Religious art is a visual representation of religious ideologies and their relationship with humans. Sacred art directly relates to religious art in the sense that its purpose is for worship and religious practices. According to one set of definitions, artworks that are inspired by religion but are not considered traditionally sacred remain under the umbrella term of religious art, but not sacred art. More on Religious art
La Colosal (Immaculate Conception), c. 1652
436 x 297 cm
Oil on Canvas
Seville Museum of Fine Arts
In this painting Murillo establishes a new iconographic prototype with representations of great dynamic force and movement. The Immaculate Conception, also known as "La Colosal", is an early work by Murillo painted around 1650, which was in the convent of San Francisco in Seville. The scene shown here is monumental in nature and full of movement, as can be seen in the swirling cloth, the white tunic and blue mantle, and the accompaniment of the angels playing around the image of the Virgin.
The style of the early works of Murillo continues the models of Zurbarán, using strict Tenebrist naturalism and the cloud-filled skies suffused with golden light. More on this painting
Bartolomé Esteban Murillo (1617 – 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. His lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. More on Bartolomé Esteban Murillo
The Finding of Moses is a 1904 painting by the Anglo-Dutch artist Sir Lawrence Alma-Tadema. It was one his last major works before his death in 1912, but quickly fell out of favour; according to rumour, it was sold in the 1960s for its frame. After appreciation of Victorian painting was renewed towards the end of the 20h century, it was described in an auction catalogue in 1995 as "the undisputed masterpiece of [Alma-Tadema's] last decade, as well as a late (perhaps the final?) flowering of the nineteenth-century's love-affair with Egypt". It was sold at auction in 2010 for nearly US$36 million.
The painting was commissioned by Sir John Aird, 1st Baronet for 5,000 guineas, plus expenses. Aird's civil engineering business, John Aird & Co., was responsible for building the first Aswan Dam. Aird invited Alma-Tadema to visit Egypt for the opening of the dam in December 1902, and commissioned him to paint a suitable subject to add to Aird's large collection of academic paintings by the likes of Frederic Leighton, Edward Poynter, and John William Waterhouse, including Alma-Tadema's 1888 work The Roses of Heliogabalus. The commission allowed Alma-Tadema to revisit Egyptian themes from his works in the 1860s.
The work is a Biblical scene based on chapter 2, verse 6 of the Book of Exodus, in which Pharaoh's daughter comes to wash in the River Nile, and finds the infant Moses abandoned in an ark in the reeds. The painting depicts the scene after the infant has been discovered, showing a procession travelling back to the daughter's abode in Memphis, the capital of the Old Kingdom of Egypt. More on this painting
Sir Lawrence Alma-Tadema, (born January 8, 1836, Dronrijp, Netherlands—died June 25, 1912, Wiesbaden, Germany), Dutch-born painter of scenes from everyday life in the ancient world whose work was immensely popular in its time.
Alma-Tadema, the son of a Dutch notary, studied art at the Antwerp Academy (1852–58) under the Belgian historical painter Hendrik Leys, assisting the painter in 1859 with frescoes for the Stadhuis (town hall) in Antwerp. During a visit to Italy in 1863, Alma-Tadema became interested in Greek and Roman antiquity and Egyptian archaeology, and afterward he depicted imagery almost exclusively from those sources. Moving to England, he became a naturalized British subject in 1873 and was elected a member of the Royal Academy in 1879. He was knighted in 1899.
Alma-Tadema excelled at the accurate re-creation of ancient architecture and costumes and the precise depiction of textures of marble, bronze, and silk. His expert rendering of settings provides a backdrop for anecdotal scenes set in the ancient world. Alma-Tadema’s wife, Laura Epps, was also a painter. More on Sir Lawrence Alma-Tadema
Lawrence Alma-Tadema (1836–1912)
The finding of Moses, c. 1904
oil on canvas
137.5 × 213.4 cm (54.1 × 84 in)
Private collection
The painting was commissioned by Sir John Aird, 1st Baronet for 5,000 guineas, plus expenses. Aird's civil engineering business, John Aird & Co., was responsible for building the first Aswan Dam. Aird invited Alma-Tadema to visit Egypt for the opening of the dam in December 1902, and commissioned him to paint a suitable subject to add to Aird's large collection of academic paintings by the likes of Frederic Leighton, Edward Poynter, and John William Waterhouse, including Alma-Tadema's 1888 work The Roses of Heliogabalus. The commission allowed Alma-Tadema to revisit Egyptian themes from his works in the 1860s.
The work is a Biblical scene based on chapter 2, verse 6 of the Book of Exodus, in which Pharaoh's daughter comes to wash in the River Nile, and finds the infant Moses abandoned in an ark in the reeds. The painting depicts the scene after the infant has been discovered, showing a procession travelling back to the daughter's abode in Memphis, the capital of the Old Kingdom of Egypt. More on this painting
Sir Lawrence Alma-Tadema, (born January 8, 1836, Dronrijp, Netherlands—died June 25, 1912, Wiesbaden, Germany), Dutch-born painter of scenes from everyday life in the ancient world whose work was immensely popular in its time.
