Wednesday, November 4, 2020

01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - #48

Gustav Klimt, (1862–1918) 
Adam and Eve, c. 1917-1918
Oil on canvas
Height: 173 cm (68.1 in); Width: 60 cm (23.6 in)
Belvedere palace, in Vienna, Austria.

Adam and Eve was Klimt's first biblical painting. Certainly it was the only one to present humankind in a state of grace, for the scene would seem to be set before the Fall, perhaps at the moment of Eve's creation. As the sole truly chaste woman, Eve is a heroine very different from Judith. Klimt's contemporaries remarked that his ideal woman generally departed significantly from the Viennese notion of beauty: she was slender rather than buxom, redhaired or brunette rather than blond. This "Old Testament type" (as Klimt's typical heroine was euphemistically called) had an aura of exoticism that was both appealing and intentionally frightening. More on this painting

Adam and Eve, according to the creation myth of the Abrahamic religions, were the first man and woman and the ancestors of all humans. The story of Adam and Eve is central to the belief that YHWH created human beings to live in a paradise on earth, although they fell away from that state and formed the present world full of suffering and injustice. It provides the basis for the belief that humanity is in essence a single family, with everyone descended from a single pair of original ancestors. It also provides much of the scriptural basis for the doctrines of the fall of man and original Sin, important beliefs in Christianity, although not generally shared by Judaism or Islam. More on Adam and Eve


Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d'art. Klimt's primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.
Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his "golden phase," many of which include gold leaf. More Gustav Klimt






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Tuesday, September 15, 2020

01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 49

Vincenzo Irolli, 1860 Naples - 1942/49 ibid
ANGEL LEADS A YOUNG WOMAN
Oil on canvas.
157 x 100 cm.
Private collection

Vincenzo Irolli (30 September 1860 – 27 November 1949) was an Italian painter born in Naples. He enrolled at the Naples Institute of Fine Arts, and graduated three years later. The work he presented regularly at the exhibitions of the Naples Società Promotrice di Belle Arti as from 1879 comprised portraits and genre scenes. 

Irolli became a member of the Circolo Artistico Napoletano in 1890 and worked with Vincenzo Migliaro and other local artists on decorations for the Caffè Gambrinus at the end of the decade. A regular participant in major national events, he also presented work at the Salon in Paris, where he won great success, and at international exhibitions, including London (1904), Munich (1909) and Barcelona (1911), where he was awarded a bronze medal. Alongside intense maternal figures, portraits of children and colorful scenes of everyday life, he also depicted religious subjects, as in the ten works presented at the Mostra di Arte Sacra of 1936 in Naples. More on Vincenzo Irolli



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Friday, August 21, 2020

01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - 131

Gabriel Cornelius von (Ritter) Max (1840 - 1915)
St. Lucy, dated early 1880s 
Oil on canvas fixed on wood
94 x 69 cm
Private collection

The emblem of eyes on a cup or plate apparently reflects popular devotion to her as protector of sight. In paintings St. Lucy is frequently shown holding her eyes on a golden plate. She also holds the palm branch, symbol of victory over evil. More The emblem of eyes

Saint Lucy, Italian Santa Lucia (died 304, Syracuse, Sicily), virgin and martyr who was one of the earliest Christian saints to achieve popularity, having a widespread following before the 5th century. She is the patron saint of the city of Syracuse (Sicily). Because of various traditions associating her name with light, she came to be thought of as the patron of sight.


Lucy came from a wealthy Sicilian family. Spurning marriage and worldly goods, however, she vowed to remain a virgin in the tradition of St. Agatha. An angry suitor reported her to the local Roman authorities, who sentenced her to be removed to a brothel and forced into prostitution. This order was thwarted, according to legend, by divine intervention; Lucy became immovable and could not be carried away. She was next condemned to death by fire, but she proved impervious to the flames. Finally, her neck was pierced by a sword and she died.

Lucy was a victim of the wave of persecution of Christians that occurred late in the reign of the Roman emperor Diocletian. References to her are found in early Roman sacramentaries and, at Syracuse, in an inscription dating from 400 ce. As evidence of her early fame, two churches are known to have been dedicated to her in Britain before the 8th century, at a time when the land was largely pagan. More Saint Lucy

Gabriel Cornelius Ritter von Max (ennobled in 1900; 23 August 1840 – 24 November 1915) was a Prague-born Austrian painter, the son of the sculptor Josef Max and Anna Schumann. He studied at the Prague Academy of Arts. His studies included parapsychology, Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. He continued his studies at the Viennese Academy of Art. From 1863 to 1867 he studied at the Munich Academy. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the "Unglücksmalerei" (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject.

