Sunday, June 24, 2018

01 Works, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 102

Marten de Vos, (1532 - 1603)
The Holy Family
Oil / wood, parqueted
73 x 104 cm.
Private collection

Depicted is the family of St. Anne; as center Anna, the Virgin Mary with the baby Jesus, John the Baptist, as a boy, with his symbol the Lamb, laterally probably Joachim, on the left Elisabeth with John the Baptist and Zacharias, above it Simeon, Maria with the child and Joseph, on the right the breastfeeding mother of her child with John, in the background in the opening of an archway, the Visitation. More on this painting

Maerten de Vos, Maerten de Vos the Elder or Marten de Vos (1532 – 4 December 1603) Flemish painter and draughtsman. In 1552 he went to Italy and studied in Rome, in Florence, and with Tintoretto in Venice. In 1558 he was back in Antwerp where after the death of Frans Floris in 1570 he became the leading Italianate artist in that city. The altarpieces that make up the bulk of his output are typically Mannerist in their strained, slender elegance.

Together with the brothers Ambrosius Francken I and Frans Francken I, he ranks among the most important painters of altarpieces in Antwerp during the 1590s. Due, in part, to the Counter-Reformation, there was a renewed demand for altarpieces to replace those lost during iconoclastic riots in 1566 or the reformist movement of 1581. 


Marten de Vos was also a prolific draughtsman, especially during the first half of the 1580s, when the Calvinists were in power in Antwerp. During this period he provided numerous designs for print publishers. A total of some 1600 prints were produced after designs by de Vos. De Vos's drawings have been praised for their lively, industrious and generally positive character, frequently with romantic Italianate landscapes in the background. His obvious proficiency is counterbalanced, however, by a degree of routine formularization. More on Marten de Vos



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01 Contemporary Interpretations, Olympian deities in classical Greek and Roman religion, with footnotes #6

Cheryl Wilson, United States
Medusa
Acrylic, Ink, Gesso, Airbrush and Paper on Canvas
16 H x 20 W x 0.8 in

In Greek mythology Medusa was a monster, a Gorgon, generally described as a winged human female with a hideous face and living venomous snakes in place of hair. Gazers on her face would turn to stone. She lived and died on an island named Sarpedon, somewhere near Cisthene. The 2nd-century BCE novelist Dionysios Skytobrachion puts her somewhere in Libya, where Herodotus had said the Berbers originated her myth, as part of their religion.


Medusa was beheaded by the hero Perseus, who thereafter used her head, which retained its ability to turn onlookers to stone, as a weapon until he gave it to the goddess Athena to place on her shield. In classical antiquity the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion. More on Medusa

Cheryl Wilson is a lifelong artist; however, she paused her art for the corporate world for a time. The life-changing event that turned the corporate pen into a paintbrush was the dark world of Alzheimer’s that struck her mother. She could not wait any longer to paint in the event that world captured her as well.  Leaving the the boardroom behind, what has emerged is a new language expressed on canvas.  This language expresses the freedom and unbound passion to create and let her art direct itself without fear or influences that has previously stifled her intuitive style. 


Constantly moving around the world, staying in one place no longer than three years at one time, living in the back of a musician’s studio, provided the opportunity to meet vast numbers of different people from all walks of life. She was the daughter of an Author and a United States, Air Force Protocol Musician.  She also joined the Air Force and traveled.  These experiences set the canvas for the style of abstracts she paints because she finds these people, locations, and experiences are represented in each painting in some way. More on Cheryl Wilson






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Friday, June 22, 2018

01 Works, RELIGIOUS ART - Interpretations of the Bible! , With Footnotes - 99

DANIEL HUNTINGTON, (American, 1816-1906)
Figures at prayer 
oil on canvas 
h. 24-1/2 w. 19-3/4 in.
Private collection

