Lucien ou K.Lucjan Przepiorski, VILNA 1830 - 1898 PARIS, Ã©COLE RUSSE
VIERGE DU LOUVRE DU XIVE SIÈCLE, c. 1886
91,5 x 73 cm ; 36 by 28 3/4 in
Christ with Apostles
Oil on paper, mounted on canvas
24.2 x 28.2 c
Figurative scenery around Christ and three apostles in the foreground and with view to a castle and mountain landscape in the background, painted by a representative of the Nazarene movement, who focused in the 19th century on the renewal of art.
The name Nazarene was adopted by a group of early 19th century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style. More
Joseph von Führich (1800–1876)
Jacob Encountering Rachel with her Father's Herds, c. 1836
Oil on canvas
66 cm (26 in). Width: 92 cm (36.2 in).
Austrian Gallery Belvedere
Rachel is first mentioned in the Hebrew Bible in Genesis 29 when Jacob happens upon her as she is about to water her father's flock. She was the second daughter of Laban. Jacob had traveled a great distance to find Laban. His mother Rebekah had sent him there to be safe from his furious twin brother, Esau.
During Jacob's stay, he fell in love with Rachel and agreed to work seven years for Laban in return for her hand in marriage. On the night of the wedding, the bride was veiled and Jacob did not notice that Leah, Rachel's older sister, had been substituted for Rachel. Whereas "Rachel was lovely in form and beautiful," "Leah had tender eyes". Later Jacob confronted Laban, who excused his own deception by insisting that the older sister should marry first. He assured Jacob that after his wedding week was finished, he could take Rachel as a wife as well, and work another seven years as payment for her. When God “saw that Leah was unloved, he opened her womb”, and she gave birth to four sons.
Rachel was unable to conceive, and became jealous of Leah. She gave Jacob her maidservant, Bilhah, to be a surrogate mother for her. Bilhah gave birth to two sons that Rachel named and raised. Leah responds by offering her handmaid Zilpah to Jacob, and names and raises the two sons that Zilpah bears. After Leah conceived again, Rachel was finally blessed with a son, Joseph. More
Joseph von Führich [or Josef Ritter von Führich] (February 9, 1800 – March 13, 1876) was an Austrian painter, one of the Nazarenes. He was born in Bohemia. Deeply impressed as a boy by rustic pictures adorning the wayside chapels of his native country, his first attempt at composition was a sketch of the Nativity for the festival of Christmas in his father's house. He lived to see the day when, becoming celebrated as a composer of scriptural episodes, his sacred subjects were transferred in numberless repetitions to the roadside churches of the Austrian state, where peasants thus learnt to admire modern art reviving the models of earlier ages.
Essentially creative as a landscape draughtsman, he had no feeling for colour; and when he produced monumental pictures he was not nearly so successful as when designing subjects for woodcuts. Führich's fame extended far beyond the Austrian capital. In 1831 he finished the "Triumph of Christ", later in the Raczynski palace at Berlin. In 1834 he was made custos and in 1841 professor of composition in the Academy of Vienna. More
Giovanni Battista Salvi, called Il Sassoferrato (1609-1685)
Virgin in Prayer
Oil on Canvas
63.5 x 50.5 cm
Giovanni Battista Salvi, called Il Sassoferrato (1609-1685). Giovanni Battista Salvi was born in Sassoferrato and went to Rome at an early age to study the paintings of Raphael. Later he sojourned in Naples to study the works of Annibale Carracci and his circle, especially Guido Reni. For most of his life he worked in Rome. His favorite subjects were Madonnas which he often depicted praying and along with the sleeping child. Paintings by Sassoferrato are in many churches and galleries in Italy. More
after Bernardino Luini, (c. 1480/85-1532)
Oil on canvas, laid on cradled panel
74 x 76.8 cm
The painting presents Saint Catherine reading a book, accompanied by two putti, who point towards her martyr's death. The model for the present work, Bernardino Luini´s Saint Catherine (1527/31), is in the collection of the State Hermitage Museum, St. Petersburg.
Bernardino Luini (c. 1480/82 – June 1532) was a North Italian painter from Leonardo's circle. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described to have taken "as much from Leonardo as his native roots enabled him to comprehend". Consequently, many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov. More
Copy after a painting by Jacopo da Ponte, called Bassano (1510-1592)
Arrest of Christ
Oil on canvas
58 x 43 cm
Shown is the moment in which the minions will arrest Christ, who was betrayed by the kiss of Judas. Below him, lying on the ground, Malchust, the servant of the high priest is depicted. To the right in the picture we can see Saint Peter, who cut Malchus’ right ear with the sword. The scene highlights the gentleness of Jesus, who healed the ear of his enemy shortly before his arrest. The blazing torches illuminate this nocturnal scene.
