Saturday, March 23, 2019

01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 120

Italian School 18th century
Rebecca at the Well
Oil on copper
24.5 x 19.5 cm
Private collection

Abraham went about finding a wife for his son Isaac. He commanded his servant to journey to his birthplace of Aram Naharaim to select a bride from his own family, rather than engage Isaac to a local Canaanite girl. Abraham sent along expensive jewelry, clothing and dainties as gifts to the bride and her family. 

The servant devised a test in order to find the right wife for Isaac. As he stood at the central well in Abraham's birthplace with his men and ten camels laden with goods, he prayed to God: "And let it come to pass, that the damsel to whom I shall say, Let down thy pitcher, I pray thee, that I may drink; and she shall say, Drink, and I will give thy camels drink also" — Genesis 24:14

To his surprise, a young girl immediately came out and offered to draw water for him to drink, as well as water to fill the troughs for all his camels. Rebecca continued to draw water until all the camels were sated, proving her kind and generous nature and her suitability for entering Abraham's household. The servant immediately gave her a golden nose ring and two golden bracelets. After hosting the party overnight, however, the family tried to keep Rebecca with them longer. The servant insisted that they ask the girl herself, and she agreed to go immediately.


As Rebecca and her entourage approached Abraham's home, they spied Isaac from a distance in the fields praying. Seeing such a spiritually exalted man, Rebecca immediately dismounted from her camel and asked the accompanying servant who he was. When she heard that this was her future husband, she modestly covered herself with a veil. Isaac brought her into the tent of his mother Sarah, married her, and loved her. More on Rebecca 

Italian School 18th century. The Neapolitan school was very influenced by the Baroque style, along with Caravaggio (paintings by Fracanzano, Saint-Pierre repentant (The penitent Saint Peter), Solimena, L’Annonciation (The Annunciation), Giordano, La Vierge adorant l’Enfant (The Virgin Adoring the Child)…)

Classicism is evident in various ways in the paintings of Vanni, Mola, Agar et l’Ange (Agar and the Angel), Badalocchio or Lorenzo Lippi with the superb Allégorie de la simulation (The Allegory of Simulation).

Finally the Venetian school from the late 18th century is also represented by two of its vedute [stars]: Guardi and the superb Apothéose de la maison Pisani (Apotheosis of the Pisani Family) by Giambattista Tiepolo. More on Italian School 18th century





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Tuesday, March 12, 2019

01 Works - RELIGIOUS ART - Paintings from Norse mythology, with footnotes - 2

Frederick Sandys, (1829–1904)
Valkyrie
Oil on canvas
74.9 x 40.6 cm
Williamson Art Gallery & Museum

One of the many 'strong women' paintings that emerged from the later years of the nineteenth century.

In Norse mythology, a valkyrie (from Old Norse valkyrja "chooser of the slain") is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle, the valkyries bring their chosen to the afterlife hall of the slain, Valhalla, ruled over by the god Odin. There, the deceased warriors become einherjar. When the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. Valkyries also appear as lovers of heroes and other mortals, where they are sometimes described as the daughters of royalty, sometimes accompanied by ravens and sometimes connected to swans or horses. More on the Valkyrie

Anthony Frederick Augustus Sandys (born Antonio Frederic Augustus Sands) (Norwich 1 May 1829 – 25 June 1904 London), but usually known as Frederick Sandys, was an English Pre-Raphaelite painter, illustrator and draughtsman, of the Victorian era. He was born in Norwich, and received his earliest lessons in art from his father, Anthony Sands, who was himself a painter. His early studies show that he had a natural gift for careful and beautiful drawing. He was educated at Norwich School and later attended the Norwich School of Design in 1846. In the same and next year his talent was recognized by the Royal Society of Arts. More on Frederick Sandys

He began his career as a portrait painter and antiquarian illustrator, exhibiting at the Norwich Art Union even as a boy. He moved to London in 1851 and worked as a draughtsman for wood engravers. Sandys was one of a group of high-calibre artists, known as the "Illustrators of the 60s". 


