part of the Russian Academy of Arts, and in 2012, Zurab founded the Museum of Modern Art in Tbilisi.

Tsereteli has been awarded UNESCO Ambassador of Good Will (2007); Member of the European Academy of Sciences and Arts, Austria (2009); Chevalier of the National Order of the Legion of Honor by the government of France (2010); For Life in Art Prize and the International Giuseppe Sciacca Award from the Roman Academy of Fine Arts (2011); UNESCO Five Continents Medal (2014) and elected Member of the Chinese Academy of Fine Arts (2015). More on Zurab Tsereteli

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01 Work, CONTEMPORARY Interpretation of the Bible! VYACHESLAV KALININ's The Exodus, with Footnotes - #46

VYACHESLAV KALININ (RUSSIAN 1939-2022)

The Exodus/ The flight into Egypt , c. 1990

Oil on canvas

81 x 91 cm (31 7/8 x 35 7/8 in.)

Private collection

The flight into Egypt is a story recounted in the Gospel of Matthew and in New Testament apocrypha. Soon after the visit by the Magi, an angel appeared to Joseph in a dream telling him to flee to Egypt with Mary and the infant Jesus since King Herod would seek the child to kill him. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ. Within the narrative tradition, iconic representation of the "Rest on the Flight into Egypt" developed after the 14th century. More on the flight into Egypt

Vyacheslav Kalinin Russian Artist: He is a painter and graphic artist. Born in the family of Vasily Kalinin in Moscow (1939). Graduated from the Abramtsevo School of Art in Khotkovo (1962) and the Victor Vasnetsov School of Art and Industry in Abramtsevo (1963). Continued the traditions of Russian Primitive painting in the “base” subjects, grotesque images and local tones of his early works (early 1960s).

He held an exhibition of art with Eric Bulatov at the Kurchatov Institute of Nuclear Physics in Moscow, which was closed down by the authorities a few hours after it opened (1965). Depicted rural images and drinking scenes throughout his entire career. Later ironically employed such devices of the old masters as glazing and numerous staffage details. Linked to Fantastic Irrealism and Expressionism by art critics, although considered himself a follower of the Moscow Realist school. Contributed to exhibitions in Russia (from 1962) and abroad (from 1967). More on Vyacheslav Kalinin

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01 Work, Interpretations of Olympian deities, Giovanni Maria Bottala's Deucalion and Pyrrha, with footnotes #47

Giovanni Maria Bottala (1613–1644)

Deucalion and Pyrrha, circa 1635

Oil on canvas

181 × 206 cm (71.2 × 81.1 in)

Museu Nacional de Belas Artes

Considering the human race to be irretrievably lost and full of defects, Zeus, the sovereign of the gods, decided to put an end to it. To do so, he caused a flood to drown humanity. Only the couple formed by Deucalion and Pyrrha would be spared, due to their kindness. Zeus advised them to build an ark and take shelter in it. After floating for nine days and nine nights on the stormy waters, the ark stopped at the top of a mountain, where the couple disembarked.

When the waters receded, Hermes, Zeus' messenger, appeared and told them that the sovereign would grant any wish they had. Deucalion told him that they wanted to have friends. Hermes ordered them both to throw stones collected from the ground over their shoulders. The stones thrown by Deucalion turned into men when they hit the ground. Pyrrha's stones became women, and thus the world was repopulated. More on Deucalion and Pyrrha

Giovanni Maria Bottala (1613–1644) was an Italian painter active in the Baroque period.

He was born in Savona. He traveled to Rome as a young boy, and later became pupil of Pietro da Cortona in Rome. He painted in Rome, Naples, and Genoa. He was taken into the patronage of Cardinal Giulio Sacchetti, for whom he painted a Meeting of Jacob and Esau. Bottala acquired the name of 'Rafaellino,' from his great veneration for the works of Raphael. Other works are in the churches of Naples and Genoa. He died at Milan. More on Giovanni Maria Bottala

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Extending my sincere greetings to you on this Milad un Nabi أطيب التمنيات بمناسبة المولد النبوي الشريف

01 Work, Interpretation of the bible, Luca Giordano's Tatiana of Rome, with Footnotes #200

After Luca Giordano
Tatiana of Rome

AI Generated

neural.love

Saint Tatiana was a Christian martyr in 3rd-century Rome during the reign of Emperor Severus Alexander.