Daniel Huntington (October 4, 1816 – April 19, 1906), was born in New York City, New York. He studied at Yale with Samuel F.B. Morse, and later with Henry Inman. From 1833 to 1835 he transferred to Hamilton College in Clinton, New York, where he met Charles Loring Elliott, who encouraged him to become an artist. He first exhibited his work at the National Academy of Design in 1836. Subsequently, he painted some landscapes in the tradition of the Hudson River School. Huntington made several trips to Europe, the first in 1839 traveling to England, Rome, Florence and Paris with his friend and pupil Henry Peters Gray. On his return to America in 1840, he painted his allegorical painting "Mercy's Dream", which brought him fame and confirmed his interest in inspirational subjects. He also painted portraits and began the illustration of The Pilgrim's Progress. In 1844, he went back to Rome. Returning to New York around 1846, he devoted his time chiefly to portrait-painting, although he painted many genre, religious and historical subjects. From 1851 to 1859 he was in England. He was president of the National Academy of Design from 1862 to 1870, and again in 1877-1890. He was also vice president of the Metropolitan Museum of Art More on Daniel Huntington








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01 Contemporary Interpretations, Olympian deities in classical Greek and Roman religion, with footnotes #4

Brian Smyth, Italy
A study for Andromeda
Oil on linen
Size: 20 H x 16 W x 1 in

"I worked the painting from quick pencil sketches and photographs, as it was too difficult for the model to hold the pose over the duration of the painting process. I chose to add a more painterly, abstract background to the figure, to contrast with the more classical rendering of the model. I painted the painting oil on linen".

Andromeda is the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. When Cassiopeia's hubris leads her to boast that Andromeda is more beautiful than the Nereids, Poseidon sends a sea monster, Cetus, to ravage Aethiopia as divine punishment. Andromeda is stripped and chained naked to a rock as a sacrifice to sate the monster, but is saved from death by Perseus.

As a subject, Andromeda has been popular in art since classical times; it is one of several Greek myths of a Greek hero's rescue of the intended victim of an archaic hieros gamos, giving rise to the "princess and dragon" motif. From the Renaissance, interest revived in the original story, typically as derived from Ovid's account. More on Andromeda

Brian Smyth: "I was born in Cork City, in Ireland. I began my art studies at the Crawford College of Art and design. I studied there for four years and graduated. Starting the year I left college with a sell out exhibition in the Lavit gallery in Cork. In the following years, I continued to develop and fine tune my art practice, while participating in many exhibitions, both solo and group shows. I had solo exhibitions in Dublin, London,  and in Edinburgh at the Leith gallery. At the start of 2012 I decided to enrol at the Angel Academy in Florence, in order to learn more comprehensively the skills of drawing and painting, from life. I studied there for three years and upon graduation I was asked to stay on and become a senior art instructor there, specialising in drawing and painting from the live model. I worked there for three and a half years, teaching many students the techniques and principles of life drawing and painting. I decided to leave Angel Academy, to return to the world of painting full time. I continue to live in Florence where I periodically run workshops in portraiture and figure painting. I also give workshops in academic painting in Ireland. More on Brian Smyth



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Friday, June 15, 2018

01 Works, RELIGIOUS ART - Paintings from the Bible by the Old Masters, with footnotes, 100

MANNER OF SIR ANTHONY VAN DYCK (1599-1641)
THE HOLY FAMILY
Oil on canvas
61 x 47.7cm
Private collection

The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. Veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a Confraternity.