His carefree bohemian lifestyle saddled him with endless debt. He abandoned his first wife, had a brief flirtation with a gypsy girl and a long-term relationship with a young actress who bore him nine children. More on Frederick Sandys






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01 Work, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 130

Giorgione (1477/8–1510) 
Castelfranco Madonna/ Madonna da Castelfranco, c. 1504
The Madonna and Child Between St. Francis and St. Nicasius
Oil on Canvas
200 x 152 cm
Cathedral of San Liberale, Castelfranco

Commissioned by Tuzio Constanzo,  a member of the Order of Malta, the Castelfranco Madonna was produced in memory of his son, Matteo. Tuzio was a condottiero, one of the warlords of Italian city-states during the late Middle Ages. His son died, probably whilst serving him, for the Republic of Venice in the early 1500s. He was killed in a place called Serenissima and this artwork, together with a family chapel, was created in his honor.

Giorgione (1477/8–1510) 
Detail: Castelfranco Madonna/ Madonna da Castelfranco
The Madonna and Child
Cathedral of San Liberale, Castelfranco

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

Giorgione (1477/8–1510) 
Detail: Castelfranco Madonna/ Madonna da Castelfranco, c. 1504
St. Francis
Cathedral of San Liberale, Castelfranco

Saint Francis of Assisi (1181/1182 – 3 October 1226), was an Italian Roman Catholic friar and preacher. He founded the men's Order of Friars Minor, the women’s Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.
In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. In 1224, he received the stigmata, during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person to bear the wounds of Christ's Passion. More on Saint Francis of Assisi

Giorgione (1477/8–1510) 
Detail: Castelfranco Madonna/ Madonna da Castelfranco, c. 1504
Saint Nicasius
Cathedral of San Liberale, Castelfranco

Saint Nicasius or Nicaise of Rheims (French: Saint-Nicaise; d. 407 or 451) was a bishop of Rheims. He founded the first cathedral in Rheims and is the patron saint of smallpox victims.
Sources placing his death in 407 credit him with prophesying the invasion of France by the Vandals. He notified his people of this vision, telling them to prepare. When asked if the people should fight or not, Nicasius responded, "Let us abide the mercy of God and pray for our enemies. I am ready to give myself for my people." Later, when the barbarians were at the gates of the city, he decided to attempt to slow them down so that more of his people could escape. He was killed by the Vandals either at the altar of his church or in its doorway. He was killed with Jucundus, his lector, Florentius, his deacon, and Eutropia, his virgin sister.
After the killing of Nicasius and his colleagues, the Vandals are said to have been frightened away from the area, according to some sources even leaving the treasure they had already gathered. More on Saint Nicasius

Giorgione (born Giorgio Barbarelli da Castelfranco; c. 1477/8–1510) was an Italian painter of the Venetian school in the High Renaissance from Venice, whose career was cut off by his death at a little over 30. Giorgione is known for the elusive poetic quality of his work, though only about six surviving paintings are acknowledged for certain to be his work. The resulting uncertainty about the identity and meaning of his art has made Giorgione one of the most mysterious figures in European painting.

Together with Titian, who was slightly younger, he is the founder of the distinctive Venetian school of Italian Renaissance painting, which achieves much of its effect through colour and mood, and is traditionally contrasted with the reliance on the more linear disegno-led style of Florentine painting. More on Giorgione




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Saturday, March 9, 2019

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

Giovanni Muzzioli, (1854-1894)
Abraham and Sarah in the Court of Pharaoh, c. 1875
Oil on canvas
cm 167 x 115.5
Museo Civico, Modena, Italy


According to the essay for the reconfirmation of the pensioner, the great biblical scene sent to Modena in 1875 provoked discordant opinions. The scene takes place in a seemingly external environment with the protagonists pushed in the foreground by an architectural backdrop, made with calibrated archaeological taste. The scene, Abraham and Sara close to each other in a moment of relaxed intimacy, is influenced by the setting of the backdrop of Ferdinando Manzini's sets of scenography, while the choice of a marginal episode, of bourgeois intimacy ante litteram, already denotes an overcoming of academic conventions in the name of greater realism. The descriptive details of the environment, certainly inspired by careful research, seem to tend, rather than to criteria of verisimilitude, to an oriental and antiquarian taste.