According to legend, she was the daughter of a Roman civil servant who was secretly Christian, and raised his daughter in the faith. This was dangerous, and one day the jurist Ulpian captured Tatiana and attempted to force her to make a sacrifice to Apollo. She prayed, and miraculously, an earthquake destroyed the Apollo statue and part of the temple.

Tatiana was then blinded, and beaten for two days, before being brought to a circus and thrown into the pit with a hungry lion. But the lion did not touch her and lay at her feet. She was then sentenced to death, and after being tortured, Tatiana was beheaded with a sword on January 12, around AD 225 or 230. More on Saint Tatiana

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04 Works, CONTEMPORARY Interpretation of the Bible! After Michelangelo, When Jesus arrived in Gaza, with footnotes #64

After Michelangelo

When Jesus arrived in Gaza

AI Generated

deviantart

When Jesus arrived in Gaza he saw a sight that moved him deeply, for he saw the desperation and hopelessness in the people's eyes. Without hesitation, he stepped forward, brimming with love and purpose.

After Michelangelo

When Jesus arrived in Gaza

AI Generated

nightcafe

As the people gathered around him, Jesus began laying his hands on the sick, one by one. And as he did, a miraculous power surged through his touch, bringing healing to their broken bodies and peace to their troubled souls. The blind received sight, the lame began to walk, and the deaf could hear again.

After Michelangelo

When Jesus arrived in Gaza

AI Generated

neural.love

The crowd stood in awe, witnessing this incredible display of divine power. They had heard of Jesus' mighty deeds, but to witness it firsthand was something entirely different. They marveled at his compassion and his ability to restore life and health in an instant.

After Michelangelo

When Jesus arrived in Gaza

AI Generated

neural.love

He spoke words of comfort, reassuring them of their worth and belovedness. He reminded them that they were not forgotten, that God saw their pain and cared deeply for them.

As the sun set and the evening drew near, Jesus continued to minister to the crowd, tirelessly pouring out his love and healing touch. No one was turned away or left untouched. In him, they found not only physical healing but the restoration of their weary spirits.

Michelangelo di Lodovico Buonarroti Simoni (March 1475 – 18 February 1564), was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with contemporary rival and fellow Florentine Medici client, Leonardo da Vinci.

A number of Michelangelo's works in painting, sculpture, and architecture rank among the most famous in existence. His output in every field of interest was prodigious; given the sheer volume of surviving correspondence, sketches, and reminiscences taken into account, he is the best-documented artist of the 16th century.

Two of his best-known works, the Pietà and David, were sculpted before the age of thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo's design, the dome being completed after his death with some modification.

In his lifetime he was also often called Il Divino ("the divine one"). One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance. More on Michelangelo di Lodovico Buonarroti Simoni

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01 Work, CONTEMPORARY Interpretation of the Bible! After Leonardo da Vinci, Jesus Christ Helping His Mother, with footnotes #62

After Leonardo da Vinci

Jesus Christ Helping His Mother, with Mary Magdalen

AI Generated

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Leonardo da Vinci uses a wide canvas, allowing for a panoramic view that captures both the intimate setting of the workshop and the distant cityscape. There is tension and unease to the scene, highlighting the volatile times in which the Holy Family lived.

Every element of the painting is rendered with meticulous attention to detail. The texture of the wood in Joseph's carpentry tools, the delicate threads in Mary's work, and the ruggedness of the city in the distance are all portrayed with precision and clarity.

Christ is depicted as helping his mother Mary with her work, symbolizing the connection between their earthly duties and their divine mission. Mary Magdalene, positioned behind, gazes in with a mix of awe and concern, reflecting the weight of the challenges that the Holy Family faced.

