Wednesday, October 10, 2018

02 Works, RELIGIOUS ART - Interpretation of ancient Egyptians deities, by the Old Masters, With Footnotes - 96

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN
DETAIL, THE PROCESSION OF THE BULL APIS, c. 1879
Oil on canvas
39 7/8 by 70 1/4 in., 101.3 by 178.4 cm
Private collection

In Egyptian mythology, Apis was a sacred bull worshipped in the Memphis region, the ancient capital of Lower Egypt, identified as the son of Hathor, a primary deity in the pantheon of Ancient Egypt. Initially, he was assigned a significant role in her worship, being sacrificed and reborn. Later, Apis also served as an intermediary between humans and other powerful deities. More on Apis

Frederick Arthur Bridgman, 1847 - 1928, AMERICAN
THE PROCESSION OF THE BULL APIS, c. 1879
Oil on canvas
39 7/8 by 70 1/4 in., 101.3 by 178.4 cm
Private collection

Frederick Arthur Bridgman (November 10, 1847 - 1928) was an American artist, born in Tuskegee, Alabama. The son of a physician, Bridgman would become one of the United States' most well-known and well-regarded painters and become known as one of the world's most talented "Orientalist" painters. He began as a draughtsman in New York City, for the American Bank Note Company in 1864-1865, and studied art in the same years at the Brooklyn Art Association and at the National Academy of Design; but he went to Paris in 1866 and became a pupil of Jean-Leon Gerome. Paris then became his headquarters. A trip to Egypt in 1873-1874 resulted in pictures of the East that attracted immediate attention, and his large and important composition, The Funeral Procession of a Mummy on the Nile, in the Paris Salon (1877), bought by James Gordon Bennett, brought him the Cross of the Legion of Honor. Other paintings by him were An American Circus in Normandy, Procession of the Bull Apis (now in the Corcoran Gallery of Art, Washington, D.C.), and a Rumanian Lady (in the Temple collection, Philadelphia, Pennsylvania). More on Frederick Arthur Bridgman




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02 Contemporary Interpretations, Olympian deities in classical Greek and Roman religion, with footnotes #9

SIDNEY NOLAN, 1917-1992 
Leda and Swan, c. 1961
Oil on paper on board 
25 x 30.2 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

SIDNEY NOLAN, 1917-1992 
Leda and Swan, c. 1961
Oil on paper on board 
24.4 x 29.5 cm 
Private collection

Sidney Nolan was born in Carlton, at that time an inner working-class suburb of Melbourne, on 22 April 1917. He was the eldest of four children. His parents, Sidney (a tram driver) and Dora, were both fifth generation Australians of Irish descent. Nolan later moved with his family to the bayside suburb of St Kilda. He attended the Brighton Road State School and then Brighton Technical School and left school aged 14. He enrolled at the Prahran Technical College, Department of Design and Crafts, in a course which he had already begun part-time by correspondence. From 1933, at the age of 16, he began almost six years of work for Fayrefield Hats, Abbotsford, producing advertising and display stands with spray paints and dyes. From 1934 he attended night classes sporadically a ria Art School. From 1933, at the age of 16, he began almost six years of work for Fayrefield Hats, Abbotsford, producing advertising and display stands with spray paints and dyes. From 1934 he attended night classes sporadically a ria Art School. 

Nolan painted a wide range of personal interpretations of historical and legendary figures. Nolan painted a wide range of personal interpretations of historical and legendary figures, including explorers Burke and Wills, and Eliza Fraser. More on Sidney Nolan



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Monday, October 8, 2018

01 Ivory Carvings & Sculpture from the Bible! 15 & 16th Century. With Footnote, # 14

19th century, made for the tip of a cane
Standing Madonna with the Christ Child
 Ivory Carvings
H 24 cm
Private collection

The Madonna and Child or The Virgin and Child is often the name of a work of art which shows the Virgin Mary and the Child Jesus. The word Madonna means "My Lady" in Italian. Artworks of the Christ Child and his mother Mary are part of the Roman Catholic tradition in many parts of the world including Italy, Spain, Portugal, France, South America and the Philippines. Paintings known as icons are also an important tradition of the Orthodox Church and often show the Mary and the Christ Child. They are found particularly in Eastern Europe, Russia, Egypt, the Middle East and India. More on The Madonna and Child