After having participated in the exhibition of Naples in 1877, in the thirties the work was also exhibited in Ferrara, 1933, and in Bologna, 1937, a sign of the painter's lasting success. More on this painting

Abraham stayed in Canaan for several years until a famine forced him and Sarah to migrate to Egypt.  In Egypt was a despotic Pharaoh who had the passionate desire to take possession of married women.  The Pharaoh took Sarah into his harem and honored Abraham for it, but when his house was stricken with severe plagues, he came to know that she was the wife of Abraham and chastised him for not telling him so, thus banishing him from Egypt.

Sarah returned while Abraham was praying, accompanied by gifts from the Pharaoh, as he had realized their special nature, along with his own daughter Hagar as well, according to Judeo-Christian traditions, as a handmaiden.  She had delivered a powerful message to the Pharaoh and the pagan Egyptians. More on Abraham and Sarah in the Court of Pharaoh

Giovanni Muzzioli (February 10, 1854 – August 5, 1894) was an Italian painter, was born in Modena, after his family had moved from Castelvetro. At the age of 15 years, he began to attend the local Academy of Fine Arts of Modena, working under Antonio Simonazzi and Asioli. At the age of seventeen (1871) he gained the Poletti scholarship entitling him to four years residence in Rome studying at the Accademia di San Luca, working first under professor Podesti, and later after 1874 under professor Coghetti. In Rome, he painted an Abraham and Sarah at the court of the Pharaoh, a painting which he sent back to Modena.

Soon thereafter, he moved to Florence, where he remained the rest of his life. After his return to Modena, Muzzioli visited the Paris Exhibition, and there came under the influence of Sir Lawrence Alma-Tadema, and began painting subjects from classical history of Greece and Rome. His first important pictures were In the Temple of Bacchus and Funeral Rites in Egypt (1881, Milan Exhibition), where the former won a prize of 1000 lire. He captures the epoch, the people, the environment, with a truth, with enviable evidence, (there is here) no phantasmagoria, none of the sophisticated pomp of a scenographer.

From 1878 to his death (1894) Muzzioli lived in Florence, where he painted the altarpiece for the church of Castelvetro. Muzzioli was named professor of the Academies of Modena, Florence, and other cities. More on Giovanni Muzzioli

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Friday, March 8, 2019

01 Painting, Olympian deities, by the Old Masters, with footnotes #34

Unknown Artist, 17th century
Aeneas' Farewell to Dido
Oil on canvas
55 x 65 cm
Private collection

One of the Trojan heroes, Aeneas wandered for six years after the fall of Troy and reached Carthage for some rest. The queen Dido welcomed them whole-heartedly and heard their story. During his stay, Aeneas and Dido fell in love with each other and Dido declared him her lord and began to rule Carthage together.

But, Aeneas had many tasks to accomplish yet. He was contacted by Jupiter through Mercury to remind him of his yet to complete tasks. The religious Aeneas had no other choice but obey him. 


Dido felt betrayed and ashamed against all her citizens and relatives. At that moment, she cursed Aeneas and declared the enmity between Carthage and Rome which ultimately led those cities into the infamous Punic wars. More on Aeneas and Dido



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

Ellis Christopher
Salome
Photography
Private collection

Salome was the daughter of Herod II and Herodias. She is infamous for demanding and receiving the head of John the Baptist, according to the New Testament. According to Flavius Josephus's Jewish Antiquities, Salome was first married to Philip the Tetrarch of Ituraea and Trakonitis. After Philip's death in 34 AD she married Aristobulus of Chalcis and became queen of Chalcis and Armenia Minor. They had three children. Three coins with portraits of Aristobulus and Salome have been found. Her name in Hebrew meaning "peace". More on Salome

Ellis Christopher. (ne.   Christopher Ellis, b.   United States of America.) 'American photographer whose influential work defies almost all attempts at categorization.' More on Ellis Christopher



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

Flemish School 17th century
The Stigmatization of Saint Francis
Oil on panel
65 x 51.5 cm
Private collection


The Stigmatization of Saint Francis. Two years before his death, according to his custom, Saint Francis had repaired to Mt La Verna to spend the 40 days preceding the feast of St. Michael the Archangel in prayer and fasting.