He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer, clearer colors. From 1869, Gabriel von Max had his studio in Munich. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915. More Gabriel von Max





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Sunday, August 9, 2020

01 Paintings from Norse mythology, with footnotes - #3

Cecilio Plá y Gallardo (22 November 1860 – 4 August 1934)
Brunilda and Wotan (The Valkyrie), c. 1900
Oil on canvas 
77.5 x 109 cm
Private collection

In Norse mythology the Valkyries are 'choosers of the slain,' and they are the daughters of 
Wotan or Odin.

Brunhilde who is Wotan's favourite, defies Odin and was punished by imprisonment within a ring of fire until a brave hero falls in love and rescues her. More on Brunilda and Wotan

Brunhild, also known as Brunhilda or Brynhild, is a powerful female figure from Germanic heroic legends. She may have her origins in the Visigothic princess Brunhilda of Austrasia.

In the Norse tradition, Brunhild is a shieldmaiden or valkyrie, who appears as a main character in the Völsunga saga and some Eddic poems treating the same events. In the continental Germanic tradition, where she is a central character in the Nibelungenlied, she is a powerful Amazon-like queen. In both traditions, she is instrumental in bringing about the death of the hero Sigurd or Siegfried after he deceives her into marrying the Burgundian king Gunther or Gunnar. In both traditions, the immediate cause for her desire to have Sigurd murdered is a quarrel with the hero's wife. More on Brunilda

Wōtan is the Old High German name of the Germanic god Odin; a widely revered god in Germanic mythology. In Norse mythology, from which stems most surviving information about the god, Odin is associated with wisdom, healing, death, royalty, the gallows, knowledge, war, battle, victory, sorcery, poetry, frenzy, and the runic alphabet, and is the husband of the goddess Frigg. 

Odin was known in Old English as Wōden, in Old Saxon as Wōdan, and in Old High German as Wuotan. More on Odin

Cecilio Plá y Gallardo (22 November 1860 – 4 August 1934) was a Spanish painter and illustrator, born in Valencia. As a child, he studied music at the Escuela de Artesanos de Valencia, in accordance with the wishes of his father. Later, he followed his own desires to be an artist and continued his studies at the Instituto San Pablo and the Real Academia de Bellas Artes de San Carlos. After winning a Silver Medal at the Exposición de Valencia in 1879, he moved to Madrid with a friend, where he entered the Real Academia de Bellas Artes de San Fernando, becoming a student of Emilio Sala.

The following year, after travelling through Portugal, France and Italy, he settled in Rome. From there, he sent home numerous works which showed the influence of Marià Fortuny. Some were shown at the National Exhibition of Fine Arts, winning medals in 1884 and 1887 for paintings on Italian subjects. He received many more medals.

In 1910, he began his career as a teacher at the Academy of San Fernando, a position he held until his retirement in 1931. He was named an Academician in 1924. His dedication to teaching drastically reduced his artistic output.

He died in Madrid, aged 73. More on Cecilio Plá y Gallardo




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Wednesday, July 29, 2020

01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - #48

B A H M A N
The warrior
Watercolor, Ink, Stone on Cardboard
14 W x 11 H x 1 in
Private collection

An angel is generally a supernatural being found in various religions and mythologies. In Abrahamic religions and Zoroastrianism, angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Humanity.[1][2] Other roles of angels include protecting and guiding human beings, and carrying out God's tasks. More on Angels

B A H M A N is a self-taught artist; "my work is influenced by various Schools, from the encaustic paintings of the antiquity ( the Fayum portraits) to the more refined works of the Quattrocento. It combines disparate elements and artifacts from past civilisations. I find my inspiration in mysticism and esotericism with borrowed elements from various Schools of thought." More on B A H M A N








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Thursday, June 11, 2020

01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - 130

Dimitrios Biskinis
Saint George and the Death / The joust
Oil on canvas
37 x 58.5 cm
Private collection