Matthew and Luke narrate the episodes from this period of Christ's life, namely his Circumcision and later Presentation, the Flight to Egypt, the return to Nazareth, and the Finding in the Temple.[Joseph and Mary were apparently observant Jews, as Luke narrates that they brought Jesus with them on the annual pilgrimage to Jerusalem with other Jewish families. More on The Holy Family 

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck


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Monday, June 11, 2018

01 Paintings, Olympian deities, by the Old Masters, with footnotes # 28

Federico Barocci, (1535–1612)
Aeneas flees burning Troy, c. 1598
Oil on canvas
Borghese Gallery

In Greco-Roman mythology, Aeneas was a Trojan hero, the son of the prince Anchises and the goddess Aphrodite (Venus). His father was a first cousin of King Priam of Troy, making Aeneas a second cousin to Priam's children (such as Hector and Paris). He is a character in Greek mythology and is mentioned in Homer's Iliad. Aeneas receives full treatment in Roman mythology, most extensively in Virgil's Aeneid, where he is an ancestor of Romulus and Remus. He became the first true hero of Rome. 

He played a prominent part in defending his city against the Greeks during the Trojan War, being second only to Hector in ability. Homer implies that Aeneas did not like his subordinate position, and from that suggestion arose a later tradition that Aeneas helped to betray Troy to the Greeks. The more common version, however, made Aeneas the leader of the Trojan survivors after Troy was taken by the Greeks. More on Aeneas


Federico Barocci, original name Federico Fiori Barocci, (born c. 1526, Urbino, Duchy of Urbino, Papal States—died 1612, Urbino), was a leading painter of the central Italian school in the last decades of the 16th century and an important precursor of the Baroque style.

Barocci studied in Urbino with Battista Franco, a follower of Michelangelo’s maniera. Although he made two visits to Rome—one in about 1550 to study the works of Raphael, and another in 1560 when, with Federico Zuccaro, he worked on the frescoes for Pope Pius IV’s Casino in the Vatican Gardens—Barocci lived and worked all his life in Urbino and the surrounding small towns. He executed altarpieces and devotional paintings for local churches and patrons such as the Duke of Urbino and, in time, the cathedrals of Genoa and Perugia.

Barocci may have never seen an original Correggio, yet Correggesque motifs appear in his compositions. Warmth of feeling, tenderness of expression, and a painterly approach are common to the work of both artists. This is particularly evident in the many paintings by Barocci on the theme of the Madonna; two of the most famous are the Madonna del Popolo (1579) and the exquisitely beautiful Nativity (1597). Barocci was unusual in the Mannerist period for his numerous and extremely sensitive life drawings. His distinctive use of colour is central Italian in origin—pale, fugitive colours blended chiefly from vermilion pinks, mother-of-pearl whites, and grays. More on Federico Barocci










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Saturday, June 9, 2018

01 Paintings and tales of Mermaids, with Footnotes, 6a

 Gioacchino Pagliei
The Naiads, c. 1881
Oil on Canvas

In Greek mythology, the Naiads were a type of female water nymph who presided over fountains, wells, springs, streams, brooks and other bodies of fresh water. 

Naiads were associated with fresh water, as the Oceanids, the sea nymphs who were the three thousand daughters of the Titans Oceanus and Tethys, were with saltwater, and the Nereids specifically with the Mediterranean.

A popular Greek legend turned Alexander the Great's sister, Thessalonike, into a mermaid after her death. Living in the Aegean, she would ask the sailors on any ship she would encounter only one question: "Is King Alexander alive?", to which the correct answer was: "He lives and reigns and conquers the world". This answer would please her, and she would accordingly calm the waters and bid the ship farewell. Any other answer would enrage her, and she would stir up a terrible storm, dooming the ship and every sailor on board.

Gioacchino Pagliei (born 1852 in Subiaco, Lazio, died 1896 in Rome) was an Italian painter who worked in the Neo-Pompeian genre. He studied in Rome at the Accademia di San Luca, where in 1871 he won an award for a drawing and essay. In 1875, he won the Stanziani competition.

A follower of F. Grandi, he worked on the decoration of the church of San Lorenzo in Damaso. He also worked at the Palazzo del Quirinale and the Villino Gamberini.

His oil painting style followed the Neo-Pompeian genre.

