01 Work, Interpretation of the bible, With Footnotes - 173

Venetian School, circa 1510

The Madonna and Child with Saints Leonard and Ursula

Oil on panel

61 x 80cm (24 x 31 1/2in)

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

Leonard of Noblac (or of Limoges or Noblet; also known as Lienard, Linhart, Leonhard, Léonard, Leonardo, Annard) (died 559 AD), is a Frankish saint closely associated with the town and abbey of Saint-Léonard-de-Noblat, in Haute-Vienne, in the Limousin (region) of France.

According to unreliable sources, he was a courtier who was converted by St. Remigius, refused the offer of a See from his godfather, King Clovis I, and became a monk at Micy. He lived as a hermit at Limoges and was rewarded by the king with all the land he could ride around on a donkey in a day for his prayers, which were believed to have brought the Queen through a difficult delivery safely. He founded Noblac monastery on the land so granted him, and it grew into the town of Saint-Leonard. He remained there evangelizing the surrounding area until his death. He is invoked by women in labor and by prisoners of war because of the legend that Clovis promised to release every captive Leonard visited. More on Leonard

Saint Ursula (Latin for "little female bear") is a Romano-British Christian saint. Because of the lack of definite information about her and the anonymous group of holy virgins who accompanied her and on some uncertain date were killed at Cologne, they were removed from the Roman Martyrology and their commemoration was omitted from the General Roman Calendar when it was revised in 1969.

Her legend, is that she was a princess who, at the request of her father King Dionotus of Dumnonia in south-west Britain, set sail to join her future husband, the pagan governor Conan Meriadoc of Armorica, along with 11,000 virginal handmaidens. After a miraculous storm brought them over the sea in a single day to a Gaulish port, Ursula declared that before her marriage she would undertake a pan-European pilgrimage. She headed for Rome with her followers and persuaded the Pope, Cyriacus, and Sulpicius, bishop of Ravenna, to join them. After setting out for Cologne, which was being besieged by Huns, all the virgins were beheaded in a massacre. The Huns' leader fatally shot Ursula with a bow and arrow in about 383. More Saint Ursula

Venetian school (art). From the later part of the 15th century, Venice had a distinctive, thriving and influential art scene. Beginning with the work of Giorgione (c. 1477–1510), and the workshop of Giovanni Bellini (c. 1430–1516), major artists of the Venetian school included Titian (1489–1576), Tintoretto (1518–1594), Veronese (1528–1588) and the Bassano (1510–1592). Considered to bring a primacy of color over line, this tradition was seen to contrast with the Mannerism then prevalent in the rest of Italy, and the Venetian style is viewed as having had a great influence on the subsequent development of painting. More on Venetian school

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01 Work, Interpretation of the bible, With Footnotes - 172

Bernardo Cavallino, (Naples 1616-1656)

Saint John the Evangelist 

Oil on canvas, octagonal

93.2 x 83.4cm (36 11/16 x 32 13/16in)

Private collection

Saint John the Apostle, also called Saint John the Evangelist or Saint John the Divine (flourished 1st century ce), in Christian tradition, the author of three letters, the Fourth Gospel, and the Revelation to John in the New Testament. He played a leading role in the early church at Jerusalem.

John was the son of Zebedee, a Galilean fisherman, and Salome. John and his brother James were among the first disciples called by Jesus. In the Gospel According to Mark he is always mentioned after James and was no doubt the younger brother. His mother was among those women who ministered to the circle of disciples. James and John were called by Jesus “Boanerges,” or “sons of thunder,” perhaps because of some character trait such as the zeal exemplified in Mark 9:38 and Luke 9:54, when John and James wanted to call down fire from heaven to punish the Samaritan towns that did not accept Jesus. John and his brother, together with Simon Peter, formed an inner nucleus of intimate disciples. In the Fourth Gospel, ascribed by early tradition to John, the sons of Zebedee are mentioned only once, as being at the shores of the Sea of Tiberias when the risen Lord appeared; whether the “disciple whom Jesus loved” (who is never named) mentioned in this Gospel is to be identified with John (also not named) is not clear from the text. More on Saint John

Bernardo Cavallino (1616–1656) was an Italian painter and draughtsman. He is regarded as one of the most original painters active in Naples during the first half of the 17th century. 

Born in Naples, his paintings are some of the more stunningly expressive works emerging from the Neapolitan artists of his day. Little is known about his background or training. Of eighty attributed paintings, less than ten are signed. He worked through private dealers and collectors whose records are no longer available.

One of his masterpieces is the billowing proletarian Blessed Virgin at the Brera Gallery in Milan. Passive amid the swirling, muscular putti, this Neapolitan signorina delicately rises from the fog, the updated Catholic baroque equivalent of a Botticelli's Venus. His The Ecstasy of St Cecilia exists both as cartoon (Museo di Capodimonte, Naples)[2] and final copy in the Palazzo Vecchio of Florence. Finally, his Esther and Ahasuerus hangs in the Uffizi Gallery.

