01 Painting, Modern Interpretation of Olympian deities, with footnotes #41

Elizabeth Lennie, Canada

Tethys

Oil on canvas

32 W x 48 H x 1.5 in

Private collection

In Greek mythology, Tethys was one of the Titan offspring of Uranus (Sky) and Gaia (Earth). Tethys played no active part in Greek mythology, the only early story concerning Tethys, is what Homer has Hera briefly relate in the Iliad's Deception of Zeus passage. Hera says that, when Zeus was in the process of deposing Cronus, she was given by her mother Rhea to Tethys and Oceanus, for safekeeping, and that they "lovingly nursed and cherished me in their halls".

At a later time Tethys came to be identified with the sea, and in Hellenistic and Roman poetry Tethys' name came to be used as a poetic term for the sea.

M. L. West detects in the Iliad's Deception of Zeus passage an allusion to a possible archaic myth "according to which Tethys was the mother of the gods, long estranged from her husband," speculating that the estrangement might refer to a separation of "the upper and lower waters ... corresponding to that of heaven and earth." More on Tethys

Elizabeth Lennie: "Water has been the backdrop to the significant events in my life. I work with oil paint on canvas, layering thin washes with thicker impasto. The images are often figurative and explore the memory myth of summer. The paintings are a map of my world, in both abstract and narrative form. By isolating and extracting vibrant colors in a signature soft-focus style, the memory myth of summer is explored and journaled in a series of liquid landscapes on canvas. I live in Toronto, Canada, and work both as a commercial voice-over narrator and visual artist. My work is collected world-wide and I am honored to be included in the Canadian Hockey Hall of Fame art collection as well as Centre Hospital, S.F. and the UVA Medical Centre: More on Elizabeth Lennie

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01 Work, Modern Interpretation of the Bible! With Footnotes - #40

Odilon Redon, 1840 - 1916

LE CHRIST ET SES DISCIPLES/ CHRIST AND HIS DISCIPLES c, 1905

Oil on canvas

12 3/4 by 9 5/8 in., 32.5 by 24.5 cm

Private collection

Since much of Western religious art is traditionally rooted in scripture, Redon is unusual in this respect. The present work draws on the theme of discipleship and the divine nature of Christ rather than a specific episode of the New Testament. Though he was not an orthodox Christian, Redon mixed in Catholic circles and was clearly attracted to the figure of Christ who features frequently at this time. More on this painting

The twelve disciples, also known as the twelve apostles, were Jesus's closest followers. Disciple is a Biblical term meaning learner or pupil.

They were men who travelled with Jesus and learned from him. The twelve and Jesus ate together at the Last Supper on the night before Jesus was executed. After Jesus's death, they separated and began to spread his teachings.

Disciple was also used to refer to other followers of Jesus - but the 12 apostles were Jesus's closest companions before his crucifixion.

There is some disagreement among Biblical scholars as to who exactly should be counted as an apostle. Paul of Tarsus called himself an apostle. He was active in the early Christian church but did not meet Jesus while he was alive - but Paul argued that he received revelation from the risen Jesus directly. Mary Magdalene, a female follower of Jesus, is often referred to as a disciple. She is also sometimes called the apostles' apostle.

This article uses the names listed in the Gospel of Matthew, of the 12 main followers of Jesus during his lifetime. More on The twelve disciples

Bertrand-Jean Redon better known as Odilon Redon (April 20, 1840 - July 6, 1916) was a Symbolist painter and printmaker, born in Bordeaux, Aquitaine, France. Odilon was a nickname derived from his mother, Odile.

Redon started drawing as a young child, and at the age of 10 he was awarded a drawing prize at school. At age 15, he began formal study in drawing but on the insistence of his father he switched to architecture. His failure to pass the entrance exams at Paris' Ecole des Beaux-Arts ended any plans for a career as an architect, although he would later study there under Jean-Leon Gerome.

He took up sculpture, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he joined the army to serve in the Franco-Prussian War.

At the end of the war, he moved to Paris, working almost exclusively in charcoal and lithography. It would not be until 1878 that his work gained any recognition with Guardian Spirit of the Waters, and he published his first album of lithographs.