Acknowledgement: Auktionshaus Mehlis GmbH   , and others


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Saturday, October 6, 2018

01 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 23

Bernard Buffet
Le Christ : Ayez Pitié, Christ: Have Mercy, c. 1961
Lithograph
76 x 56 cm
Private collection

Christ: Have Mercy is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison. Τhe phrase Kýrie, eléison, or one of its equivalents in other languages, is one of the most oft-repeated phrases in Eastern Christianity, including the Eastern Orthodox and Eastern Catholic Churches. The various litanies, frequent in that rite, generally have Lord, have mercy as their response. The phrase is the origin of the Jesus Prayer, beloved by Christians of that rite and increasingly popular amongst Western Christians. More on Christ: Have Mercy

Bernard Buffet (10 July 1928 – 4 October 1999) was a French painter of Expressionism and a member of the anti-abstract art group L'homme Témoin (the Witness-Man).

Buffet was born in Paris, France, and studied art there at the École Nationale Supérieure des Beaux-Arts and worked in the studio of the painter Eugène Narbonne.

Buffet produced religious pieces, landscapes, portraits and still-lifes. In 1946, he had his first painting shown, a self-portrait, at the Salon des Moins de Trente Ans at the Galerie Beaux-Arts. He had at least one major exhibition every year In 1955, he was awarded the first prize by the magazine Connaissance des Arts, which named the ten best post-war artists.  Bernard Buffet was named "Chevalier de la Légion d'Honneur" in 1973.

On 23 November 1973, the Bernard Buffet Museum was founded by Kiichiro Okano, in Surugadaira, Japan.

Buffet created more than 8,000 paintings and many prints as well.


Buffet committed suicide at his home in Tourtour, southern France, on 4 October 1999. More on  Bernard Buffet


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Thursday, October 4, 2018

01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 119

Guillaume Courtois, dit Il Cortese, SAINT-HIPPOLYTE 1628 - 1679 ROME
THE MARTYRDOM OF SAINT ANDREW
Oil on canvas
64,5 x 45 cm ; 25 3/8  by 17 3/4  in
Private collection

Andrew the Apostle (from the early 1st century – mid to late 1st century AD), also known as Saint Andrew was a Christian Apostle and the brother of Saint Peter.
The name "Andrew", like other Greek names, appears to have been common among the Jews, Christians, and other Hellenized people of Judea. No Hebrew or Aramaic name is recorded for him. According to Orthodox tradition, the apostolic successor to Saint Andrew is the Patriarch of Constantinople. More Andrew the Apostle 

Most references to Andrew in the New Testament simply include him on a list of the Twelve Apostles, or group him with his brother, Simon Peter. But he appears acting as an individual three times in the Gospel of John. When a number of Greeks wish to speak with Jesus, they approach Philip, who tells Andrew, and the two of them tell Jesus. (It may be relevant here that both "Philip" and "Andrew" are Greek names.) Before Jesus feeds the Five Thousand, it is Andrew who says, "Here is a lad with five barley loaves and two fish." And the first two disciples whom John reports as attaching themselves to Jesus are Andrew and another disciple (whom John does not name, but who is commonly supposed to be John himself). Having met Jesus, Andrew then finds his brother Simon and brings him to Jesus. Thus, on each occasion when he is mentioned as an individual, it is because he is instrumental in bringing others to meet the Saviour. In the Episcopal Church, the Fellowship of Saint Andrew is devoted to encouraging personal evangelism, and the bringing of one's friends and colleagues to a knowledge of the Gospel of Christ. More Andrew

Guillaume Courtois or italianized as Guglielmo Cortese, called Il Borgognone or Le Bourguignon ('the Burgundian'), (1628 – 15 June 1679) was a French-Italian painter, draughtsman and etcher. He was mainly active in Rome as a history and staffage painter and enjoyed high-level patronage.

Guillaume Courtois was born in Saint-Hippolyte, Doubs, in France as the son of the obscure painter Jean-Pierre Courtois. Very little is known about Guillaume’s youth but it is assumed he received his initial training from his father. The father and his sons went to Italy circa 1636 when Guillaume was still a child. They travelled to Milan, Bologna, Venice, Florence and Siena.