Alma-Tadema, the son of a Dutch notary, studied art at the Antwerp Academy (1852–58) under the Belgian historical painter Hendrik Leys, assisting the painter in 1859 with frescoes for the Stadhuis (town hall) in Antwerp. During a visit to Italy in 1863, Alma-Tadema became interested in Greek and Roman antiquity and Egyptian archaeology, and afterward he depicted imagery almost exclusively from those sources. Moving to England, he became a naturalized British subject in 1873 and was elected a member of the Royal Academy in 1879. He was knighted in 1899.
Alma-Tadema excelled at the accurate re-creation of ancient architecture and costumes and the precise depiction of textures of marble, bronze, and silk. His expert rendering of settings provides a backdrop for anecdotal scenes set in the ancient world. Alma-Tadema’s wife, Laura Epps, was also a painter. More on Sir Lawrence Alma-Tadema
Follower of Frans Francken the Younger
THE FEAST IN THE HOUSE OF SIMON
Oil on oak panel
43 by 49.3 cm.; 16 7/8 by 19 3/8 in.
Private collection
Feast in the House of Simon the Pharisee, also known as Christ in the Home of Simon the Pharisee. The painting depicts an incident from Luke 7 where Jesus visits Simon the Pharisee, and has his feet anointed by a "sinful woman". Jesus proceeds to tell the Parable of the Two Debtors.
Frans Francken the Younger, see below
FRENCH MASTER, 17th/18th century
Moses Banishes the Shepherds from the Fountain and Waters the Sheep of Jethro's Daughters.
Oil on canvas. Laid down on wood.
75 x 102 cm.
The Bible, Exodus, Chapters:
.16 ¶ Now the priest of Midian had seven daughters: and they came and drew water, and filled the troughs to water their father's flock.
17 And the shepherds came and drove them away: but Moses stood up and helped them, and watered their flock.
.18 And when they came to Reuel their father, he said, How is it that ye are come so soon to day?
19 And they said, An Egyptian delivered us out of the hand of the shepherds, and also drew water enough for us, and watered the flock.
20 And he said unto his daughters, And where is he? why is it that ye have left the man? call him, that he may eat bread.
FRANCKEN, FRANS II, Antwerp 1581 - 1642 - workshop
Solomon's Idolatry.
Oil on wood. 57,5 x 84,5cm.
Private collection
Estimated for €25,000 EUR - €30,000 EUR in Nov 2015
The present painting goes back to a painting by Franks Francken II (see below). depicting the same subject in the Musée of Beaux-Arts in Clermont-Ferrand dated 1630-1635.
Frans Francken the Younger (Antwerp, 1581 – Antwerp, 6 May 1642) was a Flemish painter and the best-known member of the large Francken family of artists. He played an important role in the development of Flemish art in the first half of the 17th century through his innovations in genre painting and introduction of new subject matter. More on Frans Francken the Younger
Frans Francken II (Flemish Baroque Era Painter, 1581-1642)
The Idolatry of Solomon, c. 1622
Oil on panel
77 x 109 cm (30 3/8 x 43 in.)
The Getty Museum, Los Angeles, CA, USA
Wearing a silk robe with an ermine lining, King Solomon kneels and makes an offering to a pagan idol. One of his wives appears to instruct him, while several other concubines, lavishly dressed, stand behind. A group of men in elaborate headpieces and rich finery watch Solomon and the women from the left with displeasure, as if they know that Solomon's idol worship will eventually destroy his kingdom. The Temple of Jerusalem, which was erected under the king's reign, is under construction in the background.
Solomon was known for his proverbial wisdom and great wealth. In his later years, he was increasingly drawn to the pagan cults, which were thought to have been introduced into Israel by the women who came from neighboring kingdoms to join his large harem.
This subject was popular in Protestant countries in the 1600s because it reflected Protestant disapproval of the Catholic Church's use of religious imagery, a practice that Protestants viewed as idolatrous. More on this painting
SOGLIANI, GIOVANNI ANTONIO - Florence 1492 - 1544
Madonna and the Child and John the Baptist as a boy.
Oil on wood.
74,5 x 56cm.
Private collection
Sold for €9,500 EUR November 2015
Giovanni Antonio Sogliani (1492–1544) was an Italian painter of the Renaissance, active mainly in Florence. Giovanni had apprenticed with Lorenzo di Credi for two decades. He painted a Martyrdom of St Acasio for the Church of San Lorenzo in Florence. Vasari claims that Sogliani was influenced by Fra Bartolomeo in this painting. He painted a St Martin for the Orsanmichele. He painted an altarpiece of St Brigitta now in the Museo di San Marco. He also painted a number of works for the Cathedral of Pisa, a commission that had previously been requested from Perino del Vaga. This included three canvases for the "Sacrifice of Abel, "Sacrifice of Cain, and Sacrifice of Noah completed by 15 May 1533. On 23 March 1536, he was commissioned an altarpiece of the Virgin with child and Saints.