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 

Dimitris Biskinis was born in 1891 in Patra. In 1901 he enrolled as auditor at the School of Fine Arts of Athens where he studied painting from 1901 until 1911. In 1920 he studied in Paris and Rome. With his return to Greece he engaged in the illustration of books and advertising. In 1928 he became professor at the ASKT where he taught until his death in 1947. More on Dimitris Biskinis






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Wednesday, May 20, 2020

01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - #129

Copy after Tiziano Titian, called Titian
The Martyrdom of Saint Peter Martyr
Oil on canvas
165.5 x 116.5 cm
Private collection

Saint Peter of Verona O.P. (1206 – April 6, 1252), also known as Saint Peter Martyr, was a 13th-century Italian Catholic priest. He was a Dominican friar and a celebrated preacher. He served as Inquisitor in Lombardy, was killed by an assassin, and was canonized as a Catholic saint 11 months after his death, making this the fastest canonization in history.

He was born in the city of Verona into a family perhaps sympathetic to the Cathar heresy. Peter went to a Catholic school, and later to the University of Bologna, where he is said to have maintained his orthodoxy and at the age of fifteen, met Saint Dominic. Peter joined the Order of the Friars Preachers (Dominicans) and became a celebrated preacher throughout northern and central Italy.

From the 1230s on, Peter preached against heresy, and especially Catharism, which had many adherents in thirteenth-century Northern Italy. Because of this, a group of Milanese Cathars conspired to kill him. They hired an assassin, one Carino of Balsamo. Carino's accomplice was Manfredo Clitoro of Giussano. On April 6, 1252, when Peter was returning from Como to Milan, the two assassins followed Peter to a lonely spot near Barlassina, and there killed him and mortally wounded his companion, a fellow friar named Dominic.

Carino struck Peter's head with an axe and then attacked Domenico. Peter rose to his knees, and recited the first article of the Symbol of the Apostles (the Apostle's Creed). Offering his blood as a sacrifice to God, according to legend, he dipped his fingers in it and wrote on the ground: "Credo in Unum Deum", the first words of the Nicene Creed. The blow that killed him cut off the top of his head, but the testimony given at the inquest into his death confirms that he began reciting the Creed when he was attacked.

Dominic was carried to Meda, where he died five days afterwards. More on Saint Peter

Tiziano Vecelli or Tiziano Vecellio, or Titian (1488/1490 – 27 August 1576), was an Italian painter, the most important member of the 16th-century Venetian school. 


Recognized by his contemporaries as "The Sun Amidst Small Stars", Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, but on future generations of Western art.

During the course of his long life, Titian's artistic manner changed drastically but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone are without precedent in the history of Western painting. More Titian





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Sunday, May 3, 2020

01 Work, Interpretation of the bible, With Footnotes - 128

Attributed to the  Master of the Prodigal Son
Susanna and the Elders
Oil on panel (parquetted)
97 x 120 cm
Private collection

A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.

She refuses to be blackmailed and is arrested and about to be put to death for promiscuity when a young man named Daniel interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. After being separated, the two men are questioned about details of what they saw, but disagree about the tree under which Susanna supposedly met her lover. In the Greek text, the names of the trees cited by the elders form puns with the sentence given by Daniel. The first says they were under a mastic, and Daniel says that an angel stands ready to cuthim in two. The second says they were under an evergreen oak tree, and Daniel says that an angel stands ready to saw him in two. The great difference in size between a mastic and an oak makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs. More about Susanna

The Master of the Prodigal Son. Named after the large altarpiece now in the Kunsthistorisches Museum in Vienna which depicts the Parable of the Prodigal Son, the Master of the present work comes very close in style to both Pieter Coecke van Aelst (1502-50) and Frans Floris (1517-1570). This stylistic affinity suggests that the artist was active in Antwerp during the second quarter of the 16th Century. The master often treated subjects from the Old Testament. More on The Master of the Prodigal Son

He was born in Antwerp and is considered to have run a workshop there with several pupils. His name is derived from a painting in Vienna. He is known for landscapes and religious works, and possibly travelled to Rome. Though a monogram of "LK" was discovered in one of his paintings, to conclude that this person was the Leonart Kroes mentioned as teacher in Karel van Mander's biography of Gillis van Coninxloo is incorrect. More on The Master of the Prodigal Son