The movements of the brothers Courtois are not very well documented, which has led to alternative theories. It is possible Guillaume Courtois settled in Rome by 1638 where he entered the studio of Pietro da Cortona. Here he is supposed to have supplemented his training by drawing from life and copying works of Giovanni Lanfranco and Andrea Sacchi.  Another view of the movements of the brothers that has gained support with modern scholars is that Guillaume and Jacques remained together until the later 1640s and that Guillaume Courtois only came under the influence of da Cortona when he worked under him in 1656.


Guillaume Courtois spent most of his active life in Rome where he died of gout on 15 June 1679. More on Guillaume Courtois




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Friday, September 28, 2018

01 Paintings, Olympian deities, by the Old Masters, with footnotes # 11c

Peter Paul Rubens, 1577 - 1640
Meleager presenting the head of the Calydonian Boar to Atalant
oil on panel
76 x 57.5 cm
Private collection

The goddess Artemis or Dianne was infuriated by the King of Calydon's disrespect for her and had sent an enormous boar to ravage the fields of Calydon. Meleager and Atalanta hunted the Calydonian boar and fell in love during the hunt. When Meleager assisted by Atalanta killed the boar, he offered the boar's head to Atalanta as a gesture of love. Meleager's uncles were however deeply offended and in the fight that followed Meleager killed them. Meleager's mother Althaea became angry and placed the log she had hidden away since Meleager's birth back on the fire. As a result the Fates' prophecy came true and Meleager died. More on this Painting

Sir Peter Paul Rubens (28 June 1577 – 30 May 1640) was a Flemish Baroque painter. A proponent of an extravagant Baroque style that emphasized movement, colour, and sensuality, Rubens is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically educated humanist scholar and diplomat who was knighted by both Philip IV of Spain and Charles I of England.  More Sir Peter Paul Rubens




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01 Paintings, Olympian deities, by the Old Masters, with footnotes # 11b

Max Pietschmann, (1865 - 1952)
A Centaur, kidnapping a nymph, fighting with the sea god Triton, c. 1886
Oil on canvas
47,4 x 34,9 cm.
Private collection

A centaur  is a mythological creature with the upper body of a human and the lower body of a horse.

The centaurs were usually said to have been born of Ixion and Nephele (the cloud made in the image of Hera). Another version, however, makes them children of a certain Centaurus, who mated with the Magnesian mares. This Centaurus was either himself the son of Ixion and Nephele (inserting an additional generation) or of Apolloand Stilbe, daughter of the river god Peneus. In the later version of the story his twin brother was Lapithes, ancestor of the Lapiths, thus making the two warring peoples cousins. More Centaur

A nymph in Greek and Latin mythology is a minor female nature deity typically associated with a particular location or landform. Different from other goddesses, nymphs are generally regarded as divine spirits who animate nature, and are usually depicted as beautiful, young nubile maidens who love to dance and sing; their amorous freedom sets them apart from the restricted and chaste wives and daughters of the Greek polis. They are beloved by many and dwell in mountainous regions and forests by lakes and streams. Although they would never die of old age nor illness, and could give birth to fully immortal children if mated to a god, they themselves were not necessarily immortal, and could be beholden to death in various forms. More on nymphs

Triton is a mythological Greek god, the messenger of the sea. He is the son of Poseidon and Amphitrite, god and goddess of the sea respectively, and is herald for his father. He is usually represented as a merman, having the upper body of a human and the tail of a fish.

Like his father, Poseidon, he carried a trident. However, Triton's special attribute was a twisted conch shell, on which he blew like a trumpet to calm or raise the waves. Its sound was such a cacophony, that when loudly blown, it put the giants to flight, who imagined it to be the roar of a dark wild beast.

Triton was the father of Pallas and foster parent to the goddess Athena. Triton can sometimes be multiplied into a host of Tritones, daimones of the sea. More on Triton 

Max Ernst Pietschmann (* 28. April 1865 in Dresden , † 1952 in Niederpoyritz ,  Dresden) was a German painter .