On the morning of the feast of the Exultation of the Holy Cross, as he was praying in a secret and solitary place on the mountain, Saint Francis beheld a seraph with six wings all afire, descending to him from the heights of heaven. 

Francis wondered at the appearance of the vision. But he understood the vision as a revelation of the Lord and that it was being presented to his eyes by Divine Providence so that the friend of Christ might be transformed into Christ crucified, not through martyrdom of the flesh, but through a spiritual holocaust.

The vision left behind it a marvelous fire in the heart of Saint Francis, and a token impressed on his flesh. For there began immediately to appear in his hands and in his feet something like nails as he had just seen them in the vision of the Crucified. The heads of the nails in the hands and feet were round and black, and the points were somewhat long and bent, as if they had been turned back. On the right side, as if it had been pierced by a lance, was the mark of a red wound, from which blood often flowed and stained his tunic. More on Stigmatization of Saint Francis

Saint Francis of Assisi (1181/1182 – 3 October 1226), was an Italian Roman Catholic friar and preacher. He founded the men's Order of Friars Minor, the women’s Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history.
In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. In 1224, he received the stigmata, during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person to bear the wounds of Christ's Passion. More on Saint Francis of Assisi

Flemish painting flourished from the early 15th century until the 17th century, gradually becoming distinct from the painting of the rest of the Low Countries, especially the modern Netherlands. In the early period, up to about 1520, the painting of the whole area is (especially in the Anglophone world) typically considered as a whole, as Early Netherlandish painting. This was dominated by the Flemish south, but painters from the north were also important. Dutch and Flemish Renaissance painting, of which Antwerp became the centre, covers the period up to about 1580 or later, by the end of which the north and south Netherlands had become politically separated. Flemish Baroque painting was especially important in the first half of the 17th century, dominated by Rubens.

In theory the term does not refer to modern Flanders but to the County of Flanders and neighbouring areas of the Low Countries such as the Tournaisis and Duchy of Brabant. More on Flemish painting




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Monday, March 4, 2019

01 Paintings, Olympian deities, by the Old Masters, with footnotes #33

Jusepe de Ribera,  (1591–1652) 
Apollo Flaying Marsyas, c. 1637
Oil on canvas
Height: 202 cm (79.5 in); Width: 255 cm (100.3 in)
Royal Museums of Fine Arts of Belgium

In Greek mythology Marsyas was a satyr - a being that was half-man and half-goat - who was renowned for his flute playing.

The goddess Athena invented a flute, made of Deer bone. She performed for the other gods at a banquet on Mt. Olympus. Upon seeing Athena's cheeks puff out in an unsightly manner from blowing air through the flute, the other goddesses laughed at her. Athena, bewildered, went to the forest and began to play along a stream where she was able to catch a glimpse of her reflection. The sight of her rotund and puffing cheeks was not very goddess-like, as the others had cruelly pointed out, and she threw the instrument away in disgust. The curious satyr, Marsyas, passed by and picked it up.

His musical skills were almost instant. Marsyas spent many hours filling the forest with what were probably some of the purest and most sprightly musical notes ever heard. 

Marsyas developed an ego about his flute skills and challenged the god Apollo to a contest. The challenge was set, with the stipulation that the winner would get the privilege to choose to do whatever he wanted to the loser. 

With the Muses as judges, the two musicians began to play. The Muses could not decide on a winner, so Apollo suggested that they sing while playing When Marsyas protested, saying that it was impossible for him to play the flute and sing simultaneously, Apollo retorted that blowing into the flute is practically the same thing as singing.


The Muses judged Apollo's logic to be correct and since Marsyas could not compete with Apollo's sweet singing and concurrent lyre-playing, he lost.

