01 Works, CONTEMPORARY Interpretation of the Bible! With Footnotes - 33

Sylwia Perczak

Dobry/  Good day, c. 2018

Acrylic, tempera on canvas

120 x 60 cm.

Private collection

Sylwia Perczak, (b1977) graduated from the Institute of Fine Arts of the Higher School of Pedagogy in Czestochowa in 2001. She commenced her degree at the painting studio of prof. Vincent Maszkowkiego. From 2005, she joined the Polish Association of Pastel in Nowy Sacz. She illustrates children's books. More on Sylwia Perczak

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01 Painting, Olympian deities, with footnotes #38

Adolf Frey-Moock, (German 1882-1954) 

MAIDEN WITH PAN 

Oil on board 

23 9/16 x 19 11/16 in. (60 x 50cm)

Private collection

In ancient Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens and often affiliated with sex; because of this, Pan is connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism. The word panic ultimately derives from the god's name.


In Roman religion and myth, Pan's counterpart was Faunus, a nature god who was the father of Bona Dea, sometimes identified as Fauna; he was also closely associated with Sylvanus, due to their similar relationships with woodlands. In the 18th and 19th centuries, Pan became a significant figure in the Romantic movement of western Europe and also in the 20th-century Neopagan movement. More on Pan

Adolf Frey-Moock, (German 1882-1954) was a Swiss painter who also worked in Munich .

Adolf Frey-Moock came from a farmer family. After the apprenticeship of ecclesiastical fresco painting he studied since October 30, 1904 at the Academy of Fine Arts in Munich with Karl Raupp and Wilhelm von Diez and 1909 assistant to Franz von Stuck in his studio.

In Frey-Moock's works influence of Franz von Stuck and Arnold Böcklin is noticeable. He showed his pictures in the exhibitions of the Munich Artists' Association The Independents . In the 1930s Frey-Moock lived in Nördlingen , then in Munich, and finally returned to Switzerland. More on Adolf Frey-Moock

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01 Works RELIGIOUS ART - Interpretation of the bible, With Footnotes - 126

Early Netherlandish School, 16th Century

The Virgin and Child

Oil on panel

45 x 35 cm, framed 

Private collection

The present Madonna and Child is based on a type developed by Gerard David in the second decade of the sixteenth century, such as in his Madonna and Child at the Musées Royaux des Beaux-Arts in Brussels (inv. no. 3559). The composition spread among the artists of Gerard’s immediate circle and was returned to by the subsequent generation of artists for small devotional paintings. In terms of the figurative style, the present painting is close to the works of Cornelis van Cleve, who may have been familiar with the composition through his father, Joos van Cleve. More on this painting

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

Early Netherlandish painting is the work of artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance; especially in the flourishing cities of Bruges, Ghent, Mechelen, Louvain, Tournai and Brussels, all in contemporary Belgium. Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568 Early Netherlandish painting coincides with the Early and High Italian Renaissance but is seen as an independent artistic culture, separate from the Renaissance humanism that characterised developments in Italy. Because these painters represent the culmination of the northern European medieval artistic heritage and the incorporation of Renaissance ideals, they are sometimes categorised as belonging to both the Early Renaissance and Late Gothic. More on the Netherlandish School

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01 Painting, Olympian deities, with footnotes #40

William-Adolphe Bouguereau, (1825–1905)

Nymphs and Satyr, c. (1873)

Oil on canvas

Dimensions

Sterling & Francine Clark Art Institute, United States

According to the Clark Institute, in the painting "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water -- one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition." More on this painting

William-Adolphe Bouguereau (30 November 1825 – 19 August 1905) was a French academic painter. 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 on William-Adolphe Bouguereau

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01 Photograph, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 33

Walter Bird (British, 1903 - 1969)

Devil Dance, c. 1938

Photoetching

11 1/4 x 9 7/16 in. (286 x 240 mm)

Private collection

Devil Dance is a Western description from the early 20th century for the Tibetan Buddhist ritual dances known as 'cham or Chhaam. Cham are often performed by monks in costume, and it is from these costumes that the description “devil dance” derives.