Pietschmann completed his studies at the Dresden Art Academy from 1883 to 1889. Pietschmann belonged to the painter colony in Goppeln near Dresden, which specialized in outdoor painting. He spent two years with Hans Unger in Italy, after which he continued his studies at the Académie Julian in Paris , where he mainly dealt with life drawing.  In the 1900 World Exhibition in Paris , he received an award. He then settled again in Dresden, where he joined the first Dresden Secession movement around the turn of the century, the Association of Visual Artists of Dresden. 

Under the pseudonym " Fr. (Francois) Laubnitz"  he painted pictures that were very popular in the first half of the 20th century as mural prints.

Pietschmann died in 1952 in the Niederpoyritz district of Dresden and was buried in the Hosterwitzer cemetery. More on Max Ernst Pietschmann




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01 Paintings, Olympian deities, by the Old Masters, with footnotes # 11a

 LOO, JACOB VAN, (Sluis 1614 - 1670 Paris) 
The education of Bacchus
Oil on canvas. 
72 x 66 cm.
Private collection

The small Bacchus is depicted in the arms of the nymphs on Mount Nysa. Born from the marriage between the royal daughter Sémélé and the god Jupiter, he was taken over by Mercury for protection from the jealous Jupiter's wife Juno, in the care of the nymphs. Here the moment is shown, in which Mercury, with his pointing finger, instructs the nymphs about the education of the divine Son. The pyramidal arrangement of the composition, which is opposed to the curves of the figures and their vestments, gives rise to a very balanced appearance. More about the education of Bacchus

The education of Bacchus dates back to 1655, when Jacob van Loo stayed in Amsterdam and turned away from monumental formats to devote himself to smaller paintings with mythological themes and compact compositions 

Jacob van Loo (1614 – 26 November 1670) was a painter of the Dutch Golden Age, chiefly active in Amsterdam and, after 1660, in Paris. Van Loo is known for his conversational groupings; particularly his mythological and biblical scenes generally attributed to the genre of History painting. He was especially celebrated for the quality of his nudes to the extent that, during his lifetime, particularly his female figures were said to have been considered superior and more popular than those of his Amsterdam contemporary and competitor Rembrandt. In 1663, three years after fleeing to Paris, Jacob van Loo was accepted into the Académie royale de peinture et de sculpture.


Though his father also painted, Jacob's success ensured that he would forever be referred to as the founder of the Van Loo family of painters; a dynasty which was influential in French and European painting from the 17th to the beginning of the 19th century. More on Jacob van Loo





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Tuesday, September 25, 2018

01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 116

South German: around 1500
The scourging of Christ
Oil on wood
22.5 x 21.5 cm
Private collection

The Flagellation of Christ, sometimes known as Christ at the Column or the Scourging at the Pillar, is a scene from the Passion of Christ very frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ. It is the fourth station of the modern alternate Stations of the Cross, and a Sorrowful Mystery of the Rosary. The column to which Christ is normally tied, and the rope, scourge, whip or birch are elements in the Arma Christi. The Basilica di Santa Prassede in Rome, claimed to possess the original column. More on The Flagellation of Christ

The German Renaissance, part of the Northern Renaissance, was a cultural and artistic movement that spread among German thinkers in the 15th and 16th centuries, which developed from the Italian Renaissance. Many areas of the arts and sciences were influenced, notably by the spread of Renaissance humanism to the various German states and principalities. There were many advances made in the fields of architecture, the arts, and the sciences. Germany produced two developments that were to dominate the 16th century all over Europe: printing and the Protestant Reformation.

One of the most important German humanists was Konrad Celtis (1459–1508). Celtis studied at Cologne and Heidelberg. Another important figure was Johann Reuchlin (1455–1522) who studied in various places in Italy and later taught Greek.

The most significant German Renaissance artist is Albrecht Dürer especially known for his printmaking in woodcut and engraving, which spread all over Europe, drawings, and painted portraits. More on German School

According to Dr. Stephan Kemperdick, Berlin (mdl., 16 March 2018) is a work by a South German, probably Swabian master around 1500. More on this painting




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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 117

William Blake (1757–1827)
Adam Naming the Beasts
Tempera on canvas
74.9 cm (29.49 in.), Width: 61.6 cm (24.25 in.)
Pollok House - Glasgow  (United Kingdom - Glasgow)

Genesis 1:24–27 states that God made the land animals, as well as the first man and woman, on Day Six of Creation Week. Genesis 2:18–23 tells us that Adam named the animals before Eve was created. More on Adam Naming the Beasts

Sir William Blake Richmond KCB, RA (29 November 1842 – 11 February 1921), was a portrait painter and a designer of stained glass and mosaic, whose works include mosaic decorations below the dome and in the apse of St Paul's cathedral in London. He was the Slade Professor of Fine Art at the University of Oxford from 1879 to 1883. He was named after a close friend of his father, the artist William Blake.