He painted an Allegory of the Immaculate Conception now in the Accademia di Belli Arti in Florence. Among his pupils are Sigismondo Foschi and Zanobi di Poggino. More on Giovanni Antonio Sogliani
SEGHERS, GERARD, Antwerp 1591 - 1651 - circle
Mary and the Child.
Oil on canvas
125 x 92,5cm
Private collection
Private collection
Estimated for €10,000 EUR - €12,000 EUR in Nov 2015
Gerard Seghers (Antwerp, 1591 – Antwerp, 18 March 1651) was a Flemish painter, art collector and art dealer. As a painter of history and genre paintings, he was in his youth one of the leading representatives of the Flemish Caravaggisti movement. More on Gerard Seghers
GERMAN MASTER 1st half of the 19th century
Young Female Vintner in front of a Broad Campagna Landscape.
Oil on canvas
133 x 98cm.
Private collection
STEENWYCK, HENDRICK VAN II. , 1580 - 1649 Leyden
Salome with the Head of John the Baptist.
Oil on wood.
41 x 62cm.
Private collection
Sold for €6,000 EUR in Nov 2015
Hendrik van Steenwijck II (c.1580–1649) was a Baroque painter mostly of architectural interiors and biblical scenes and still lifes.
Van Steenwijck was born in Antwerp. His father, the Dutch painter Hendrik van Steenwijck I, one of the originators of the interiors genre, moved the family to Frankfurt am Main in 1585, where he trained his son. At his father's death in 1603, Van Steenwijck the Younger took over the studio in Frankfurt, but from 1604 until 1615 he was primarily active in Antwerp, where he collaborated with early Flemish Baroque painters such as Frans Francken I and Jan Brueghel the Elder. Van Steenwijck is best known for the numerous imaginary interiors that were based on the Cathedral of Our Lady, Antwerp. These had an immediate influence on paintings by Pieter Neeffs I. After settling in London by 1615, he painted backgrounds for Anthony van Dyck and Daniel Mytens the Elder. Van Steenwijck moved to The Hague around 1638, where he was a painter at the court, and to Leiden around 1642. His wife, Susanna van Steenwijk was also an architectural painter. Van Steenwijck died in Leiden or The Hague. More on Hendrik van Steenwijck II
FLORIS, FRANS, Antwerp 1516 - 1570
St. Jerome
Oil on wood. 39 x 28,5cm.
Private collection
Estimated for €4,000 - €5,000 in Nov 2015
Saint Jerome (c. 347 – 30 September 420) was a Catholic priest, confessor, theologian and historian, who also became a Doctor of the Church. He was born at Stridon, in northeastern Italy. He is best known for his translation of most of the Bible into Latin, and his commentaries on the Gospels. His list of writings is extensive. The protégé of Pope Damasus I, who died in December of 384, Jerome was known for his teachings on Christian moral life, especially to those living in cosmopolitan centers such as Rome. In many cases, he focused his attention to the lives of women and identified how a woman devoted to Jesus Christ should live her life. This focus stemmed from his close patron relationships with several prominent female ascetics who were members of affluent senatorial families.
He is recognised as a saint by the Roman Catholic Church, the Eastern Orthodox Church, the Lutheran Church, and the Church of England (Anglican Communion). His feast day is 30 September. More on Saint Jerome
Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (1517 – 1 October 1570) was a Flemish painter mainly known for his historical paintings and portraits. He was a leading figure in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition More
PIETERS, PIETER, 1540 Antwerp - 1603 Amsterdam - circle
Allegoric Female from Matthew, chapter 10: 16
"Therefore be as shrewd as snakes and as innocent as doves"
Oil on oak
103 x 76,5cm
Private collection
Sold for €6,000 EUR in Nov 2015
LISAERT, PIETER, Antwerp 1595 - 1629 - attributed
Jephta Sees His Daughter
Oil on wood
49 x 64cm
Private collection
Estimated for €19,000 EUR - €20,000 EUR in Nov 2015
Old Testament, Judges 11: 29 Now the Spirit of the LORD came upon Jephthah, so that he passed through Gilead and Manasseh; then he passed through Mizpah of Gilead, and from Mizpah of Gilead he went on to the sons of Ammon. 30 Jephthah made a vow to the LORD and said, "If You will indeed give the sons of Ammon into my hand, 31 then it shall be that whatever comes out of the doors of my house to meet me when I return in peace from the sons of Ammon, it shall be the LORD'S, and I will offer it up as a burnt offering."…
Pieter Lisaert ( Antwerp , 1574-1630) was a Flemish painter, specializing in historical, religious and allegorical painting matter.
