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

William-Adolphe Bouguereau, 1825 - 1905

Vierge Consolatrice, The Virgin of Consolation, c. 1875

Oil on canvas

204 x 148 cm, (80¼" x 58¼")

Les Musees de la Ville de Strasbourg (France)

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

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

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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

William-Adolphe Bouguereau, 1825 - 1905

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

Oil on canvas

Private collection

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

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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

William-Adolphe Bouguereau, 1825 - 1905

Le Saintes Femmes au Tombeau, c. 1890

Oil on canvas

Private collection (United States)

Le Saintes Femmes au Tombeau, 1890, translated to The Holy Women at the Tomb, depicts the three Marys, Mary the Mother of James, Mary Magdalene and Mary of Cleophas, at the tomb of the resurrection. The viewer, compositionally, is placed in a prostrated position and looking up first notices the expressions of bewilderment on the central Mary's face before looking past the three women and into the tomb. The tomb is filled with light and the viewer can only catch a glimpse of the "angel of the resurrection" with his arm raised. This is a very clever arrangement. The viewer feels as though they are there with the Marys and that they have stumbled onto this event, bringing it into the present. This painting was first exhibited at the Paris Salon of 1890, and though a critic after viewing the piece at that time said that Bouguereau "always showed the same thing", the perspective used in this painting and the overall composition is most original and was a tour de force of perspective and foreshortening; which can be clearly seen in the severe angle of the tomb entranceway. The painting now hangs in the collection of the Musée Royal des Beaux-Arts, Antwerp, Belgium. -by Kara Lysandra Ross

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 34

David Driesbach, (American, b. 1922) 

Rest on the Flight to Egypt, c. 1959 

Etching 

17 3/4" x 22 1/2"

Private collection

Rest on the Flight to Egypt. The scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst. This basic story acquired many extra details during the centuries. More on Rest on the Flight to Egypt

David Dreisbach, printmaker and educator, was born in Wausau, Wisconsin on October 7, 1922. He attended the University of Illinois between 1940 and 1941. During World War II, he worked in war plants in Illinois and California until June 1942, when he enlisted in the U.S. Marines. He served in the South Pacific Theater for three years. He was discharged in 1945. He continued his education under the G.I. Bill, studying with Mauricio Lasansky and Stanley William Hayter at Atelier 17 in New York and in France in 1969. 

Driesbach’s teaching experience includes Hendrix College, Conway, Arkansas; Iowa State Teachers College, Cedar Falls, Iowa 1953-1954; Millikin University, Decatur, Illinois 1954-1959; Ohio University, Athens, Ohio 1959-1964; and fianlly at Northern Illinois University Dekalb. Driesbach retired from teaching in 1992. His work is represented in the collections of he Seattle Art Museum, Dayton Art Institute, Columbus Gallery of Fine Art and the Bibliothèque Nationale de France. More on David Dreisbach

This is a link to the artist's website: http://www.davidfdriesbach.com/ 

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

William-Adolphe Bouguereau, 1825 - 1905

The Visitation, c. 1885. 

353 x 190 cm. 

Church of Saint-Vincent-de-Paul, Paris, France.

The Visitation. Mary visits her relative Elizabeth; they are both pregnant. Mary is pregnant with Jesus and Elizabeth is pregnant with John the Baptist. Elizabeth was in the sixth month before Mary came. Mary stayed three months, and most scholars hold she stayed for the birth of John. The apparition of the angel, mentioned in Matthew, may have taken place then to end the tormenting doubts of Joseph regarding Mary's maternity.

In Catholicism, it is held that the purpose of this visit was to bring divine grace to both Elizabeth and her unborn child. Even though he was still in his mother's womb, John became aware of the presence of Christ, and leapt for joy as he was cleansed from original sin and filled with divine grace. Elizabeth also responded and recognised the presence of Jesus, and thus Mary exercised her function as mediatrix between God and man for the first time. More on The Visitation

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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

William-Adolphe Bouguereau, 1825 - 1905

The Annunciation. c. 1888.

Oil on canvas.

92.7 x 50.8 cm.

Private collection.

The Annunciation. The archangel Gabriel was sent by God' to Mary. Gabriel announced to her that she was to give birth to a son, Jesus, who 'will be great, and will be called Son of the Most High. The Lord God will give him the throne of his ancestor David, and he will be king over Israel for ever; his reign shall never end'. '"I am the Lord's servant," said Mary; "may it be as you have said." Then the angel left her.