'Cham are performed to purge, cleanse, combat evil, and bring good fortune, as well as to serve as a means of meditation for the participants. More on Devil Dance

Walter Bird (1903–1969) was a British photographer.


Bird became known for his images of nudes and jointly set up a studio, Photo Centre Ltd., with John Everard and Horace Roye in 1939. From 1958 he was chief photographer for J. Russell & Sons, eventually purchasing the business in 1961. From 1958 to 1967 he was the official photographer for the National Photographic Record, initiated by the National Portrait Gallery to record important and influential citizens. He was a fellow of the Royal Photographic Society.

Early in his career Bird worked mostly on advertising commissions and portraits that were published in periodicals such as Theatre World and Tatler. He became famous for his images of nudes and was a rival of the photographers John Everard and Horace Roye. As the intense competition was harming their business, they eventually decided to cooperate instead, which led to them in 1939 setting up a joint company called Photo Centre Ltd.

When Walter Stoneman died in 1958 Bird took over his position as chief photographer for J. Russell & Sons, purchasing the business in 1961. Bird superseded Stoneman as the official photographer for the National Photographic Record, initiated by the National Portrait Gallery in 1917 to record important and influential citizens.


He was elected a member of the Royal Photographic Society in 1936, gained his Associate in 1937 and Fellowship in 1948. He held a one-man show of his work at the Society's house at 16 Princes Gate. He remained a member until his death on 4 March 1969. More on Walter Bird

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01 Painting, Olympian deities, by the Old Masters, with footnotes #39

Narcisse Virgile Diaz de la Peña (French, 1808-1876)

Départ de Diane pour la chasse/ Departure of Diana to the hunt

Oil on canvas

21 3/4 x 13 1/2in (55.3 x 34.4cm)

Private collection

In Roman mythology, Diana was the goddess of the hunt, the moon and nature being associated with wild animals and woodland, and having the power to talk to and control animals. She was eventually equated with the Greek goddess Artemis, though she had an independent origin in Italy. Diana was worshipped in ancient Roman religion and is revered in Roman Neopaganism and Stregheria. Diana was known to be the virgin goddess of childbirth and women. She was one of the three maiden goddesses — along with Minerva and Vesta — who swore never to marry. More on Diane

Narcisse-Virgile Diaz de la Peña, (born 1808, Bordeaux, France—died November 18, 1876, Menton), French painter and lithographer of the group of landscape painters known as the Barbizon school who is distinguished for his numerous Romantic depictions of the forest of Fontainebleau and his landscape fantasies with mythological figures.

At 15 Diaz began working as a ceramic painter for the Sèvres porcelain factory. He studied for a time with the academic painter Alexandre Cabanel. Strongly influenced by Delacroix and the Romantics and attracted by medieval and Middle Eastern art, he often in his early career painted exotic subjects.

About 1840 Diaz began to paint landscapes in the forest of Fontainebleau near the village of Barbizon. These landscapes, which dominated his work for the rest of his career, characteristically have a pervasive sense of the shadowy seclusion of the forest—e.g., Forest Scene (1867). Dense, vividly coloured foliage is broken by spots of light or patches of sky shining through the branches. During the last 15 years of his life Diaz seldom exhibited publicly. He was helpful and sympathetic to the Impressionists, especially Renoir, whom he met in 1861 painting at Barbizon. More on Narcisse-Virgile Diaz de la Peña

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01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - 124

Master of the Female Half-Lengths, (active in Antwerp first half of the 16th Century) 

The Virgin and Child in a landscape

Oil on panel

39.6 x 28.5 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

The Master of the Female Half-Lengths was a painter, or likely a group of painters of a workshop, active in the sixteenth century. The name was given in the 19th century to identify the maker or makers of a body of work consisting of 67 paintings to which since 40 more have been added.