A member of a family of artists and art dealers, his paintings, which are observed archaic features a mannerism, reveals influences of Frans Francken the Elder .
The little known Pieter Lisaert works. He hrepeated several times the parable of the foolish virgins and wise virgins ( Matthew 25: 1-13 ) (see below). More on Pieter Lisaert
The Parable of the Ten Virgins, also known as the Parable of the Wise and Foolish Virgins, is one of the well known parables of Jesus. It appears in two versions one in the Canonical gospels of the New Testament and one in the Epistula Apostolorum. According to the Gospel of Matthew 25:1-13, the five virgins who are prepared for the bridegroom's arrival are rewarded, while the five who are not prepared are disowned. The parable has a clear eschatological theme: be prepared for the Day of Judgment. It was one of the most popular parables in the Middle Ages, with enormous influence on Gothic art, sculpture and the architecture of German and French cathedrals. More on The Parable of the Wise and Foolish Virgins
Pieter Lisaert ( Antwerp , 1574-1630) was a Flemish painter, specializing in historical, religious and allegorical painting matter.
A member of a family of artists and art dealers, his paintings, which are observed archaic features a mannerism, reveals influences of Frans Francken the Elder .
The little known Pieter Lisaert works. He hrepeated several times the parable of the foolish virgins and wise virgins ( Matthew 25: 1-13 ) (see below). More on Pieter Lisaert
Pieter Lisaert III (1574 - circa 1630)
The Parable of the Wise and Foolish Virgins
Medium oil on panel
73.4 × 104.8 cm (28.9 × 41.3 in)
Museo del Prado, Madrid
The Parable of the Ten Virgins, also known as the Parable of the Wise and Foolish Virgins, is one of the well known parables of Jesus. It appears in two versions one in the Canonical gospels of the New Testament and one in the Epistula Apostolorum. According to the Gospel of Matthew 25:1-13, the five virgins who are prepared for the bridegroom's arrival are rewarded, while the five who are not prepared are disowned. The parable has a clear eschatological theme: be prepared for the Day of Judgment. It was one of the most popular parables in the Middle Ages, with enormous influence on Gothic art, sculpture and the architecture of German and French cathedrals. More on The Parable of the Wise and Foolish Virgins
Giovanni Battista Tiepolo (1696–1770
Pope St Clement Adoring the Trinity, c. 1737 and 1738
Oil on canvas
Height: 488 cm (192.1 in). Width: 256 cm (100.8 in).
Alte Pinakothek, München, Germany
The painting shows Pope Clement I at prayer, in an ecclesiastical architectural setting which cannot be identified more closely, before a vision of the Holy Trinity. The lively facial expressions suggest a conversation between Clement and God the Father, which is further dramatized by the strong chiaroscuro contrasts. In an allusion to the particular connection between the donor and his famous patron saint, Tiepolo lends the portrait of the Pope a private character: the tiara and crosier, symbols of his power, have been laid aside and placed in the keeping of a putto.More on this painting
Pope Clement I (died 99), also known as Saint Clement of Rome, is listed Bishop of Rome, holding office from 88 to his death in 99. He is considered to be the first Apostolic Father of the Church.
Clement was consecrated by Saint Peter, and he is known to have been a leading member of the church in Rome in the late 1st century. Early church lists place him as the second or third bishop of Rome after Saint Peter.
Clement asserted the authority of the presbyters as rulers of the church on the ground that the Apostles had appointed such. In the legendary Clementine Literature, Clement is the intermediary through whom the apostles teach the church. According to tradition, Clement was imprisoned under the Emperor Trajan; during this time he is recorded to have led a ministry among fellow prisoners. Thereafter he was executed by being tied to an anchor and thrown into the sea.
Clement is recognized as a saint in many Christian churches and is considered a patron saint of mariners. More on Pope Clement I
Giovanni Battista Tiepolo (March 5, 1696 – March 27, 1770), also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany and Spain.
Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period.
Successful from the beginning of his career, he has been described by Michael Levey as "the greatest decorative painter of eighteenth-century Europe, as well as its most able craftsman. More
Francesco di Gentile da Fabriano (1460-1500)
Virgin and Child with a Pomegranate, c. 1497
Oil on Canvas
18.8 x 25.2" (47.8 x 64.1 cm)
Philadelphia Museum of Art, USA
Gentile da Fabriano, (born c. 1370, Fabriano, Papal States [Italy]—died 1427, Rome), foremost painter of central Italy at the beginning of the 15th century, whose few surviving works are among the finest examples of the International Gothic style.
An early signed work by Gentile has stylistic affinities with Lombard painting and suggests that he was trained in the Lombard school. In 1409 Gentile was commissioned to decorate the Doges’ Palace in Venice with historical frescoes, which were later completed by Il Pisanello. His final important cycle of frescoes was begun in Rome in the Church of St. John Lateran shortly before his death. As with the frescoes in Venice, they were completed by Il Pisanello (now destroyed).