William received some coaching from Ruskin. In 1857 at the age of 14 he entered the Royal Academy schools, where he studied for about three years. A visit to Italy in 1859 gave him opportunity for studying the works of old masters and had an effect on his development. His first Academy picture was a portrait group (1861); and to this succeeded, during the next three years, several other pictures of the same class.


Although he was a successful portrait-painter, Richmond wished to paint large, allegoric works, and this led him to take an interest in the design of stained glass and mosaic. His most conspicuous achievement was the internal decoration and the glass mosaics covering the spandrels and choir of St. Paul's Cathedral, London. More on Sir William Blake Richmond


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Friday, September 21, 2018

01 Painting, Olympian deities, with footnotes # 26

Maximilian Pirner  (1854–1924)
Hekate , c. 1901
Pastel on paper
55 × 89 cm (21.6 × 35 in)
Private collection

Hecate or Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery. She appears in the Homeric Hymn to Demeter and in Hesiod's Theogony, where she is promoted strongly as a great goddess. The place of origin of her following is uncertain, but it is thought that she had popular followings in Thrace. She was one of the main deities worshiped in Athenian households as a protective goddess and one who bestowed prosperity and daily blessings on the family. In the post-Christian writings of the Chaldean Oracles (2nd–3rd century CE) she was regarded with rulership over earth, sea, and sky, as well as a more universal role as Saviour, Mother of Angels and the Cosmic World Soul. Regarding the nature of her cult, it has been remarked, "she is more at home on the fringes than in the center of Greek polytheism. Intrinsically ambivalent and polymorphous, she straddles conventional boundaries and eludes definition." More on Hekate 

Maximilian Pirner (February 13, 1853 in Schüttenhofen, Bohemia – April 2, 1924 in Prague) was a Czech painter. He was a member of the Vienna Secession, and associated with the Mánes Union of Fine Arts.

He was enrolled from 1872 to 1874 at the Academy of Fine Arts, Prague and from 1875 to 1879 at the Academy of Fine Arts, Vienna. He remained in Vienna until 1887, although he was not an active participant in the local artistic community. At that time, he became a teacher at the Academy in Prague and was named a Professor there in 1896

Pirner's usual themes were classical mythology (such as his Medusa (1891) and Hecate (Above). Pirner completed a number of sketches of female figures, many of them nudes. He also did stained glass windows and medals.


Described by one critic as having achieved "mastery of the sinuous line". Pirner also had his detractors. One contemporary critic, while acknowledging Pirner's talent, considered him an "over-sophisticated mystic." More on Maximilian Pirner 





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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 115

Follower of Albrecht Bouts, Late 16th Century
CHRIST CROWNED WITH THORNS AND THE VIRGIN OF SORROWS
Oil on panel
29 1/2  by 39 1/2  in.; 75 by 100.5 cm.
Private collection


According to three of the canonical Gospels, a woven crown of thorns was placed on the head of Jesus during the events leading up to the crucifixion of Jesus. It was one of the instruments of the Passion, employed by Jesus' captors both to cause him pain and to mock his claim of authority. It is mentioned in the gospels of Matthew ('And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee and mocked him, saying Hail, King of the Jews!' More on the Crown of thorns

Our Lady of Sorrows, the Sorrowful Mother or Mother of Sorrows, and Our Lady of Piety, Our Lady of the Seven Sorrows or Our Lady of the Seven Dolours are names by which the Blessed Virgin Mary is referred to in relation to sorrows in her life. As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church.

