01 Work, Contemporary Interpretations of Olympian deities, with footnotes #24

Richard Ziegler (1891 - 1992)

 Judgment of Paris, c. 1929

Oil on canvas

148.5 x 203 cm.

Private collection

The influence of the art of Italy and especially of the Renaissance can also be seen in this work. Thus, the frieze-like structure and the detailed representation of the vegetation to Paolo Uccello reminiscent, while Sandro Botticelli's painting with the same subject Paris also on the right sitting on a stone with the golden apple in his hand. The high cheekbones and the thin lips of Paris in the present work, however, suggest a self-portrait of the artist who has to choose between three beauties, blonde, brunette or black-haired. According to Cornelia Ziegler, daughter of the artist. More on this painting

THE JUDGEMENT OF PARIS was a contest between the three most beautiful goddesses of Olympos--Aphrodite, Hera and Athena--for the prize of a golden apple addressed "To the Fairest."

The story began with the wedding of Peleus and Thetis which all the gods had been invited to attend except for Eris, goddess of discord. When Eris appeared at the festivities she was turned away and in her anger cast the golden apple amongst the assembled goddesses addressed "To the Fairest." Three goddesses laid claim to the apple--Aphrodite, Hera and Athena. Zeus was asked to mediate and he commanded Hermes to lead the three goddesses to Paris of Troy to decide the issue. The three goddesses appearing before the shepherd prince, each offering him gifts for favour. He chose Aphrodite, swayed by her promise to bestow upon him Helene, the most beautiful woman, for wife. The subsequent abduction of Helene led directly to the Trojan War and the fall of the city. More on the THE JUDGEMENT OF PARIS

Richard Ziegler was born on May 3, 1891 in Pforzheim. After he attended the Gymnasium, Ziegler went to Great Britain for a year. On his return, he studied philology in Geneva, Greifswald, and Heidelberg, where he received his doctorate in 1919. Though he began painting as a child, art played no deciding role in his studies. 

After his studies though, he decided to become a painter. In the following years, Richard Ziegler produced book illustrations, woodcuts, and oil paintings. In 1925, he settled in Berlin as a professional artist, but after the Nazis came to power in 1933, he left Germany. 

Until 1937, Ziegler lived on the island of Korcula in Croatia. There he produced three series of monotypes, in which he dealt with the political events in Germany. From 1937 until the end of the war, he lived in England. In 1963, Richard Ziegler went to Spain to live on the island of Mallorca. His late expressive-realistic work was produced there. Richard Ziegler spent his last years in his hometown of Pforzheim. 

He died there on February 23, 1992, at the age of 101. More on Richard Ziegler

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01 Works, CONTEMPORARY Interpretation of the Bible! With Footnotes - #41

William Oxer FRSA, United Kingdom

Nativity

 Acrylic on Canvas

45 W x 35 H x 1 in

Private collection

The nativity of Jesus or birth of Jesus is described in the gospels of Luke and Matthew. The two accounts agree that Jesus was born in Bethlehem in the time of Herod the Great to a betrothed virgin whose name was Mary. There are, however, major differences. Matthew has no census, annunciation to the shepherds or presentation in the Temple, implies that Jesus's parents' home is Bethlehem, and has him born in a house there, and has an unnamed angel appear to Joseph to announce the birth. In Luke there are no Magi, no flight into Egypt, or Massacre of the Innocents, Joseph is a resident of Nazareth, the birth appears to take place in an inn instead of the family home, and the angel (named as Gabriel) announces the coming birth to Mary. While it is possible that Matthew's account might be based on Luke or Luke's on Matthew, the majority of scholars conclude that the two are independent of each other.

In Christian theology the nativity marks the incarnation of Jesus as the second Adam, in fulfillment of the divine will of God, undoing the damage caused by the fall of the first man, Adam. The artistic depiction of the nativity has been a major subject for Christian artists since the 4th century. Since the 13th century, the nativity scene has emphasized the humility of Jesus and promoted a more tender image of him, as a major turning point from the early "Lord and Master" image, affecting the basic approaches of Christian pastoral ministry. More on the nativity of Jesus

William Oxer travelled widely through Europe, a Grand Tour as a fair swap for his driving skills. After graduating, William was offered a place at the Prince of Wales' Institute of Architecture but was advised by them to take the position of assistant to Alec Cobbe, artist, restorer and collector. 

Living in at Hatchlands Park, Surrey. He lived at the latter back in 1996, working with restorer and interiors expert, Alec Cobbe.

Over the past 25 years, William has undertaken regular portrait commissions for private clients and produced artworks for exhibitions and collectors across the world. His work also includes period decoration and exhibition design in places such as Christie’s and the Building of Bath Museum, also known as The Museum of Bath Architecture. More on William Oxer

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01 Work, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - # 40

John Shinnors, (b.1950)

LOT'S WIFE STUDY, 1980

Oil on canvas laid on board

h:24 w:32in.