His surviving masterpiece, the Adoration of the Magi, c. 1423 (see below) for the Church of Santa Trinità, in Florence. Its graceful figures are clothed in velvets and rich brocades, and the Magi are attended by Oriental retainers, who look after such exotic animals as lions and camels. Its delicate linearity and vibrant colours enhance the effect of rich exoticism. Gentile also produced a number of Madonnas, such as the altarpiece known as the Quaratesi Polyptych c. 1425, which show the Mother and Child, regally clad, sitting on the ground in a garden. More on Gentile da Fabriano
Gentile da Fabriano (1370–1427)
The Adoration of the Magi, c.1423
Medium tempera on panel
Height: 300 cm (118.1 in). Width: 282 cm (111 in).
Uffizi Gallery, Firenze, Italy
Sandro Botticelli (1445–1510)
Madonna of the Pomegranate (Madonna della Melagrana), circa 1487
Tempera on panel
diameter 143,5 cm
Galleria degli Uffizi, Florence
The Madonna of the Pomegranate (Madonna della Melagrana) is a painting by the Italian Renaissance master Sandro Botticelli, circa 1487. It is housed in the Uffizi Gallery of Florence, Italy.
Several copies of the work exist, currently held at the Berlin State Museums, the Wernher Collection in London and the Aynard Collection at Lyon. More
The elements of this image contain many symbolic items. Each figure wears a sad expression as if their mind is somewhere else thinking of Christ’s death. The seed of the pomegranate the infant is holding signifies that Christ will receive resurrection through rebirth just as the seed will cause the birth of a new plant. The angel in front is holding lilies and roses which are both symbols of the Virgin. That same angel is wearing sashes with the words AVE GRAZIA PLENA which mean “Hail [Mary] full of grace.” More on Madonna of the Pomegranate
Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli (Italian: [ˈsandro bottiˈtʃɛlli]; c. 1445[1] – May 17, 1510), was an Italian painter of the Early Renaissance. He belonged to the Florentine School under the patronage of Lorenzo de' Medici, a movement that Giorgio Vasari would characterize less than a hundred years later in his Vita of Botticelli as a "golden age". Botticelli's posthumous reputation suffered until the late 19th century; since then, his work has been seen to represent the linear grace of Early Renaissance painting.
Among Botticelli's best-known works are The Birth of Venus and Primavera. More on Sandro Botticelli
Lorenzo di Credi, Florentine, c. 1457/1459 - 1536
Madonna and Child with a Pomegranate, c. 1475/1480
oil on poplar panel
16.5 x 13.4 cm (6 1/2 x 5 1/4 in.)
National Gallery of Art, Washington, United States
The Madonna and Christ Child appear in a window, and the child is standing on the balustrade below it. She is holding a pomegranate that has been cut open out to him, and the boy has taken some of it, for he is showing Mary red pearls of fruit that he is holding in his clumsy child's hand. Mary appears melancholy, as if she knows about the future Passion of her son, symbolized by the pomegranate.
This is one of the first Florentine panel paintings known today to have been produced with a paint medium containing oil for colour pigments. This technique first appeared in northern painting in the first half of the 15th century and rapidly spread there. Italian developed the technique later. The panel is very small by Italian standards, yet not at all an unusual format in Flemish painting. The Christ Child as well, with his fat, tummy overlong torso and skinny little arms, refutes the widespread generally more rounded Florentine type of depiction.
This Madonna is modeled after one by Leonardo; in fact, the painting was formerly thought to be an early work by Leonardo. More on this painting
Lorenzo di Credi (c. 1459 – January 12, 1537) was an Italian Renaissance painter and sculptor. He first influenced Leonardo da Vinci and then was greatly influenced by him. Born in Florence, he started to work in Andrea del Verrocchio's workshop. After the death of his master, he inherited the direction of the workshop. For Pistoia Cathedral he completed the painting of the Madonna Enthroned between John the Baptist and St. Donatus which had been partially painted by his master, Verrocchio, but was left unfinished when Verrocchio went to Venice.
Lorenzo's mature works are influenced by Fra Bartolomeo, Perugino and the young Raphael.