As his prize, Apollo demanded that Marsyas be flayed alive. Acting as executioner himself, Apollo is said to have hung Marsyas from a pine tree where he torturously removed the doomed satyr's skin. More on Apollo Flaying Marsyas


José de Ribera (January 12, 1591 – September 2, 1652) was a Spanish Tenebrist painter and printmaker, better known as Jusepe de Ribera. He also was called Lo Spagnoletto ("the Little Spaniard") by his contemporaries and early writers. Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. 

Ribera was born at Xàtiva, Spain. He was baptized on February 17, 1591. He is said to have apprenticed with the Spanish painter Francisco Ribalta in Valencia. Longing to study art in Italy, he made his way to Rome in 1611. Roman artists gave him the nickname "Lo Spagnoletto".

Very little documentation survives from his early years. Ribera was living in Rome no later than 1612, and is documented as having joined the Academy of Saint Luke by 1613. He lived for a time in the Via Margutta, and almost certainly associated with other Caravaggisti who flocked to Rome at that time. In 1616, Ribera moved to Naples. In November, 1616, Ribera married Caterina Azzolino, the daughter of a Sicilian-born Neapolitan painter, Giovanni Bernardino Azzolino, whose connections in the Neapolitan art world helped to establish Ribera early on as a major figure.


Although Ribera never returned to Spain, many of his paintings were taken back by returning members of the Spanish governing class. From 1644, Ribera suffered serious ill-health, although his workshop continued to produce works under his direction. In 1647–1648, during the Masaniello rising against Spanish rule, he felt forced for some months to take his family with him into refuge in the palace of the Viceroy. In 1651 he sold the large house he had owned for many years, and when he died on September 2, 1652, he was in serious financial difficulties. More on José de Ribera






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01 Works, RELIGIOUS ART - CONTEMPORARY Interpretation of the Bible! With Footnotes - 27

Lynda Diamond, Canada
Adam Eve and Dolly
Oil on Canvas
84 H x 84 W x 2 in

"I painted this painting during the time Dolly the sheep was cloned. I thought it made for interesting subject matter. This painting is special because I made all my own paints for this painting by hand, making the colours more vivid than usual. Adam Eve and Dolly took one year to paint while living in NYC. Painted on Belgium linen.

This painting is a diptych.My inspiration for this work was late medieval and early renaissance paintings in Italy."

Lynda Diamond was raised in Los Angeles and schooled as a scholarship student at the San Francisco Art Institute, where she received her BFA in painting. Lynda then made her way to New York City, where she established herself as a hat designer and opened a retail store to help pay the bills while continuing to develop her painting skills. The hat business flourished, and eventually Lynda chose to leave the world of design in favour of her true passion: classical oil painting. Yearning to live a life closer to nature, and with less stress, Lynda moved to Nova Scotia, where her work is now her painting and teaching. Lynda’s inspiration in her painting is the work of the great masters. She studied their techniques while in New York, and later was privileged to spend time in the studio of the “new old master,” Odd Nerdrum, in Norway. With Odd, she learned many of the old master techniques she now uses in her own work, from classical oil painting styles to how to make her own paints. More on Lynda Diamond


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Sunday, March 3, 2019

01 Works, RELIGIOUS ART - Interpretation the bible, With Footnotes - 112

José de Ribera
Martyrdom of St. Bartholomew, c. 1644
Oil on canvas
1644, 202 × 153 cm
Museu Nacional d'Art de Catalunya, Barcelona

The painting the almost naked apostle Bartholomew looks at us helplessly, while a sadistic drunken executioner delightedly flays him. On the ground, a classical sculpture, which has been identified as the god Baldach, and in the background two priests, their heads covered, are witnesses to the torture. More on this painting

Bartholomew the Apostle was one of the Twelve Apostles of Jesus. He has been identified with Nathanael,  although some modern commentators reject the identification of Nathanael with Bartholomew.

Bartholomew was born at Cana of Galilee. Ecclesiastical History  states that after the Ascension, Bartholomew went on a missionary tour to India, where he left behind a copy of the Gospel of Matthew. Other traditions record him as serving as a missionary in Ethiopia, Mesopotamia, Parthia, and Lycaonia. Popular traditions and legends say that Bartholomew preached the Gospel in India, then went to Greater Armenia.