The works were apparently the product of a large workshop that specialized in small-scale panels depicting aristocratic young ladies at half-length. The ladies are engaging in various activities such as reading, writing, or playing musical instruments and are typically placed in a wood-panelled interior or against a neutral background. Some of the women are represented with an ointment jar, the attribute of Mary Magdalene. To the Master are also attributed a few paintings of mythological subjects and copies of standardized compositions such as the Crucifixion, the Deposition, the Virgin of Sorrows, St Jerome and Lucretia.

There is no agreement on the Master’s identity and the place and period of his activity. Antwerp, Bruges, Ghent, Mechelen and the French court have been proposed for the location of his workshop. Estimates for his period of activity vary from the early to the late 16th century. More on The Master of the Female Half-Lengths

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01 Contemporary Interpretations of Olympian deities, with footnotes #17

Josh Keyes

Siren, c. 2018

Acrylic on wood panel

30″ × 24″

Private collection

Portland-based artist Josh Keyes (previously) paints hyperrealistic depictions of what he perceives the world might look like after the fall of humans. Animals such as sharks, tigers, and bulls remain as the final witnesses to the aftermath of human destruction—observing blazing fires, investigating displaced commercial objects, and swimming amongst melted ice caps. More on this painting

According to Greek myths, sirens were powerful and erotic creatures, and many unsuspecting sailors would fall prey to their seductive beauty. The common belief was that they would devour sailors after their ships would crash into the rocks, as most men couldn't resist the temptation of their sweet melodies and angelic faces. More on The Fisherman and The Siren

Josh Keyes, born in 1969 in Tacoma Washington.  Josh Keyes received his BFA in 1992 from the School of the Art Institute of Chicago and an MFA in 1998 from Yale University School of Art.  He has exhibited his work nationally and internationally and has work in private and public collections. Keyes currently lives and works in Portland Oregon. More on Josh Keyes

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01 Work, Contemporary Interpretations of Olympian deities, with footnotes #20

Eric Geidl, Graz, Austria

Black Medusa, c. 2015

Studio portrait of a young African girl throwing her braids

Private collection

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

Eric Geidl: "Hi, I am Eric and I am a photographer since I can think. For many years my photo coverages documented my travels and expeditions and were presented in color slide shows. 

Recently I do more studio and portrait photography but enjoy also very much shooting on location.

I like to make new contacts with models and photographers, develop amazing new photo ideas and give them birth by the camera." More on Eric Geidl

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01 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 170

Josse Lieferinxe,  (–1508)

Saint Sebastian Cured by Irene, circa 1497

Oil on panel

Height: 813.31 mm (32.02 ″); Width: 548.39 mm (21.59 ″)

Philadelphia Museum of Art

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. However, Irene came to bury the body and found that he was not quite dead. Irene took him to her lodgings and nursed him back to health

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

Irene of Rome was the widow of the martyr St. Castulus. After the death of her husband, she continued to be active in the Christian community in Rome. According to legend, when Saint Sebastian was discovered to be a Christian, in 286, he was handed over to the Mauretanian archers, who tied him to a tree and pierced him with arrows.

However, Irene came to bury the body and found that he was not quite dead. Irene took him to her lodgings and nursed him back to health. Irene is venerated by Christians for her virtuous care in attending the injured. More on Irene of Rome

Josse Lieferinxe (working ca 1493–1503/08) was a South Netherlandish painter, formerly known by the pseudonym the Master of St. Sebastian.

Originating in the diocese of Cambrai in Hainaut, then part of the territories ruled by the Dukes of Burgundy, Josse Lieferinxe was documented as a "Picard" in the regions of Avignon and Marseille at the end of the fifteenth and in the early sixteenth centuries. He was first mentioned in Provence in 1493. In 1503 he married Michelle, a daughter of Jean Changenet, the most prominent painter of Avignon, in whose atelier Lieferinxe may have matured his style. He was last mentioned living in 1505, and in 1508 as deceased. More on Josse Lieferinxe

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 26

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."