In recent times, one of di Credi's works gained attention when scholars pointed out a resemblance between the face of Mona Lisa by Leonardo da Vinci and the face of Caterina Sforza in a portrait by him. Caterina Sforza was the Lady of Forlì and Imola in Romagna, later prisoner of Cesare Borgia. The portrait, known also as La dama dei gelsomini, is now in the Pinacoteca of Forlì. More on Lorenzo di Credi
Italian (Florentine) School
Madonna and Child with a Pomegranate, c.1525
Oil on panel
102 x 83 cm
National Trust, Manvers, Rotherham, UK
The large split pomegranate on the plinth, with its hard case and a multitude of blood-red seeds, refers to Christ’s resurrection and unity of faith. Its presence became popular in fifteenth-century Florentine painting. Its symbolism of immortality or regeneration is related to the mythological story of Proserpine, daughter of the corn-goddess Ceres, who was abducted to the Underworld by Pluto. But, after she had eaten some pomegranate seeds, he allowed her to return to earth in springtime, so plants blossomed. In Jerusalem the pillars of Temple of Solomon (a biblical King prefiguring Christ) and the robes of its High Priest were decorated with pomegranates. They are mentioned in Solomon’s Song of Songs and became a metaphor of the Virgin’s chastity. Here the Virgin and Child stand in a classical building and she holds a book, possibly alluding to the Roman Missal 1472, which contains a reference to the feast day of her presentation at the temple. More on this painting
The Virgin and Child with a Pomegranate
Workshop of Sandro Botticelli, probably about 1480-1500
Tempera on wood
Dimensions67.9 x 52.7 cm
The National Gallery
The Virgin Mary stands with her infant son, Christ, in the corner of a large but sparsely decorated room. He is balanced on a small table, the only piece of furniture, but is dangerously close to its edge; a closed book further restricts the space available to him. The Virgin uses both hands to support his left leg as he leans forward. His translucent robe hardly provides protection.
Seeds of a pomegranate trickle out of Christ’s raised hand, evoking the beads of a rosary, the devotional aid often used for prayer. This resemblance may be intentional, as the painting is likely to have been made for private worship. The workshop of the Florentine painter Sandro Botticelli specialised in the production of such paintings, which frequently decorated people’s homes. More on this painting
The Virgin and Child with two Angels or The Virgin with a Pomegranate, 1426
Guido di Pietro, known as Fra Angelico (Mugello, 1390 – Rome, 1455)
Tempera on panel, 83 x 59 cm
Museo Nacional del Prado. Acquired in 2016 (with the collaboration of the Fundación Amigos del Museo del Prado)
The Virgin of the Pomegranate takes its name from the pomegranate held by the Virgin and which attracts the attention of the Christ Child, who touches it. In this context the fruit has a double meaning: in the Virgin’s hands it refers to her chastity, while by touching it the Christ Child prefigures his own death and resurrection. This iconography was widely used in 15th-century Florence where it interested artists such as Sandro Botticelli and Leonardo da Vinci.
The Virgin of the Pomegranate is a remarkable work painted at one of the key moments in the history of European art, in early 15th-century Florence, by one of its most important artists: Guido di Pietro (Mugello, 1390 – Rome, 1455), better known as the Beato Angelico or Fra Angelico. This panel is also one of the very few masterpieces of this period to remain in private hands, given that since Quattrocento Italian painting first began to attract the attention of critics and art lovers in the early 19th century, it became a coveted field for museums and collectors. In the present day the most important works by Masaccio, Masolino and Fra Angelico are housed in the leading European and American museums. This fact, in addition to the painting’s fine state of conservation, makes The Virgin of the Pomegranate exceptionally important.
The Virgin of the Pomegranate is one of a series of Virgin and Child compositions that Fra Angelico painted in the 1420s and which reveal his increasing mastery of anatomy, light and space. This group also includes The Virgin of Humility in the Museo Thyssen. More on The Virgin of the Pomegranate
Fra Angelico (c. 1395 – February 18, 1455) see below
The Annunciation, 1425 – 1426
Guido di Pietro, known as Fra Angelico (Mugello, 1390 – Rome, 1455)
Tempera on panel, 194 x 194 cm
Museo Nacional del Prado
This altarpiece was painted for the monastery of Santo Domenico in Fiesole, near Florence. The central panel shows the Archangel Gabriel’s Annunciation to Mary under a portico. On the left, Adam and Eve are being expelled from Paradise. The damnation and salvation of Humanity. The predella has scenes from the life of the Virgin; Mary’s Birth, Her Wedding with Saint Joseph, Mary’s Visit to her cousin Saint Elisabeth, the Birth of the Christ Child, the Presentation of Jesus in the Temple and the Dormition of the Virgin with Christ receiving her soul. Fra Angelico, also known as Blessed Angelico, dedicated his work exclusively to religious subjects as he understood art to be an aspect of religious devotion. He was particularly meticulous in the details and qualities of Nature and of the objects and persons depicted. In his style, Fra Angelico merged the late Gothic Italian style with the new language of the Renaissance. An example of this is the architecture’s spatial depth, which, while in keeping with Brunelleschi’s recommendation to occupy the center of a square and unadorned stage, nevertheless shows some of the errors present in Angelico’s early works. More on this painting
Fra Angelico (c. 1395 – February 18, 1455) see below
Guido di Pietro, known as Fra Angelico (Mugello, 1390 – Rome, 1455)
The Funeral of Saint Anthony Abbot, c.1426-1430
Tempera on poplar wood, 29.2 x 19.5 cm
(Donation of Carlos Fitz-Stuart y Martínez de Irujo, 19th Duke of Alba de Tormes, to the Museo del Prado)
This scene is from the predella of an altarpiece dedicated to Saint Anthony Abbot, the founder of the eremitic movement. Its technical and formal characteristics suggest a dating close to that of The Virgin with the Pomegranate. Like that work, it was acquired in Florence in 1817 by Carlos Miguel Fitz-James Stuart y Silva, 14th Duke of Alba de Tormes. More on this painting
Saint Anthony, c. 251–356, was a Christian monk from Egypt, revered since his death as a saint. He is distinguished from other saints named Anthony by various epithets: Anthony the Great, Anthony of Egypt, Anthony the Abbot, Anthony of the Desert, Anthony the Anchorite, and Anthony of Thebes. For his importance among the Desert Fathers and to all later monasticism, he is also known as the Father of All Monks. His feast day is celebrated on January 17 among the Orthodox and Catholic churches and on Tobi 22 in the Egyptian calendar used by the Coptic Church.