The Seven Sorrows of Mary are a popular Roman Catholic devotion. In common religious Catholic imagery, the Blessed Virgin Mary is portrayed in a sorrowful and lacrimating affect, with seven daggers piercing her heart, often bleeding. Devotional prayers that consist of meditation began to elaborate on her Seven Sorrows based on the prophecy of Simeon. Common examples of piety under this title are Servite rosary, or the Chaplet of the Seven Sorrows of Our Lady and the Seven Joys of Mary and more recently, "Sorrowful and Immaculate Heart of Mary". More on Lady of Sorrows

Aelbrecht Bouts (c.1452 - March 1549) was a Belgian painter of the Early Netherlandish era. He was born into a family of painters in Leuven. Aelbrecht’s father was Dieric Bouts the Elder (c. 1415-1475), and his brother was Dieric Bouts the Younger (c. 1448-1490). Jan Bouts (c. 1478-c. 1530), son of Dieric Bouts the Younger, also became a painter. Dieric Bouts the Younger inherited his father’s shop in 1475, while Aelbrecht established his own workshop, also in Leuven. Whereas Dieric the Younger continued in his father's style, Aelbrecht developed his own unmistakable style with strong colors, rich texture and fine details. He died in Leuven. More on Aelbrecht Bouts





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Thursday, September 20, 2018

01 Works, RELIGIOUS ART - CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 22


Jean Béraud, (1849–1935)
St. Mary Magdalene in the House of Simon the Pharisee, c. 1891
Oil on canvas
Musée d'Orsay

The Parable of the Two Debtors: A Pharisee invited Jesus to eat, and Jesus went to his house. He was sitting at the table, when a woman of ill repute arrived with an alabaster jar full of perfume. Crying, she stood next to Jesus' feet and began to bathe them with his tears. Then she dried them with her hair, kissed them and poured the perfume on them. Seeing this, the Pharisee who had invited Jesus thought: "If this man were truly a prophet he would realize who and what kind of woman this sinner is touching him." 

Then Jesus said to the Pharisee: You see this woman? I went into your house and you did not give me water for my feet; instead, this woman has bathed my feet with tears and dried them with her hair. You did not kiss me, but she, since I entered, has not stopped kissing my feet. You did not spill oil on my head, but she has spilled perfume on my feet. This is why I tell you that her many sins are forgiven, because she loved so much; but the one to whom little is forgiven, little love manifests. Then he said to the woman: -Your sins are forgiven. More on The Parable of the Two Debtors

Jean Béraud (January 12, 1849 – October 4, 1935) was a French painter, noted for his paintings of Parisian life during the Belle Époque. He was renowned in Paris society due to his numerous paintings depicting the life of Paris, and the nightlife of Paris society. He also painted religious subjects in a contemporary setting. Pictures of the Champs Elysees, cafeés, Montmartre and the banks of the Seine are precisely detailed illustrations of everyday Parisian era of the "Belle Époque". More Jean Béraud,




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01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 114

Andrea Solari,  (1460–1524)
Mary Magdalen, circa 1524
Oil on panel
DH: 29 3/4 x W: 23 5/16 x Approx. D: 1 in. (75.5 x 59.2 x 2.5 cm)
Walters Art Museum, Baltimore, Maryland

Mary Magdalene went to anoint Christ's dead body, only to discover that he was resurrected. She is shown here transferring the ointment from a maiolica pharmacy jar to a smaller vessel. 

According to Church, Mary Magdalene was a sinful woman, who upon meeting Christ repented her former ways. She was present at the Crucifixion and later went to anoint Christ's dead body, only to discover that he was resurrected. As in this painting, the Magdalene is often depicted as a great beauty with long golden hair. She is shown here transferring the ointment from a maiolica pharmacy jar to a smaller vessel. The artist has represented the Magdalene in a style influenced by the works of Leonardo da Vinci, particularly in the subtle "sfumato" technique that invisibly blends light and shade and make contours appear soft. More on this painting

Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.


His paintings can be seen in Venice, Milan, The Louvre and the Château de Gaillon (Normandie, France). One of his better-known paintings is the Virgin of the Green Cushion (c. 1507) in the Louvre

Solario was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city. The two brothers returned to Milan in 1493. The Ecce Homo at the Poldi-Pezzoli Museum, notable for its strong modelling, may have been painted soon after his arrival.

In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy.



Andrea's last work was an altarpiece representing The Assumption of the Virgin, left unfinished at his death and completed by Bernardino Campi about 1576. More on Andrea Solari 




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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.

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