Jacopo da Ponte, called Bassano (1510-1592) was born in Bassano del Grappa. His father, Francesco da Ponte, was also a painter and influenced the style of the young Bassano. Bassano lived and worked, at least temporarily, in Venice. Here he studied the works of his fellow painters Bonifazio, Titian, Tintoretto and Veronese. He painted a large number of Christian themes, but also animals and genre motifs emerged in large numbers. His works were characterized especially by his lucid colors. He ran a workshop where four of his sons, trained by himself, participated. Bassano was one of the most influential Venetian painters of the 16th century. More
Leonardo da Vinci (1452–1519)
Madonna with the Yarnwinder, circa 1501
The Buccleuch Madonna
Oil on panel
Height: 48.3 cm (19 in). Width: 36.9 cm (14.5 in).
The Madonna of the Yarnwinder is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions (see below) of which two, called the Buccleuch Madonna and the Lansdowne Madonna, are thought to be partly by Leonardo’s hand. The underdrawings of both paintings show similar experimental changes made to the composition (or pentimenti), suggesting that both evolved concurrently in Leonardo’s workshop.
The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a yarnwinder used to collect spun yarn. The yarnwinder serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and implied narrative was highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto. More
School Leonardo da Vinci
Madonna of the Yarnwinder, circa 1501
The Lansdowne Madonna
Oil on wood
Height: 48.3 cm (19 in). Width: 36.9 cm (14.5 in).
Top Row: From left: Louvre, Paris; Museo Soumaya, Mexico City; Christ Church Picture Gallery, Oxford.
Bottom Row: From left: Private collection, Madrid; Scottish National Gallery, Edinburgh; private collection (formerly Chicago)
Lonardo da Vinci, (born April 15, 1452, Anchiano, near Vinci, Republic of Florence died May 2, 1519, Cloux, France) was an Italian painter, draftsman, sculptor, architect, and engineer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. His notebooks reveal a spirit of scientific inquiry and a mechanical inventiveness that were centuries ahead of their time.
The unique fame that Leonardo enjoyed in his lifetime and that, filtered by historical criticism, has remained undimmed to the present day rests largely on his unlimited desire for knowledge, which guided all his thinking and behaviour. An artist by disposition and endowment, he considered his eyes to be his main avenue to knowledge; to Leonardo, sight was man’s highest sense because it alone conveyed the facts of experience immediately, correctly, and with certainty. Hence, every phenomenon perceived became an object of knowledge, and saper vedere (“knowing how to see”) became the great theme of his studies. He applied his creativity to every realm in which graphic representation is used. But he went even beyond that. He used his superb intellect, unusual powers of observation, and mastery of the art of drawing to study nature itself, a line of inquiry that allowed his dual pursuits of art and science to flourish. More
Jean-Baptiste Jouvenet and workshop, ROUEN 1644 - 1717 PARIS
THE TESTIMONY FROM THE CROSS
Oil on canvas
193 x 130.5 cm; 76 3/4 by 51 3/8
In the foreground lies the Christ, that Joseph of Arimathea and Saint John are preparing to remove. Behind them stands the Virgin looking at heaven with a look of pain, while at her feet, Madeleine mourns the loss of Christ. The attention of the viewer is irresistibly attracted by the body of Christ, the bright and clear complexion that form an arc in the foreground. The composition, pyramidal, classic appearance, is made more remarkable by the Virgin's gesture of despair that seems to keep the Joseph right arm holding the shroud of Christ. This helps to reinforce the dramatic dimension of the scene. The attention to detail is noticeable here in the foreground, in the shiny copper basin, in which floats water, red with blood, and the sponge that was used to wash the body of Christ. More
Jean-Baptiste Jouvenet (1 May 1644 – 5 April 1717) was a French painter, especially of religious subjects. He was born into an artistic family in Rouen. His first training in art was from his father, Laurent Jouvenet.
Jouvenet early showed remarkable aptitude for his profession, and, on arriving in Paris, attracted the attention of Le Brun, by whom he was employed at Versailles, notably in the Salon de Mars (1671–74), and under whose auspices, in 1675, he became a member of the Académie royale, of which he was elected professor in 1681, and one of the four perpetual rectors in 1707. He also worked under Charles de La Fosse in the Invalides and Trianon.
The great mass of works that he executed, chiefly in Paris, many of which, including his celebrated Miraculous Draught of Fishes are now in the Louvre, show his fertility in invention and execution, and also that he possessed in a high degree that general dignity of arrangement and style which distinguished the school of Le Brun. His compositions are primarily planned as high reliefs, and the movements are in sharp diagonal straight lines rather than in curves.
Jouvenet died on 5 April 1717, having been forced by paralysis during the last four years of his life to work with his left hand. More
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