The biography of Anthony's life by Athanasius of Alexandria helped to spread the concept of monasticism, particularly in Western Europe via its Latin translations. He is often erroneously considered the first monk, but as his biography and other sources make clear, there were many ascetics before him. Anthony was, however, the first known ascetic going into the wilderness (about ad 270), a geographical move that seems to have contributed to his renown. Accounts of Anthony enduring supernatural temptation during his sojourn in the Eastern Desert of Egypt inspired the often-repeated subject of the temptation of St. Anthony in Western art and literature.
Anthony is appealed to against infectious diseases, particularly skin diseases. In the past, many such afflictions, including ergotism, erysipelas, and shingles, were historically referred to as St. Anthony's fire. More on Saint Anthony
Fra Angelico (c. 1395 – February 18, 1455) was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having "a rare and perfect talent".
He was known to contemporaries as Fra Giovanni da Fiesole (Brother John of Fiesole, the "Angelic friar").
In 1982 Pope John Paul II proclaimed his beatification, in recognition of the holiness of his life, thereby making the title of "Blessed" official. Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from other Fra Giovannis. He is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—"Blessed Giovanni of Fiesole, known as 'the Angelic' ".
Vasari wrote of Fra Angelico that "it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety." More on Fra Angelico
Battista Dossi, FERRARA 1490/5 - 1548 FERRARA
THE FLIGHT INTO EGYPT
oil on poplar panel
66.1 by 87.3 cm.; 26 by 34 3/8 in.
University of Miami, Lowe Art Museum
The Flight into Egypt is representative of a new genre of painting, the cabinet picture, which originated in the early sixteenth century. Small-scale easel paintings such as this were produced for private consumption and therefore were not constrained by conventional expectations in regard to content. In The Flight into Egypt, the biblical event is illustrated in a novel fashion that conveys the familial intimacy of the Holy Family. Whereas in earlier Italian art Joseph is always shown on foot leading the mule on which Mary and the Christ Child ride, here he rides his own mule and carries the sleeping Christ Child in a wooden cradle. Joseph turns in the saddle to face Mary and points vigorously to the trail, whereas she appears to be forewarning him that a closed gateway lies directly in their path. Like Garofalo, Dosso and his younger brother, Battista, worked chiefly in Ferrara for the Este court. Painted after Battista’s return from Rome, where he worked in Raphael’s shop from 1517-1520, The Flight into Egypt is one of many collaborative undertakings by the two painters. More on this painting
The flight into Egypt is a biblical event described in the Gospel of Matthew (Matthew 2:13-23), in which Joseph fled to Egypt with st. Mary and infant son Jesus after a visit by Magi because they learn that King Herod intends to kill the infants of that area. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ. More
Battista Dossi (ca. 1490–1548), also known as Battista de Luteri, was an Italian painter who belonged to the Ferrara School of Painting. He spent nearly his entire career in service of the Court of Ferrara, where he worked with his older brother Dosso Dossi (c. 1489-1542). It is believed that Battista worked in the Rome studio of Raphael from 1517 to 1520. Battista’s students include Camillo Filippi (c. 1500-1574). More on Battista Dossi
DUYTS, JAN DE , Antwerp 1629 - 1676
The Mystic Wedding of Saint Catherine
Oil on canvas
108 x 100cm
Private collection
Estimated for €20,000 - €25,000 in Nov. 2015
The Mystical Marriage of Saint Catherine (or "Mystic") covers two different subjects in Christian art arising from visions received by either Saint Catherine of Alexandria or Saint Catherine of Siena (1347–1380), in which these virgin saints went through a mystical marriage wedding ceremony with Christ, in the presence of the Virgin Mary, consecrating themselves and their virginity to him.