In the 1890s, he began to use pastel and oils, which dominated his works for the rest of his life. In 1899, he exhibited with the Nabis at Durand-Ruel's. In 1903 he was awarded the Legion of Honor. His popularity increased when a catalogue of etchings and lithographs was published by Andre Mellerio in 1913 and that same year, he was given the largest single representation at the New York Armory Show.  More on Bertrand-Jean Redon

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01 Work, RELIGIOUS ART - Modern Interpretation of the Bible! With Footnotes - #39

Roy De Maistre, 1894-1968 

Our Lady of Walsingham (Study for Central Panel) (circa 1961) 

Oil and gold leaf on composition board 

42 x 26 cm 

Private collection

Our Lady of Walsingham is a title of the Blessed Virgin Mary venerated by Roman Catholics and Anglicans associated with the Marian apparitions to Richeldis de Faverches, a pious English noblewoman, in 1061 in the village of Walsingham in Norfolk, England. Lady Richeldis had a building structure named "The Holy House" built in Walsingham which later became a shrine and place of pilgrimage. More on Our Lady of Walsingham

Roy De Maistre CBE (27 March 1894 – 1 March 1968) was an Australian artist of international fame. He is renowned in Australian art for his early experimentation with "colour-music", and is recognised as the first Australian artist to use pure abstraction. His later works were painted in a figurative style generally influenced by Cubism. His Stations of the Cross series hangs in Westminster Cathedral and works of his are hung in the Tate Gallery, London and in the Art Gallery of New South Wales, Sydney.

De Maistre was educated, together with his brothers and sisters, by tutors and governesses at the family home near Sutton Forest. In 1913 he was sent to Sydney to continue his music and art studies. He studied painting at the Royal Art Society of New South Wales. He produced works inspired by reproductions of European post-impressionists. Then he studied under Norman Carter and also at the Julian Ashton Art School in Sydney.

De Maistre developed an interest in "colour-music", his theory of colour harmonisation based on the relationship between colours of the spectrum and notes of the musical scale. With his ordered, analytical mind, he applied the theory of music to his painting. 

In 1923 he went to Europe on a travelling Art Scholarship. He spent three years abroad, studying in London, and in France in Paris and Saint-Jean-de-Luz, where he created Sea piece. He also visited Italy, Spain, Belgium, and the Netherlands.

In 1951 he was confirmed in the Roman Catholic faith. Religious subjects began after his conversion. His religious works stemmed from his profound Catholic belief in the truth of the images they represented, and his modern religious pictures were sought for public collections and exhibitions. In 1954 he began painting a series of Stations of the Cross for Westminster Cathedral. More on Roy De Maistre

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01 Painting, Olympian deities, by the Old Masters, with footnotes #42

Follower of Pietro da Cortona

A Roman Carrying a Sabine Woman 

Oil on canvas 

88 x 41 1/4 inches (223.5 x 104.7 cm) 

Private collection

Rape of the Sabine Women is the common name of an incident from Roman mythology, in which the men of Rome committed a mass abduction of young women from the other cities in the region. It has been a frequent subject of artists, particularly during the Renaissance and post-Renaissance eras.

Use of the word "rape" comes from the conventional translation of the Latin word used in the ancient accounts of the incident: raptio. Modern scholars tend to interpret the word as "abduction" as opposed to (sexual) violation. Controversy remains, however, as to how the acts committed against the women should be judged.

The Rape occurred in the early history of Rome, shortly after its founding by Romulus and his mostly male followers. Seeking wives in order to establish families, the Romans negotiated unsuccessfully with the Sabines, who populated the surrounding area. The Sabines feared the emergence of a rival society and refused to allow their women to marry the Romans. Consequently, the Romans planned to abduct Sabine women during a festival of Neptune Equester. They planned and announced a marvelous festival to attract people from all nearby towns. According to Livy, many people from Rome's neighboring towns attended, including folk from the Caeninenses, Crustumini, and Antemnates, and many of the Sabines. At the festival, Romulus gave a signal, at which the Romans grabbed the Sabine women and fought off the Sabine men. The indignant abductees were soon implored by Romulus to accept Roman husbands. More on Rape of the Sabine Women

Pietro da Cortona (1 November 1596/7 – 16 May 1669) was born Pietro Berrettini, but is primarily known by the name of his native town of Cortona in Tuscany. He was the leading Italian Baroque painter of his time and, along with his contemporaries and rivals Gian Lorenzo Bernini and Francesco Borromini, was one of the key figures in the emergence of Roman Baroque architecture. He was also an important designer of interior decorations.