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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

William-Adolphe Bouguereau, 1825 - 1905

Pieta, c. 1876

Oil on canvas

230 x 148 cm, (90½" x 58¼")

Dallas Museum of Fine Arts (Dallas, Texas, United States)

The Pietà, 1876, provides a very unique depiction of this most famous of imagery. The weeping Mary cloaked in a robe of black is mourning the death of her son whom she holds to her chest. The dead body of Jesus limply hangs in her arms while eight weeping angels surround them. The angels are clad in the colors of the rainbow and create an arc over Mary and Jesus. In the Old Testament, after the great flood had ended, Noah and his family saw an arcing rainbow, which was a sign from God that the flood was over and the world could be born anew. In Bouguereau's Pietà, the rainbow symbolizes that the sacrifice of Jesus was complete and that the human soul can be born anew and ascend to God after death. Mary looks out and up. It is intended to be unclear whether if from her seated position she is focused on the viewer or the heavens with her swollen red eyes, filled with sorrow and accusation. Most likely as a mother mourns the loss of her child, she is accusing both the heavens and the earth for the pain she and her son has suffered. This interpretation of Mary is different from Michelangelo's Pietà or many other versions, where Mary is offering her child to the world. Bouguereau's Mary clutches Christ, not offering him to a sinful world that required her son's sacrifice. At Jesus' feet lies the crown of thorns used to mock him during the Crucifixion; it lies on a white cloth covered in the blood of Christ, showing the torment Jesus went though in order that humanity could attain salvation. The white robe and pitcher of water represent the purity of Jesus' soul. Both Jesus and Mary are surrounded by a halo of light indicating their holiness. This painting was inspired by the death of Bouguereau's eldest son, George, who died directly before Bouguereau started work on this piece in 1875. Bouguereau had the grave misfortune to have lost 4 of his five children during his lifetime. 
-by Kara Lysandra Ross

William-Adolphe Bouguereau (November 30, 1825 – August 19, 1905) was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. During his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde. By the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau and his work. Throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. More William-Adolphe Bouguereau

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01 Works, RELIGIOUS ART - Interpretation of the bible, With Footnotes - 127

Domenico Puligo, (Florence 1492–1527) 

Saint Mary Magdalene holding an ointment vessel

Oil on panel

57.5 x 43.5 cm, framed 

Private collection

Mary Magdalene was a Jewish woman who, according to texts included in the New Testament, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.

She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus.

Ideas that go beyond the gospel presentation of Mary Magdalene as a prominent representative of the women who followed Jesus have been put forward over the centuries.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

Domenico Puligo (1492–1527) was an Italian painter of the Renaissance, active in Florence. His real name was Domenico di Bartolomeo Ubaldini.

He trained under Ridolfo Ghirlandaio and acted as an assistant to Andrea del Sarto, whom he also became close friends with. Both Ghirlandaio and Sarto exerted heavy influences over Puligo that are evident in his works and style of painting. Puglio was also influenced by Jacopo Pontormo and Il Rosso. He rose to success as a portrait artist and was in high demand in Florence. His most renowned piece is possibly the large scale Vision of Saint Bernard altarpiece, now located in the Walters Art Gallery in Baltimore. Some of his early works include the Virgin and Child with St. John as well as the Holy Family. About a dozen drawings are also attributed to Puligo. He is featured in Giorgio Vasari's Vite or Lives of the Artists. According to Vasari, Puligo was a particularly idle artist, which may explain the paucity of his productions. His brother, Jacone Puligo, was also a Renaissance painter. More on Domenico Puligo

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01 Paintings, Olympian deities, by the Old Masters, with footnotes #37

ITALIAN SCHOOL, (17th century) 

THE THREE GRACES 

Oil on canvas 

59 1/2 x 44 in. (151.1 x 111.8cm)

Private collection

In Greek mythology, a Charis or Grace is one of three or more minor goddesses of charm, beauty, nature, human creativity, and fertility, together known as the Charites or Graces. The usual list, from youngest to oldest is Aglaea ("Splendor"), Euphrosyne ("Mirth"), and Thalia ("Good Cheer"). In Roman mythology they were known as the Gratiae, the "Graces". In some variants, Charis was one of the Graces and was not the singular form of their name.