He is thought to have died during the plague epidemic in 1656. More on Bernardo Cavallino

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01 Work, Interpretation of the Bible! With Footnotes - 35

Abbott Handerson Thayer, (1849–1921)

Angel, c. 1887

Oil on canvas

Height: 36.2 ″ (92 cm); Width: 28.1 ″ (71.4 cm)

Smithsonian American Art Museum,  Washington, D.C.

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

Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American artist, naturalist and teacher. As a painter of portraits, figures, animals and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in the major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio. More on Abbott Handerson Thayer

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 46

Viet Ha Tran, Spain

Garden of Eden

Photography, Color, Digital, C-type, Manipulated on Paper

41.3 W x 27.6 H x 0 in

Private collection

The Garden of Eden, also called Paradise, is the biblical "garden of God" described in the Book of Genesis and the Book of Ezekiel. 

The location of Eden is described in the Book of Genesis as the source of four tributaries. The Garden of Eden is considered to be mythological by most scholars. Among those that consider it to have been real, there have been various suggestions for its location: at the head of the Persian Gulf, in southern Mesopotamia (now Iraq) where the Tigris and Euphrates rivers run into the sea; and in Armenia. More on The Garden of Eden

Viet Ha Tran's works have been published in over 120 newspapers and magazines all around the world. She is represented by Spain's most prestigious auction house Duran Auctions. Viet Ha is also a public speaker on the art market and a jury member of IE Foundation Prizes in the Humanities. Viet Ha is a Vietnam-born and Spain-based fine art photographer known for her emotionally dense and endlessly compelling photographs of women and landscapes. Her art emphasizes fantasy and imagination as a source of aesthetic experience. She is a philanthropist who founded the charity art fund www.ifemme.org in 2017 which helps funding girls' education in less fortunate Asian countries. 

Starting photography in 2013, in such a brief period Viet Ha's artworks have been much valued by art critics and the art market thanks to her unique feminine style. She was semi-finalist in the Spanish National Digital Photography Contest in April 2013, and won Honorable Mentions in the International Photography Awards 2013, Los Angeles. In 2019 her piece Wall of Nature III became finalist of Sienna International Photography Awards. More on Viet Ha Tran

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 36

Velasco Vitali (1960)

Dead Christ, c. 1985

Acrylic on canvas

103.5 x 148.5 cm

Private collection

Velasco Vitali (1960). His debut is marked by the encounter with Giovanni Testori and participation to the show Artists and Writers at Rotonda della Besana, Milan. In 2004 Electa published Velasco 20, a monograph on Giulio Giorello's first twenty-two years of activity, with a contribution. Extramoenia (2004-2005) is an exhibition set up by the Sicily Region in Palermo (Palazzo Belmonte Riso) and Milan (Palazzo della Ragione). In 2005 Vitali was included in the collection of MACRO. Under the supervision of Danilo Eccher, he created Images, shapes and nature of the Alps (2007) and LATO4 (2008). Landing (2010) was set up at Piazza Duomo and in the St. Augustine complex in Pietrasanta, as well as at Piazza Duca d'Aosta and Palazzo Reale in Milan, under the supervision of Fernando Mazzocca and Francesco Poli. In 2011 he was invited to the Italian Hall of the Venice Biennial Exhibition, where he exhibited the sculpture Veidrodis. The same year saw the release of Apriti Heaven, a book published by Skira, which contains a collection of watercolor paintings on the sacred theme: this includes some of the drawings produced for the culture page of “The Corriere della Sera”, to which Vitali has been a contributor since 2007. In 2012 the exhibition Red Forest, curated by Luca Molinari, takes part on Isola Madre (Stresa) and Verbania, on Maggiore Lake. The Red Forest: 416 ghost town in the world at the Milan Triennale curated by Luca Molinari and Francesco Clerici. More on Velasco Vitali

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01 Work, RELIGIOUS ART - Paintings from the Bible by the Old Masters, 5j

William-Adolphe Bouguereau, 1825 - 1905

Madone Assise, The Seated Madonna, c. 1888

Oil on canvas

176.5 x 103 cm, (69¼" x 40½")

Art Gallery of South Australia (Adelaide, Australia)

The seated Madonna and Child is a style of image that became particularly popular during the 15th century in Florence and was imitated elsewhere. These representations are usually of a small size suitable for a small altar or domestic use. They usually show Mary holding the infant Jesus in an informal and maternal manner. These paintings often include symbolic reference to the Passion of Christ. More on The Seated Madonna

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 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 171

Matthias Stom, (Amersfoort circa 1600-circa 1652 Sicily or Northern Italy)

The Adoration of the Magi 

Oil on canvas

149 x 182.7cm (58 11/16 x 71 15/16in)

Private collection

The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. The Adoration of the Magi

Matthias Stom or Matthias Stomer (c. 1600 – after 1652) was a Dutch golden age painter considered one of the masters of Utrecht Caravaggism. Stom spent most of his artistic life in Italy, and 200 of his works have been preserved. It is conjectured that Stom was born at Amersfoort or in the Utrecht area, but many details of his life are vague. An early mention of Stom was around 1630, when he lived in the same location as Paulus Bor had lived a few years earlier. He was a pupil of Gerard van Honthorst in Rome after 1615.