Cortona worked mainly in Rome and Florence. He is best known for his frescoed ceilings such as the vault of the salone or main salon of the Palazzo Barberini in Rome and carried out extensive painting and decorative schemes for the Medici family in Florence and for the Oratorian fathers at the church of Santa Maria in Vallicella in Rome. He also painted numerous canvases. Only a limited number of his architectural projects were built but nonetheless they are as distinctive and as inventive as those of his rivals. More on Pietro da Cortona

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01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - #133

Vincent Sellaer, (1490–1564)

Susanna and Elders, c. first half of 16th century

Oil on panel

Height: 105 cm (41.3 ″); Width: 85 cm (33.4 ″)

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 theme of the Old Testament is reproduced here in an unusual way as a remarkably calm scene, so that not the physical urgency of the two old men. As always, so too is the biblical theme cause and pretext to bring the female nude in the picture. The beautifully presented slim female figure, here only scantily clad, a breast released between the yellow cloths, corresponds to the elegant Mannerist taste of the time, also concerning the soft contours, the Sfumato, which here belongs exclusively to the female figure. The upper body of Susanna placed almost diagonally in the picture, in contrast to the two almost vertically rendered male figures in the background. The right bearded old man looks down at the young beauty with his hand held high, which is supposed to indicate his persuasion. Only the left male figure makes eye contact with the viewer. More on this painting

Vincent Sellaer (1490–1564), was a Flemish Renaissance painter known for his mythological and religious subjects. His works stand out through their monumentality of form and their mixing of Italian and northern styles.

Very few biographical details of this artist are known with any level of certainty, other than that he flourished in Mechelen around 1538. 

While there is still no consensus among scholars, a majority believe that Vincent Sellaer should be identified with the artist to whom the early 17th century biographer Karel van Mander referred as Vincent Geldersman. Van Mander described Sellaer as a good painter of allegories, such as Leda with two eggs, Susanna and the elders, and Cleopatra with the asp. Van Mander mentioned him in his Life of Frans Minnebroer as one of the notable painters of Mechelen. While many known versions of a Leda and the Swan have been attributed to Sellaer, none has survived that depicts a Leda with eggs.

Some art historians such as G.J. Hoogewerff have speculated that Sellaer worked for some time in Brescia and may have visited other Italian cultural centres. This Italian stay would be situated in the years 1521 to 1524.


Scholars believe that Sellaer was the foremost painter in Mechelen, and his patrons were likely members of the court and the city’s Great Council. More on Vincent Sellaer

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01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - #133

Italian master of the 17th century

Caritas romana/ Roman Charity 

Oil on canvas. 

118 x 149 cm.

Private collection

The illustrated story goes back to the Roman author Valerius Maximus (14 AD-37 AD).  The exemplary story of a woman, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. 

It was recounted approximately in 1362 by Giovanni Boccaccio (1313-1375). After him, several hundred paintings, drawings and sculptures were created, which took up the theme again. It tells the erotic story of a young woman breastfeeding an older man. In the painting in a simple interior with a window on the top right, one sees in the center of the young woman with brown hair and flowing wide red-brown noble robes. In front of her kneels an old man with a full beard, in the profile to the left, who has crossed his hands on her lap and to which she extends her breast to breastfeed with her right hand. Particularly striking her white flesh and her almost white face. Your shiny, well-filled eyes she has directed laterally upwards. More on this painting

Painting in 17th-century Italy was an international endeavor. Large numbers of artists traveled to Rome, especially, to work and study. They sought not only the many commissions being extended by the Church but also the chance to learn from past masters. Most of the century was dominated by the baroque style, whose expressive power was well suited to the needs of the Counter-Reformation Church for affecting images.

The drama and movement that characterized the baroque—in sculpture and architecture as well as painting—can be first seen, perhaps, in the work of Caravaggio, who died in 1610. His strong contrasts of light and dark and unblinking realism were taken up by many artists, including the Italian Orazio Gentileschi, the Spaniard Jusepe de Ribera, and the Frenchmen Valentin de Boulogne and Simon Vouet, all of whom worked in Italy. Other artists carried Caravaggio’s so-called tenebrist style to northern Europe.