The Charites were usually considered the daughters of Zeus and Eurynome, though they were also said to be daughters of Dionysus and Aphrodite or of Helios and the naiad Aegle. Other possible names of their mother by Zeus are Eurydome, Eurymedousa, and Euanthe. Homer wrote that they were part of the retinue of Aphrodite. The Charites were also associated with the Greek underworld and the Eleusinian Mysteries.

The river Cephissus near Delphi was sacred to them. More Three Graces (aka the Charities)

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, Interpretation the bible, With Footnotes - 121

Pieter van Lint or Peter van Lint (Flemish 1609-1690) 

Virgin and Child 

Oil on copper 

 18 1/2 x 14 1/4 in. (47 x 36.8cm)

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

Pieter van Lint or Peter van Lint (1609–1690) was a Flemish painter, draughtsman and designer of tapestries. He excelled in history paintings, genre scenes and portraits in the Flemish Baroque style with some Classisizing influence. He worked in Antwerp and Italy.

He was born in Antwerp where he trained under Artus Wolffort. During his training he frequently visited Antwerp’s churches to copy the paintings of his contemporaries such as Peter Paul Rubens as well as those of earlier generations such as Marten de Vos and the Francken brothers.

Van Lint become a master in the Guild of Saint Luke in 1633. In that same year he traveled to Rome where he remained until 1640. In Rome he worked for Cardinal Domenico Ginnasi, Bishop of Ostia, who employed him to decorate the local cathedral. Van Lint also frescoed the Cybo family chapel in the Santa Maria del Popolo with the Legend of the True Cross in 1636-40. He spent time in Paris from 1640 to 1641 where he possibly was in contact with Poussin. More on Peter van Lint

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 30

William Baxter Closson

The Angel, ca. 1912

Oil on canvas

57 1/8 x 37 3/8 in. (145.0 x 94.9 cm)

Smithsonian American Art Museum

An angel is generally a supernatural being found in various religions and mythologies. In Abrahamic religions and Zoroastrianism, angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Humanity. Other roles of angels include protecting and guiding human beings, and carrying out God's tasks. More on Angels

William Baxter Palmer Closson (October 13, 1848 - May 30, 1926) was an American artist, born in Thetford, Vermont on October 13, 1848.

As a young adult, he was educated at Thetford Academy before graduating and working as a clerk in a railroad office.

Soon, he moved to Boston, Massachusetts, and worked as an apprentice wood engraver with Samuel S. Kilburn. He studied drawing at the Lowell Institute, then went on to work for Harper's Magazine and various publishing houses in Boston. While in Boston, he shared a studio with painter George Fuller.[3]

Seventeen of his paintings are in the American Art collection at the Smithsonian Institution. He also has works on display at the Wadsworth Atheneum in Hartford and the Cleveland Museum of Art.

He died on May 30, 1926 in Hartford, Connecticut and is buried in the Gallaudet plot at Cedar Hill Cemetery. More on William Baxter Palmer Closson

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01 Work, CONTEMPORARY Interpretation of the Bible! With Footnotes - 29

Gustavo Aceves (b. 1957, Mexico City)

Untitled/ The crucifixion of Jesus, c. 2009

Oil on canvas

210 x 170 cm

Private collection

The crucifixion of Jesus occurred in 1st-century Judea, most likely between AD 30 and 33. Jesus' crucifixion is described in the four canonical gospels, referred to in the New Testament epistles.

Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. He was then hung between two convicted thieves and died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating "Jesus of Nazareth, King of the Jews" which, according to the Gospel of John, was written in three languages. After Jesus' death, one soldier pierced his side with a spear to be certain that he had died. More on The crucifixion of Jesus

Gustavo Aceves (b. 1957, Mexico City) currently lives and works in Pietrasanta, Italy. Aceves is a self-taught artist who quickly built up a reputation as an influential painter working in Latin America. His paintings and works on paper focusing on the human figure draws upon Western pictorial traditions whilst using the large-scales common in Mexican murals. Aceves’ work has been exhibited around the world since the late 1970s including in the Museo del Palacio Bellas Artes in Mexico City, the Venice Biennale and the Beijing Biennale. His work can be found in the permanent collections of Museo Memoria y Tolerancia, Mexico City and the Vatican Museum, Rome. More on Gustavo Aceves

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