He remained in Rome until 1632, after which he traveled to Naples, where he stayed until 1640. He then moved to Palermo, and delivered paintings for churches in Caccamo and Monreale. He sold three paintings to Antonio Ruffo, duke of Messina. It is speculated that he died in Sicily, or alternatively in Northern Italy, where in 1652 he painted an altar piece for the church in Chiuduno. More on Matthias Stom

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01 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 177

Francesco da Ponte, called Francesco Bassano, (1549 - 1592 Bassano)

Spring (banishment from paradise), after 1576

Oil on canvas

83 x 115 cm

Kunsthistorisches Museum Wien, Gemäldegalerie

The banishment from paradise, or the fall of man, or the fall, is a term used in Christianity to describe the transition of the first man and woman from a state of innocent obedience to God to a state of guilty disobedience. Although not named in the Bible, the doctrine of the fall comes from a biblical interpretation of Genesis chapter 3. At first, Adam and Eve lived with God in the Garden of Eden, but the serpent tempted them into eating the fruit from the tree of knowledge of good and evil, which God had forbidden. After doing so, they became ashamed of their nakedness and God expelled them from the Garden to prevent them from eating from the tree of life and becoming immortal. More on banishment from paradise

Jacopo da Ponte, called Bassano (1510-1592) was born in Bassano del Grappa. His father, Francesco da Ponte, was also a painter and influenced the style of the young Bassano. Bassano lived and worked, at least temporarily, in Venice. Here he studied the works of his fellow painters Bonifazio, Titian, Tintoretto and Veronese. He painted a large number of Christian themes, but also animals and genre motifs emerged in large numbers. His works were characterized especially by his lucid colors. He ran a workshop where four of his sons, trained by himself, participated. Bassano was one of the most influential Venetian painters of the 16th century. More on Jacopo da Ponte

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01 Works, RELIGIOUS ART - Paintings from the Bible by the Old Masters, 5k

William-Adolphe Bouguereau, 1825 - 1905

La Madone aux Roses, The Madonna of the Roses, c. 1903

Oil on canvas

130 x 90.5 cm, (51" x 35½")

The Gould Mansion Tarrytown (New York, New York, United States)

In her apparition at Guadeloupe, the Madonna made use of roses as a sign of her presence and even arranged them with her own hands in the tilma of Juan Diego. At La Salette she wore a profusion of roses in three garlands and had tiny roses around the rim of her slippers. She brought beautiful roses with her at Lourdes, Pontmain, Pellevoisin, Beauraing, and Banneaux. To Sister Josefa Menendez she showed her heart encircled with little white roses. More on the Madonna of the Rose.

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 Work, RELIGIOUS ART - Paintings from the Bible by the Old Masters, 5i

William-Adolphe Bouguereau, 1825 - 1905

Vierge Consolatrice, The Virgin of Consolation, c. 1875

Oil on canvas

204 x 148 cm, (80¼" x 58¼")

Les Musees de la Ville de Strasbourg (France)

Starting in the 2nd century, Catholics venerated Mary as Our Lady of Consolation, one of her earliest titles of honor. The title of "Our Lady of Consolation", or "Mary, Consoler of the Afflicted", comes from the Latin Consolatrix Afflictorum. It is found in the Litany of Loreto.

The origin of this invocation is derived from the Augustinian monks who propagated this particular devotion. In 1436 the Confraternity of the Holy Cincture of Our Lady of Consolation was founded in Bologna, Italy. It was based on an Augustinian tradition which holds that Saint Monica in the fourth century, was distraught with anxiety for her wayward son, Augustine, and that Mary gave her a sash which the Virgin wore, with the assurance that whoever wore this belt would receive her special consolation and protection.[2] Along with Augustine, and Monica, Our Lady of Consolation is one of the three patrons of the Augustinians. The "Augustinian Rosary" is sometimes called the "Corona (or Crown) of Our Mother of Consolation". More on The Virgin of Consolation

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 - Paintings from the Bible by the Old Masters, 5h

William-Adolphe Bouguereau, 1825 - 1905

La Vierge au Lys,  The Virgin of the Lilies, c. 1899

Oil on canvas

Private collection

The Madonna of the Lilies depicts Mary as a seated figure, a pose which has been favoured in religious iconography since the fifteenth century. The child is lovingly supported by his mother while his arms reach out to the viewer. White lilies placed around her throne symbolise chastity and purity. More on Madonna of the Lilies

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 - Paintings from the Bible by the Old Masters, 5g

William-Adolphe Bouguereau, 1825 - 1905

Le Saintes Femmes au Tombeau, c. 1890

Oil on canvas

Private collection (United States)

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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