The more classical approach of the Carracci and their students Guercino and Domenichino was also an important force in 17th-century painting. It provided a foundation for the rational clarity that structured the work of French artists Nicolas Poussin and Claude Lorrain, both of whom worked in Rome for most of their lives. More on the ITALIAN SCHOOL, (17th century)

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

Giacinto Brandi, (1621–1691)

Christ in the Garden of Gethsemane, circa 1650

Oil on canvas

Height: 99 cm (38.9 ″); Width: 75 cm (29.5 ″)

Pinacoteca Vaticana

Gethsemane is an urban garden at the foot of the Mount of Olives in Jerusalem. In Christianity, it is the place where Jesus underwent the agony in the garden and was arrested the night before his crucifixion.

Christ in the Garden of Gethsemane refers to the events in the life of Jesus as recorded in the New Testament, between the Farewell Discourse at the conclusion of the Last Supper and Jesus' arrest. 

According to all four Gospels, immediately after the Last Supper, Jesus took a walk to pray. The gospels of Matthew and Mark identify this place of prayer as Gethsemane. Jesus was accompanied by three Apostles: Peter, John and James, whom he asked to stay awake and pray. He moved "a stone's throw away" from them, where He felt overwhelming sadness and anguish, and said "My Father, if it is possible, let this cup pass me by. Nevertheless, let it be as you, not I, would have it." Then, a little while later, He said, "If this cup cannot pass by, but I must drink it, your will be done!". He said this prayer three times, checking on the three apostles between each prayer and finding them asleep. He commented: "The spirit is willing, but the flesh is weak". An angel came from heaven to strengthen him. During his agony as he prayed, "his sweat was as it were great drops of blood falling down upon the ground".

At the conclusion of the narrative, Jesus accepts that the hour has come for him to be betrayed. More on Christ in the Garden

Giacinto Brandi (1621 – 19 January 1691) was an Italian painter of the Baroque era, active mainly in Rome and Naples. Born in Poli, in Lazio, he was trained in Rome in the studio of Alessandro Algardi, a noted sculptor, who noted that Brandi was more suited to painting. He joined the studio of Giovanni Giacomo Sementi. He traveled to Naples from 1638, and by 1647 had returned to Rome to work under Giovanni Lanfranco, where Brandi befriended Mattia Preti. The two latter artists would often collaborate.

His works are well distributed among baroque Churches of Rome. In 1647, he joined the Congregazione dei Virtuosi al Pantheon in Rome and from 1651 was inducted into the Accademia di San Luca for painters. In 1663, he frescoed the life of Saint Erasmus for the crypt of the cathedral of Gaeta. Some of his works are in Milan, Toledo, and Zaragoza. More on Giacinto Brandi

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - # 38

Aloïse Corbaz (1886-1964) 

Adoration of the Mages, c.  1960-1963 

Chalks on paper

13 x 3 15/16 in 

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

Aloïse Corbaz (28 June 1886 – 5 April 1964) was a Swiss outsider artist included in Jean Dubuffet's initial collection of psychiatric art. She is one of very few acclaimed female outsider artists.

Corbaz was born in Lausanne, Switzerland. She earned her baccalauréat in 1906. Although she dreamt of becoming a singer, Aloïse worked as a dressmaker until leaving for Germany in 1911. She eventually found work as a teacher and a governess, in Potsdam, at the court of German Kaiser Wilhelm II. While there, she developed an obsessive romantic passion for the Kaiser. The start of World War I necessitated Aloïse's return to Switzerland. Her imaginary romance with the Kaiser continued, leading to her being diagnosed with schizophrenia and committed to the asylum at Cery-sur-Lausanne in 1918. In 1920 she was moved to an annex of the hospital, la Rosiere a Gimet, where she remained until her death in 1964

She started drawing and writing poetry in secret circa 1920, but most of her early work has been destroyed; director of the hospital Hans Steck and general practitioner Jacqueline Porret-Forel first took an interest in 1936, and her work was finally discovered by Dubuffet in 1947. He believed Aloïse cured herself by ceasing to fight against her illness, by choosing to cultivate it and make use of it instead.