The inclusion of the old city of Jerusalem in the distance serves as a reminder of the external struggles and conflicts that often overshadowed the lives of the Holy Family. It symbolizes the broader historical context and the societal backdrop against which their story unfolds.

In this realistic painting, the artist aims to capture not only the tender moments of family and faith but also the harsh realities of the world in which they lived. Through the use of high-resolution imagery and a photorealistic style, the artwork immerses viewers in the scene and brings to life the tumultuous nature of the era.

Leonardo da Vinci, (born April 15, 1452, Anchiano, near Vinci, Republic of Florence — died May 2, 1519, Cloux, France), Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. His Last Supper (1495–98) and Mona Lisa (c. 1503–19) are among the most widely popular and influential paintings of the Renaissance. His notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time.

The unique fame that Leonardo enjoyed in his lifetime and that, filtered by historical criticism, has remained undimmed to the present day rests largely on his unlimited desire for knowledge, which guided all his thinking and behaviour. An artist by disposition and endowment, he considered his eyes to be his main avenue to knowledge; to Leonardo, sight was man’s highest sense because it alone conveyed the facts of experience immediately, correctly, and with certainty. Hence, every phenomenon perceived became an object of knowledge, and knowing how to see became the great theme of his studies. He applied his creativity to every realm in which graphic representation is used: he was a painter, sculptor, architect, and engineer. But he went even beyond that. He used his superb intellect, unusual powers of observation, and mastery of the art of drawing to study nature itself, a line of inquiry that allowed his dual pursuits of art and science to flourish. More Leonardo da Vinci

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01 Work, CONTEMPORARY Interpretation of the Bible! Mylo Quam's Knight slaying a dragon I Saint George!) - with footnotes #61

Mylo Quam (American, 1941-1996)

Knight slaying a dragon I Saint George!)

Oil and cut paper collage on wood panel

39 1/4" x 23"

Private collection

Sold for $325 USD in June 2022

Saint George (circa 275/281 – 23 April 303 AD) was a soldier in the Roman army who later became venerated as a Christian martyr. His parents were Christians of Greek background; his father Gerontius was a Roman army official from Cappadocia and his mother Polychronia was from Lydda, Syria Palaestina. Saint George became an officer in the Roman army in the Guard of Diocletian, who ordered his death for failing to recant his Christian faith.

In the fully developed Western version of the Saint George Legend, a dragon, or crocodile, makes its nest at the spring that provides water for the city of "Silene" (perhaps modern Cyrene in Libya or the city of Lydda in Palistine, depending on the source). Consequently, the citizens have to dislodge the dragon from its nest for a time, to collect water. To do so, each day they offer the dragon at first a sheep, and if no sheep can be found, then a maiden is the best substitute for one. The victim is chosen by drawing lots. One day, this happens to be the princess. The monarch begs for her life to be spared, but to no avail. She is offered to the dragon, but then Saint George appears on his travels. He faces the dragon, protects himself with the sign of the Cross, slays the dragon, and rescues the princess. The citizens abandon their ancestral paganism and convert to Christianity. More on Saint George

Mylo Quam (American, 1941-1996) was best known for his distinctive oil paintings which blend his strong background in mythology, the classics and religion, with a unique style of expression influenced by his notable wit, intelligence and eroticism.

Quam studied Classics at Brandeis, Boston, and New York Universities. He designed sets and costumes for theatre companies including the Actor's Playhouse in NYC, and for ballets including the Hoving Ballet Company and the Opera Municipal de Marseilles, France. He also created illustrations for The Story of O, published by Grove Press in 1970 and created a series of lithographs in 1975 based on the poem of Rimbaud, Une Saison En Enfer (A Season in Hell).

His paintings and collages have been exhibited in many prominent galleries in New York City, San Francisco, Key West and Woodstock.