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Thursday, April 30, 2020

01 Work, 20th Century Interpretation of the Bible! With Footnotes - #42

Glen Robert Preece, (b. 1957)
Angel and the Devil's Chorus, c. 1995 
Oil on canvas 
120.5 x 150.5cm
Private collection

Glen Preece (b.1957), started painting when he was 10 when he sold his first 3 paintings in an exhibition in Sydney. During his later studies in Sydney he was initially condemned by his tutors as too traditional but his talent was quickly recognized by the late John Brackenreg. A hugely influential figure in the Australian Fine Art, Brackenreg immediately gave the prodigious Preece a solo show – it sold out on the opening night.

Representational art, mainly the French and Australian Impressionists, inspired his work for many years. He is also fascinated by movements such as Expressionism and Fauvism. His interiors hint, as the German Expressionists did, at a seamy underbelly of city life - Left Bank cafes that suggest the abandoned feel of after-hours isolation. However Preece seems to reject the cynicism of the Expressionist movement, imbuing his paintings instead with the warm ochres and umbers which originate in the rich earth of his home country. More on Glen Preece






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01 Work, Interpretation the bible, With Footnotes - 127

Cologne School circa 1520/25
The Lamentation of Christ
Oil on oak panel
55 x 80 cm
Private collection

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.


Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà (Italian for "pity") More The Lamentation of Christ

The term "Cologne School of Painting" loosely describes those Old Masters who were active in the medieval city of Cologne, and the lower-Rhine region, from about 1350 to 1550. Its representative religious paintings - mostly altarpieces - illustrate the various styles of oil painting practiced in Northern Europe during the period. 

Cologne was one of the most important, wealthy and secure cities in Europe, with some 42,000 inhabitants, and a thriving economy based on its membership of the Hanseatic League. Its wealth, along with its extensive network of churches, chapels, monasteries and charitable foundations - and of course the magnificent Cologne Cathedral - provided a fertile environment for Christian art of all types. Not for nothing was it known as the "Rome of the North". More on Cologne School of Painting






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Sunday, April 26, 2020

01 Work, Contemporary Interpretations of Olympian deities, with footnotes #27

Edward Dwurnik,  (1943 - 2018)
Leda, c. 1991
Oil on canvas
147 x 114 cm
Private collection

Leda, in Greek legend, usually believed to be the daughter of Thestius, king of Aetolia, and wife of Tyndareus, king of Lacedaemon. She was also believed to have been the mother (by Zeus, who had approached and seduced her in the form of a swan) of the other twin, Pollux, and of Helen, both of whom hatched from eggs. Variant legends gave divine parentage to both the twins and possibly also to Clytemnestra, with all three of them having hatched from the eggs of Leda, while yet other legends say that Leda bore the twins to her mortal husband, Tyndareus. Still other variants say that Leda may have hatched out Helen from an egg laid by the goddess Nemesis, who was similarly approached by Zeus in the form of a swan.The divine swan’s encounter with Leda was a subject depicted by both ancient Greek and Italian Renaissance artists; Leonardo da Vinci undertook a painting (now lost) of the theme, and Correggio’s Leda (c. 1530s) is a well-known treatment of the subject. More Leda and The Swan

Edward Dwurnik (born April 19, 1943 in Radzymin , died October 28, 2018 in Warsaw) - was a Polish painter and graphic artist.

From 1963-1970 Edward Dwurnik studied painting, sculpture and graphics at the Academy of Fine Arts in Warsaw. During the first years at the Academy, he thought,  "did not have any vision of his work". After encountering the works of Bernard, Buffett saw new possibilities for painting, but it was only after Nikifor's experience in 1965 that he helped him find a form that would support his own ideas.  An artistic solution, in terms of this problem, was to build multi-element compositions, complications, and create relationships between objects of the image. He painted over 5000 paintings. Dwurnik regularly presented his paintings depicting the capitals of various European Union countries during the Presidency of the European Union held at the Chojnata Palace in Wola Chojnata.

He was awarded, among others, with the "Solidarity" Cultural Award ( 1983 ), Nouvelle Biennale de Paris ( 1985 ), the Seoul Olympics Award in 1988 ( 1988 ) and the Award of the Contemporary Art Foundation ( 1992 ). More on Edward Dwurnik






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