He is said to have been martyred in Albanopolis in Armenia. According to one account, he was beheaded, but a more popular tradition holds that he was flayed alive and crucified, head downward. He is said to have converted Polymius, the king of Armenia, to Christianity. Astyages, Polymius' brother, consequently ordered Bartholomew's execution. More Bartholomew


José de Ribera (January 12, 1591 – September 2, 1652) was a Spanish Tenebrist painter and printmaker, better known as Jusepe de Ribera. He also was called Lo Spagnoletto ("the Little Spaniard") by his contemporaries and early writers. Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. 

Ribera was born at Xàtiva, Spain. He was baptized on February 17, 1591. He is said to have apprenticed with the Spanish painter Francisco Ribalta in Valencia. Longing to study art in Italy, he made his way to Rome in 1611. Roman artists gave him the nickname "Lo Spagnoletto".

Very little documentation survives from his early years. Ribera was living in Rome no later than 1612, and is documented as having joined the Academy of Saint Luke by 1613. He lived for a time in the Via Margutta, and almost certainly associated with other Caravaggisti who flocked to Rome at that time. In 1616, Ribera moved to Naples. In November, 1616, Ribera married Caterina Azzolino, the daughter of a Sicilian-born Neapolitan painter, Giovanni Bernardino Azzolino, whose connections in the Neapolitan art world helped to establish Ribera early on as a major figure.


Although Ribera never returned to Spain, many of his paintings were taken back by returning members of the Spanish governing class. From 1644, Ribera suffered serious ill-health, although his workshop continued to produce works under his direction. In 1647–1648, during the Masaniello rising against Spanish rule, he felt forced for some months to take his family with him into refuge in the palace of the Viceroy. In 1651 he sold the large house he had owned for many years, and when he died on September 2, 1652, he was in serious financial difficulties. More on José de Ribera




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01 Works, RELIGIOUS ART, With Footnotes - 118

Steven Doyle, Ireland
Rushing to get to prayers
Photography
27.6 H x 39.4 W x 39.4 in
Private collection

Buddhists monks hurrying to their prayers at The Dzong Paro Bhutan. More on this photograph

Rinpung Dzong is a large dzong - Buddhist monastery and fortress - of the Drukpa Lineage of the Kagyu school in Paro District, Bhutan. It houses the district Monastic Body and government administrative offices of Paro Dzongkhag. It is listed as a tentative site in Bhutan's Tentative List for UNESCO inclusion.

In the 15th century local people offered the crag of Hungrel at Paro a small temple there and later a five storied Dzong or fortress which was known as Hungrel Dzong.


In the 17th century, his descendants, the lords of Hungrel, offered this fortress to the Drukpa hierarch, Ngawang Namgyal, the Zhabdrung Rinpoche, in recognition of his religious and temporal authority. In 1644 the Zhabdrung dismantled the existing dzong and laid the foundations of a new dzong. In 1646 the dzong was reconsecrated and established as the administrative and monastic centre of the western region and it became known as "Rinpung Dzong". More on Rinpung Dzong

Steven Doyle. Dublin born and raised, photographer Steven Doyle chose his first camera at the age of 14. 

He uses its lens as a third eye to gaze upon and uncover the essential essence of his subject, always finding that subject’s intrinsic beauty, yet always respecting its truth. Steven’s confident and assured management of his camera lens can instantly be seen from a rapid review of his work. One of his chief interests is to create an exclusive focus on people and to capture the nuance of their facial expressions. Steven lived for a number of years between London, Milan, Rome and Eastern Europe. During his time in Europe, Steven began to develop a variety of different styles of portraiture. He stresses that the “The photographer brings to his work his own individual photographic style and passion. These things, combined with a devoted and compassionate attention to his subject, produce results that can be little less than revelations.

Steven has exhibited in Dublin and in Bucharest, and has recently been invited to exhibit in Milan and London.He has an extensive work portfolio. Steven has produced fashion portraits for top Irish designer Claire Garvey, and for singing stars such as model, singer, actress Grace Jones. More on Steven Doyle




Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd visit my Boards on Pinterest

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

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

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

If you enjoyed this post, please share with friends and family.



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