He was introduced to the Società degli Amatori e Cultori delle Belle Arti in the 1880s where he exhibited A Costume of the Empire, 1882; The Embarrassment, 1884; and Nella scala, 1895-1896. More on Gioacchino Pagliei

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01 Works, RELIGIOUS ART - Interpretation of the Bile, With Footnotes - 99

Juan Carreño De Miranda
Saint Sebastian, c. 1656.
Oil on canvas,
171 x 113 cm.
Museo Nacional del Prado

This work is a superb example of Carreño's Venetian devotion in his early years. The general silhouette is very similar to Orrente's canvas in the Cathedral of Valencia, representing the same Saint. Probably the existence of a common source explains the close resemblance.

Carreño is based on Titian, and seems to have been directly inspired, for the way of trimming the nude over the bluish distances, in the Adam and Eve of Titian, today in the Prado, which in 1628 Rubens had copied. More on this painting


Saint Sebastian (died c. 288 AD) was an early Christian saint and martyr. Sebastian had prudently concealed his faith, but in 286 was detected. Diocletian reproached him for his betrayal, and he commanded him to be led to a field and there to be bound to a stake so that archers from Mauritania would shoot arrows at him. "And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead." Miraculously, the arrows did not kill him.


Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but, recovering from his surprise, he gave orders for his being seized and beat to death with cudgels, and his body thrown into the common sewer. A pious lady, called Lucina, admonished by the martyr in a vision, got it privately removed, and buried it in the catacombs at the entrance of the cemetery of Calixtus, where now stands the Basilica of St. Sebastian. More St. Sebastian

Juan Carreño de Miranda (25 March 1614 — 3 October 1685) was a Spanish painter of the Baroque period.


Born in Avilés in Asturias. His family moved to Madrid in 1623, where he trained in Madrid during the late 1620s as an apprentice to Pedro de las Cuevas and Bartolomé Román. He came to the notice of Velázquez for his work in the cloister of Doña María de Aragón and in the Church of Our Lady of the Rosary, La Joyosa. In 1658 Carreño was hired as an assistant on a royal commission to paint frescoes in the Alcázar of Madrid; later destroyed in a fire in 1734. In 1671. Upon the death of Sebastián de Herrera, he was appointed court painter to the queen and began to paint primarily portraits. He refused to be knighted in the order of Santiago, saying Painting needs no honors. 


Noble by descent, he had an understanding of the workings and psychology of the royal court as no painter before him, making his portraits of the Spanish royal family in an unprecedented documentary fashion. More on Juan Carreño de Miranda


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Thursday, June 7, 2018

01 Works, RELIGIOUS ART - Interpretation of Russian mythology, With Footnotes - 101

Ryzhenko Pavel Viktorovich
Peresvet victory, c. 2005
Oil on canvas 
170x210 cm
Private collection

Alexander Peresvet was a Russian Orthodox Christian monk who fought in a single combat with the Tatar champion Temir-murza at the opening of the Battle of Kulikovo (8 September 1380), where they killed each other.

He is believed to have hailed from the Bryansk area and took the monastic habit at the Rostov Monastery of Saints Boris and Gleb. Alexander and his friend Rodion Oslyabya joined Russian troops approaching to fight against Mamai invasion.

The battle of Kulikovo was opened by single combat between the two champions. The Russian champion was Alexander Peresvet. The Horde champion was Temir-murza. The champions killed each other in the first run, though according to a Russian legend, Peresvet did not fall from the saddle, while Temir-murza did.


Peresvet's body, together with that of his brother-in-arms Oslyabya, were brought to Moscow, where they lie buried at the 15th-century Theotokos Church in Simonovo. More on Alexander Peresvet

Ryzhenko Pavel Viktorovich was born in 1970 in the Northwestern Russian city of Kaluga. He served in the Soviet then later Russian military 1988-1990, as part of an elite guards airborne unit. At age 20 he entered the Russian Academy of Painting, Sculpture and Architecture for a six year course of study that left him a professor of art. Starting in 1997 he taught at the academy focusing on architecture, restoration and composition.