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’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, and that is not always pretty or flattering. True beauty, for his work, lies in the masterful execution of the painted surface. 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 and holds multiple patents on his work. To some, his day-to-day executive duties, worldwide travel and all-night painting binges might seem a bit overwhelming, but Mr. Kroll always has another horizon to reach. Stemming from his previous involvement with the commercialization of super-conductor technology, he is currently developing new processes and products in the field of nanotechnology as well as a new bio-medical device. Mr. Kroll knows he is a fortunate man. 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 Interpretation of the Bible! With Footnotes - 31

Sylwia Perczak, (b1977)

Stay by me, c.  2017

Oil and szlagmetal on canvas

120 x 80 cm

Private collection

Sylwia Perczak, (b1977) graduated from the Institute of Fine Arts of the Higher School of Pedagogy in Czestochowa in 2001. She commenced her degree at the painting studio of prof. Vincent Maszkowkiego. From 2005, she joined the Polish Association of Pastel in Nowy Sacz. She illustrates children's books. More on Sylwia Perczak

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

Edward Coley Burne-Jones

Days of Creation, c. 1876

Six Watercolor, gouache, shell gold, and platinum paint on linen-covered panel prepared with zinc white ground

102.2 x 35.5 cm (40 1/4 x 14 in.)

Harvard Art Museums/Fogg Museum

The five surviving paintings are now in the collection of the Fogg Museum at Harvard University, Cambridge, Massachusetts, The fourth day has been lost.

The progressive days of the creation are personified by angels holding spheres in which each day’s act is represented, beginning with the separation of light and darkness and ending with Adam and Eve. As the series advances, each angel joins his successor, and the colors in the panels become warmer and richer as the universe unfolds.

Oscar Wilde: “The picture is divided into six compartments, each representing a day in the Creation of the World, under the symbol of an angel holding a crystal globe, within which is shown the work of a day.” 

Day One

Creation Day 1 (Genesis 1:1-5); God created the heavens and the earth. “The heavens” refers to everything beyond the earth, outer space. The earth is made but not formed in any specific way, although water is present. God then speaks light into existence. He then separates the light from the dark and names the light “day” and the dark “night.” This creative work occurs from evening until morning – one day.

Day Two

Creation Day 2 (Genesis 1:6-8); God creates the sky. The sky forms a barrier between water upon the surface and the moisture in the air. At this point earth would have an atmosphere. This creative work occurs in one day.

Day Three

Creation Day 3 (Genesis 1:9-13), God creates dry land. Continents and islands are above the water. The large bodies of water are named “seas” and the ground is named “land.” God declares that all this is good. 

God creates all plant life both large and small. He creates this life to be self-sustaining; plants have the ability to reproduce. The plants were created in great diversity (many “kinds”). The earth was green and teeming with plant life. God declares that this work is also good. This creative work takes one day.

Day Four

Creation Day 4 (Genesis 1:14-19), God creates all the stars and heavenly bodies. The movement of these will help man track time. Two great heavenly bodies are made in relation to the earth. The first is the sun which is the primary source of light and the moon which reflects the light of the sun. The movement of these bodies will distinguish day from night. This work is also declared to be good by God. This creative work takes one day.

Day Five

Creation Day 5 (Genesis 1:20-23); God creates all life that lives in the water. Any life of any kind that lives in the water is made at this point. God also makes all the birds. All of these creatures are made with the ability to perpetuate their species by reproduction. The creatures made on Day 5 are the first creatures blessed by God. God declares this work good, and it occurs in one day.

Day Six

Creation Day 6 (Genesis 1:24-31); God creates all the creatures that live on dry land. This includes every type of creature not included on previous days and man. God declares this work good.

God makes man, and man is made in the image of God (men and women both bear this image) and is special above all other creatures. To emphasize this, God places man in authority over the earth and over all the other creatures. 

Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain. His early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. More on Edward Coley Burne-Jones

Acknowledgement: Got Questions Ministries

Please visit my other blogs: Art Collector, Mythology, Marine Art, and The Canals of Venice

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