Her work is erotic, consisting primarily of beautiful women with voluptuous curves and flowing hair attended by lovers in military uniform. She used the vivid colors of crayons, pencils, and flower juice to fill entire sheets of paper. Her compulsion to make marks on every inch of paper is a "horror vacui" remarkably similar to that of Adolf Wölfli. More on Aloïse Corbaz

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 25

William Kroll, United States

Eve Has Fallen

Oil on Canvas

15 H x 30 W x 1.5 in

Private collection

Eve has fallen from grace upon the fruit of her own demise. She now rests upon the dark abyss of her soul. Despite her failings, the intrinsic natural beauty of form remains just as appealing... William Kroll

Eve is a figure in the Book of Genesis in the Hebrew Bible. According to the creation myth of the Abrahamic religions, she was the first woman. In Islamic tradition, Eve is known as Adam's wife and the first woman although she is not specifically named in the Quran.

According to the second chapter of Genesis, Eve was created by God by taking her from the rib of Adam, to be Adam's companion. She succumbs to the serpent's temptation to eat the forbidden fruit from the tree of the knowledge of good and evil. She shares the fruit with Adam, and as a result the first humans are expelled from the Garden of Eden. Christian churches differ on how they view both Adam and Eve's disobedience to God, and to the consequences that those actions had on the rest of humanity. Christian and Jewish teachings sometimes hold Adam and Eve to a different level of responsibility for the fall, although Islamic teaching holds both equally responsible. More on Eve

William Kroll was born a sixth generation Texan to a working-class family in 1958, Mr. Kroll’s passion for art was evident at an early age. By age four, Mr. Kroll had absconded with his mother’s Christmas gift, an oil painting set. He was found, hours later, having dutifully copied several of the family’s holiday greeting cards. His paintings are expressions of honesty about our world. He believes that the portrayal of his subjects, with artistic license and realistic detail, allows them to reach beyond their, often humble, origins. For the past thirty years he has also been a business owner.

He lives in Houston, Texas with his wife of thirty+ years. They have two children together, both attending university and pursuing advanced degrees. He, unlike many others around the world, has the privilege of not only creating art, but also the luxury of producing whatsoever he chooses. His paintings provide a personal insight about the society we live in and its values for this and future generations to come. The constant internal drive to create is Mr. Kroll’s daily bread. Like the water we drink and the air we breathe, art for him is necessary for life. More on William Kroll

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01 Work, Contemporary Interpretations of Olympian deities, with footnotes #22

Anatolij Brusilovski (1932 - ) 

Untitled 1978 (Europa?) 

Original ink and aerosal paint on paper 

64 x 86cm 

Private collection

In Greek mythology Europa was the mother of King Minos of Crete, a woman with Phoenician origin of high lineage, and for whom the continent Europe was named. The story of her abduction by Zeus in the form of a white bull was a Cretan story; as classicist Károly Kerényi points out, "most of the love-stories concerning Zeus originated from more ancient tales describing his marriages with goddesses. This can especially be said of the story of Europa".

The mythographers tell that Zeus was enamored of Europa and decided to seduce or ravish her. He transformed himself into a tame white bull and mixed in with her father's herds. While Europa and her helpers were gathering flowers, she saw the bull, caressed his flanks, and eventually got onto his back. Zeus took that opportunity and ran to the sea and swam, with her on his back, to the island of Crete. He then revealed his true identity, and Europa became the first queen of Crete. More on Europa

Anatoly Brusilovsky was born in the family of Rafail Brusilovsky in Odessa in 1932. A graduate of the Kharkov School of Art, his first book illustrations were published in 1953.

In 1957, Brusilovsky took part in the exhibition of young artists held in Moscow as part of the VI International Festival of Young People and Students. In 1960, he moved to Moscow and joined the nonconformist movement.

Brusilovsky became a popular book illustrator in the early 1960s. He collaborated with many journals, and his drawings for Nedelia, Sputnik and Jounost enjoyed great success, particularly with younger readers.

The human bestiary encountered in Brusilovsky’s figurative works is somewhat at odds with his narrative talent. An excellent example is his Human Pantomime cycle.

Brusilovsky’s collages and drawings were often banned by the Soviet art authorities, on account of their absurdist and erotic nature. A special and unreal world arises out of his collages, particularly those that could not be exhibited for many years. Such works well reflect the artist’s ability to score a powerful and direct hit with his art.

Anatoly Brusilovsky currently lives in Cologne. More on Anatoly Brusilovsky

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