His paintings have also been exhibited internationally - he had four international shows before his death in 1996. Mylo's solo exhibition in Haiti was the first by an American artist. Mylo Quam was also one of four artists selected to represent the United States in La Bienalle di Venezia, Italia of 1986, the oldest art festival in the world. His last exhibitions were at the prestigious CFM Gallery, NYC in 1995 and 1996. More on Mylo Quam

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01 Work, Interpretation of the bible, Arnold Böcklin's The Lamentations of Mary Magdalene on the body of Christ, Nothing has changed in over 2000 years, with Footnotes #214

Arnold Böcklin: 1827-1901

The Lamentations of Mary Magdalene on the body of Christ, c. 1868

Oil painting

Width: 119, Height: 70

Kunstmuseum Basel, Basel, Switzerland

Arnold Böcklin came up with the idea for this painting while he was in Rome. The artist finally executed the painting in Basel, where it was shown in the Stadt-Casino from January 12 to 19, 1868, and was purchased by the Basel Museum Commission during the exhibition. More on this painting

Mary Magdalene, literally translated as Mary the Magdalene or Mary of Magdala, is a figure in Christianity who, according to the Bible, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named more than most of the apostles. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.

The Gospel of Luke says seven demons had gone out of her. She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later when, she was, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus. John 20 and Mark 16:9 specifically name her as the first person to see Jesus after his resurrection.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

Arnold Böcklin (born October 16, 1827, Basel, Switzerland—died January 16, 1901, Fiesole, Italy) painter whose moody landscapes and sinister allegories greatly influenced late 19th-century German artists and presaged the symbolism of the 20th-century Metaphysical and Surrealist artists.

Although he studied and worked throughout much of northern Europe—Düsseldorf, Antwerp, Brussels, and Paris—Böcklin found his real inspiration in the landscape of Italy, where he returned from time to time and where the last years of his life were spent.

Böcklin first won a reputation with the large mural Pan in the Bulrushes (c. 1857), which brought him the patronage of the king of Bavaria. From 1858 to 1861, he taught at the Weimar Art School, but his nostalgia for the Italian landscape pursued him. After an interval during which he completed his mythological frescoes for the decoration of the Public Art Collection, Basel, he settled in Italy and only occasionally returned to Germany, and then to experiment with flying machines. During his last two decades, Böcklin’s work became increasingly subjective, often showing fabulous creatures or being based on dark allegorical themes, as in Island of the Dead (1880), which provided the inspiration for the symphonic poem The Isle of the Dead by the Russian composer Sergey Rachmaninoff. Such spectral scenes as his Odysseus and Calypso (1883) and The Pest (1898) reveal the morbid symbolism that anticipated the so-called Freudian imagery of much 20th-century art. More on Arnold Böcklin

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01 Work, Contemporary Interpretation of the bible, Henry Zaidan's Martyr Saint Tatiana, with Footnotes #222

Henry Zaidan

Martyr Tatiana

AI Generated

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Saint Tatiana was a Christian martyr in 3rd-century Rome during the reign of Emperor Alexander Severus. She was a deaconess of the early church.

According to legend, she was the daughter of a Roman civil servant who was secretly Christian, and raised his daughter in the faith. This was dangerous, and one day the jurist Ulpian captured Tatiana and attempted to force her to make a sacrifice to Apollo. She prayed, and miraculously, an earthquake destroyed the Apollo statue and part of the temple.

Tatiana was then blinded, and beaten for two days, before being brought to a circus and thrown into the pit with a hungry lion. But the lion did not touch her and lay at her feet. This resulted in a death sentence being pronounced, and after being tortured, Tatiana was beheaded with a sword on January 12, around AD 225 or 230.

The miracles performed by Saint Tatiana are said to have converted many people to the fledgling religion.

The similarity of her life with those of Martina and Prisca has led some to question whether they may even all be the same person, or if perhaps similar hagiographies were assigned to them posthumously. There is no early evidence of veneration of either Martina or Tatiana in Rome, and Prisca (or Priscilla) is hard to identify. More on Saint Tatiana

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