Private collection

In the Bible, Lot's wife is a figure first mentioned in Genesis. The story of Lot's wife begins in Genesis 19 after two angels arrived in Sodom at eventide and were invited to spend the night at Lot's home. The Men of Sodom were exceedingly wicked and prompted Lot to offer up these Men/Angels; instead, Lot offered up his two daughters but they refused. As dawn was breaking, Lot's visiting angels urged him to get his family and flee, so as to avoid being caught in the impending disaster for the iniquity of the city. The command was given, "Flee for your life! Do not look behind you, nor stop anywhere in the Plain; flee to the hills, lest you be swept away.":465 While fleeing, Lot's wife turned to look back, and was turned into a pillar of salt. More on Lot's wife

Born in Limerick in 1950, John Shinnors studied for a short time at Limerick School of Art and Design under Jack Donovan before leaving the confines of conventional education to pursue his own vision of artistic creativity. His paintings tend to combine the figurative and abstract at once, with coloured or black and white geometric shapes and repetition of form featuring strongly in his work. This unique style and treatment of subject matter lend well to Shinnors’ favoured motifs which include lighthouses, scarecrows, clowns and indigenous wildlife such as cows, crows and rabbits. More on John Shinnors 

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01 Work, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - 36

Kim Byungkwan, South Korea

The Descent I

Acrylic on Canvas

44.1 W x 63.9 H x 1.2 in

Private collection

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.

Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. More on the decent from the cross

Kim Byungkwan: "What I would like to express through my work is very simple. I am trying to bring out strangeness from familiarity (visual habit). Everything there is out there in this world, more or less, provides familiar vision. This familiar vision can be replaced as habit. This habitual vision which every object gives us and creates comfort. However it shuts down all the other possibilities. The habitual vision or visual habit makes us go by the routine ways. It stops us from having adventure and checking out the wonders out there. My work is trying to destroy, tear up, and reconstruct this habitual vision so that our vision can be expended to other images. I have strong faith in my work that my personal behaviour may lead us “strangeness within habitual vision off from the track." More on Kim Byungkwan

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01 Painting, Olympian deities, by the artists of their time, with footnotes #42

Peter Paul Rubens, (1577–1640)

La Chasse au sanglier, The Calydonian boar hunt, between circa 1615 and circa 1616

Oil on canvas

Height: 250 cm (98.4 ″); Width: 320 cm (10.4 ft)

Musée des beaux-arts de Marseille

The Calydonian or Aetolian Boar is one of the monsters of Greek mythology that had to be overcome by heroes of the Olympian age. Sent by Artemis to ravage the region of Calydon in Aetolia because its king failed to honour her in his rites to the gods, it was killed in the Calydonian Hunt, in which many male heroes took part, but also a powerful woman, Atalanta, who won its hide by first wounding it with an arrow. This outraged some of the men, with tragic results. Strabo was under the impression that the Calydonian Boar was an offspring of the Crommyonian Sow vanquished by Theseus. More on the Calydonian boar hunt

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

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

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01 Work, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes - #39

Jean Lambert-Rucki, (1888-1967) 

Descent from the Cross, 1931 

Gouache and ink on cardboard

51 x 32 CM - 20 1/16 x 12 5/8 in.

Private collection

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.

Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. The Gospels mention an undefined number of women as watching the crucifixion, including the Three Marys and Mary Salome.  More on Deposition of Christ

Jean Lambert-Rucki (1888–1967), a Polish avant-garde artist, sculptor, and graphic artist, was best known for his participation in the Cubist, Surrealist and Art Deco movements. He exhibited at the 1913 Salon d'Automne in Paris. From 1919 he was represented by both Léonce Rosenberg at the Galerie de l'Effort Moderne and the art dealer Paul Guillaume. In March 1920, Lambert-Rucki exhibited at the second exhibition of la Section d'Or, Galerie de La Boétie, Paris, and participated in the first exhibition of l'Union des Artistes Modernes, where he would continue to show his works. Working in diverse styles and media, at times influenced by the tribal art of Africa, Lambert-Rucki became well known for his Cubist cityscapes. More on Jean Lambert-Rucki

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01 Work, RELIGIOUS ART - Interpretation the bible, With Footnotes - #134

Fiorentino Rosso

Lamentation Of Christ

Oil on canvas

1530-th , 127×163 cm

Louvre Museum, Paris

This is the only easel painting that can be dated with certainty to Rosso's stay in France in 1530-40. The cushions beneath Christ's body bear the blue alerions on an orange background of the coat of arms of Constable Anne de Montmorency, from whose château at Ecouen the Pietà was taken to the Louvre in the late 18th century. The marks visible on the bodies of Christ and St John are due to an initial, reversed composition - vsible under X-ray photography - which Rosso had blacked out. 

This is the only surviving example of the religious works Rosso executed in France. More on this painting

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà, pity.  More on The Lamentationof Christ

Giovanni Battista di Jacopo (8 March 1495 in Gregorian style, or 1494 according to the calculation of times in Florence where the year began on 25 March – 14 November 1540), known as Rosso Fiorentino (meaning "red Florentine" in Italian), or Il Rosso, was an Italian Mannerist painter, in oil and fresco, belonging to the Florentine school.

Born in Florence with the red hair that gave him his nickname, Rosso first trained in the studio of Andrea del Sarto. In late 1523, Rosso moved to Rome, where he was exposed to the works of Michelangelo, Raphael, and other Renaissance artists, resulting in the realignment of his artistic style.

Fleeing Rome after the Sacking of 1527, Rosso eventually went to France where he secured a position at the court of Francis I in 1530, remaining there until his death. Together with Francesco Primaticcio, Rosso was one of the leading artists to work at the Chateau Fontainebleau as part of the "First School of Fontainebleau", spending much of his life there. 


Rosso's reputation, along those of other stylized late Renaissance Florentines, was long out of favour in comparison to other more naturalistic and graceful contemporaries, but has revived considerably in recent decades. That his masterpiece is in a small city, away from the tourist track, was a factor in this, especially before the arrival of photography. His poses are certainly contorted, and his figures often appear haggard and thin, but his work has considerable power. More on Fiorentino Rosso

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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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