However, he soon took to painting historical military scenes, typically Russian in origin.

In poor health at just age 44, he donated all of his paintings to the Russian government before he died of a stroke in the summer of 2014. He is criticized by some as being a revisionist of the Monarchist era history of the Old Russian Empire. More on Ryzhenko Pavel Viktorovich




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Tuesday, June 5, 2018

01 Works, RELIGIOUS ART - Interpretation of the Bible!, With Footnotes - 97

Antwerp School, circa 1540
The Lamentation of Christ, circa 1540
Oil on panel
37 x 27 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 Antwerp School is a term for the artists active in Antwerp, first during the 16th century when the city was the economic center of the Low Countries, and then during the 17th century when it became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.


Antwerp took over from Bruges as the main trading and commercial center of the Low Countries around 1500. Painters, artists and craftsmen joined the Guild of Saint Luke, which educated apprentices and guaranteed quality.  More Ecole Anversoise





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01 Works, RELIGIOUS ART - Interpretation of Hindu mythology, With Footnotes - 98

Raja Ravi Varma, 1848 -1906
Untitled (Tillottama), c. 1896
Oil on canvas
20 x 13¼ in. (50.8 x 33.5 cm.)
Private collection

Tilottama is a Apsaras, celestial nymphs, from Hindu mythology. In the epic Mahabharata, Tilottama was created at Brahma's request by using the best possible assets to create an almost perfect being. Her purpose was to bring about the destruction of the two Asuras (demons) named Sunda and Upasunda who were brothers and could not be destroyed by anyone except themselves. As their atrocities grew, the God Indra sent Tilottama to them. So captivated were they by her beauty that the jealous brothers fought over her and ended up killing each other. This painting portrays her descent through the skies down to earth, most likely after her creation.

Raja Ravi Varma (29 April 1848 – 2 October 1906) was a celebrated Indian painter and artist. He is considered among the greatest painters in the history of Indian art for a number of aesthetic and broader social reasons. Firstly, his works are held to be among the best examples of the fusion of European techniques with a purely Indian sensibility. While continuing the tradition and aesthetics of Indian art, his paintings employed the latest European academic art techniques of the day. Secondly, he was notable for making affordable lithographs of his paintings available to the public, which greatly enhanced his reach and influence as a painter and public figure. His lithographs increased the involvement of common people with fine arts and defined artistic tastes among common people for several decades. In particular, his depictions of Hindu deities and episodes from the epics and Puranas have received profound acceptance from the public. More on Raja Ravi Varma







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Thursday, May 31, 2018

01 Paintings, RELIGIOUS ART - Interpretations of the Bible! by The Old Masters, With Footnotes # 47 c

Raphael, 1483 – 1520
The Miraculous Draught of Fishes, c. 1515-1516
Bodycolour on paper on canvas
320 × 390 cm
Victoria and Albert Museum, London

Pope Leo X commissions Raphael to design ten draperies for the lower parts of the walls of the Sistine Chapel. In 1515-16 Raphael creates the cartoons for the wool and silk draperies to be manufactured in Pieter van Aelst's workshop in Brussels. Seven cartoons survive today, and are kept in the Victoria and Albert Museum in London. Four draperies show scenes from the life of Peter, the other six of Paul's.

This cartoon shows the Lake of Gennesaret, better known as Lake Tiberias or the Sea of Galilee. Peter, still known as Simon at the time, has been fishing all night, but has caught nothing. Jesus asks Peter if he can address a crowd from his boat. Afterwards Jesus tells Peter to throw out his nets, which he does. When he hauls them back in, he is stunned to find them full of fish. Peter immediately joins Jesus, soon after followed by his mates James and John. More on this painting

Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. More Raffaello




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01 Paintings, RELIGIOUS ART - Interpretations of the Bible! by The Old Masters, With Footnotes # 47b