The Catholic Encyclopaedia notes that such a wedding ceremony "is but the accompaniment and symbol of a purely spiritual grace", and that "as a wife should share in the life of her husband, and as Christ suffered for the redemption of mankind, the mystical spouse enters into a more intimate participation in His sufferings." Catherine of Alexandria was martyred, while Catherine of Siena received the stigmata. More on The Mystical Marriage of Saint Catherine
Jan De Duyts was a Dutch visual artist who was born in 1629. The artist died in 1676.
He apprentice between 18 September 1641 and 18 September 1642 in the Guild of St. Luke's, Antwerp , master between 18 September 1647 and 18 September 1648 (Rombouts/Van Lerius 1872/1961)
Attributed to CIARAMPONI, PASQUALE, 1734 Treia (Marche) - 1792 Treia (Marche) -
Erminia and Vafrin find the Wounded Tancredi
Oil on canvas
121 x 158cm
Private collection
Estimated for €18,000 EUR - €20,000 EUR in Nov 2015
This painting illustrates an episode taken from the epic poem "Jerusalem Delivered" by Torquato Tasso (Canto 19, line 809-912). The subject of this epic poem is the conquest of Jerusalem by the Christians. The Christian warrior, Tancredi, is heavily wounded by the cruel Saracen, Argante, and is lying in front of Jerusalem's walls. Argante, who is killed in action, can be seen in the background. Tancredi is found by his squire, Vafrin, who is dressed up like a Saracen, and princess Erminia, who is secretly in love with Tancredi. Erminia bents down over Tancredi and is deeply upset.
Jerusalem Delivered is an epic poem by the Italian poet Torquato Tasso first published in 1581, which tells a largely mythified version of the First Crusade in which Christian knights, led by Godfrey of Bouillon, battle Muslims in order to take Jerusalem. One of the most characteristic literary devices in Tasso's poem is the emotional conundrum endured by characters torn between their heart and their duty; the depiction of love at odds with martial valour or honor is a central source of lyrical passion in the poem.
Tasso's choice of subject matter, an actual historic conflict between Christians and Muslims (albeit with fantastical elements added), had a historical grounding, and created compositional implications that are lacking in other Renaissance epics. Like other works of the period which portray conflicts between Christians and Muslims, this subject matter had a topical resonance to readers of the period, as the Ottoman Empire was advancing through Eastern Europe.
The poem, which in detail bears almost no resemblance to the actual history or cultural setting of the Crusades, tells of the initial disunity and setbacks of the Christians and their ultimate success in taking Jerusalem in 1099. Much of the poem is concerned with romantic sub-plots involving entirely fictional characters, except for Tancredi. The three main female characters begin as Muslims, have romantic entanglements with Christian knights, and are eventually converted to Christianity. They are all women of action: two of them fight in battles, and the third is a sorceress. There are many magical elements, and the Saracen side often act as though they were classical pagans. The most famous episodes, and those most often dramatised and painted, includes the Princess Erminia (or "Hermine") of Antioch.
Princess Erminia (or "Hermine") of Antioch, also falls in love with Tancredi and betrays her people to help him, but she grows jealous when she learns that Tancredi loves Clorinda. One night she steals Clorinda's armor and leaves the city, in an attempt to find Tancredi, but she is attacked by Christian soldiers (who mistake her for Clorinda) and she flees into the forest, where she is cared for by a family of shepherds.
Later in the poem we find her again in the company of Armida's ladies, but Erminia abandons her Muslim people and goes over to the Christian side. When Tancredi is dangerously wounded in combat, she heals him, cutting off her hair to bind his wounds. More on More on Jerusalem Delivered
Pasquale Ciaramponi (20 May 1734 – 27 October 1792) was an Italian painter active in the Marche region in a late-Baroque style.
He was born in Treia, in the province of Macerata. He trained initially under Pompeo Batoni. He then moved to Rome, where he entered the studio of Gaetano Lapis. He returned to Treia and the Marche, where he painted portraits and sacred subjects. More on Pasquale Ciaramponi
MARR, CARL VON, 1858 Milwaukee - 1936 Munich
The Walk of Children to Bethlehem.
Oil on cardboard
63 x 63cm
Private collection
Sold for €18,000 €13,000 EUR in Nov 2015
Carl von Marr (February 14, 1858 – July 10, 1936) was an American-born German painter. He was born at Milwaukee, Wisconsin. He was a pupil of Henry Vianden in Milwaukee, of Martin Schauß in Weimar, of Karl Gussow in Berlin, and subsequently of Otto Seitz at the Academy of Fine Arts Munich.
Marr became a professor at the Academy of Fine Arts in Munich in 1893, and in 1895 a member of the Berlin Academy of Arts. In 1917, Marr was appointed a privy councilor to the Bavarian government. He was forced to flee to Switzerland during the Bavarian Council Republic, which put a price on his head because of this political connection. In 1919, Marr became the director of the Royal Academy in Munich, where he continued to work until his retirement in 1923. Marr died on 10 July 1936 and is buried at the Solln Cemetery in Munich. More on Carl von Marr
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