Jean-Jacques Henner, 1829 - 1905
Saint Fabiola
copy of lost original

Saint Fabiola was a nurse (physician) and Roman matron of rank of the company of noble Roman women who, under the influence of the Church father St. Jerome gave up all earthly pleasures and devoted themselves to the practice of Christian asceticism and charitable work. More on Saint Fabiola

Jean-Jacques Henner (15 March 1829 – 23 July 1905) was a French painter. Henner was born at Bernwiller (Alsace). He began his studies in art as a pupil of Michel Martin Drolling and François-Édouard Picot. In 1848, he entered the École des Beaux Arts in Paris, and took the Prix de Rome with a painting of Adam and Eve finding the Body of Abel in 1858. In Rome, he was guided by Flandrin, and painted four pictures for the gallery at Colmar among other works.

Henner's most widely known work is his 1885 portrait of Saint Fabiola. Although the original is now lost, it was copied by artists around the world for devotional purposes. Artist Francis Alÿs has collected over 500 copies of the portrait in a variety of media. The collection, known as the "Fabiola Project," is on exhibit at the Byzantine Fresco Chapel of the Menil Collection in Houston from May 21, 2016 - May 13, 2018.

Henner died at age 76 in Paris. More Jean-Jacques Henner




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01 Paintings, RELIGIOUS ART - Interpretations of the Bible! by The Old Masters, With Footnotes # 47a

William Adolphe Bouguereau, (William Bouguereau) (1825-1905)
Le Saintes Femmes au Tombeau/ Three Marys at the Tomb, c. 1890
Oil on canvas
Private collection 

Le Saintes Femmes au Tombeau, 1890, translated to The Holy Women at the Tomb, depicts the three Marys, Mary the Mother of James, Mary Magdalene and Mary of Cleophas, at the tomb of the resurrection. The viewer, compositionally, is placed in a prostrated position and looking up first notices the expressions of bewilderment on the central Mary's face before looking past the three women and into the tomb. The tomb is filled with light and the viewer can only catch a glimpse of the "angel of the resurrection" with his arm raised. This is a very clever arrangement. The viewer feels as though they are there with the Marys and that they have stumbled onto this event, bringing it into the present. This painting was first exhibited at the Paris Salon of 1890, and though a critic after viewing the piece at that time said that Bouguereau "always showed the same thing", the perspective used in this painting and the overall composition is most original and was a tour de force of perspective and foreshortening; which can be clearly seen in the severe angle of the tomb entranceway. The painting now hangs in the collection of the Musée Royal des Beaux-Arts, Antwerp, Belgium. -by Kara Lysandra Ross

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau



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01 Works, RELIGIOUS ART - Interpretation of the Bible!, With Footnotes - 96

MIGUEL RUDECINDO CONTRERAS, (MEX., ACT. MID 18TH CENTURY)
MARY AT THE FOOT OF THE CROSS
Oil on canvas
167 x 106 cm
Private collection

The crucifixion of Jesus occurred in 1st-century Judea, most likely between AD 30 and 33. Jesus' crucifixion is described in the four canonical gospels, referred to in the New Testament epistles.

Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. He was then hung between two convicted thieves and died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating "Jesus of Nazareth, King of the Jews" which, according to the Gospel of John, was written in three languages. After Jesus' death, one soldier pierced his side with a spear to be certain that he had died. More on The crucifixion of Jesus

MIGUEL RUDECINDO CONTRERAS, (MEX., ACT. MID 18TH CENTURY) was a New Spain painter, student of José de Ibarra, who made a famous portrait that is preserved in the MUNAL. He worked with Ibarra in the paintings of the martyrdoms of the apostles of the Temple of the Holy and Hospital of San Pedro in Mexico City, and was a founding member of the Academy of San Carlos. More on  Contreras





Please visit my other blogs: Art CollectorMythologyMarine Art, and The Canals of Venice

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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Thank you for visiting my blog and also for liking its posts and pages.